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INTEGRATED AMPLIFIER PERREAUX
Manufacturer: PERREAUX AUDIO |
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Review
text by WOJCIECH PACUŁA |
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No 251 April 1, 2025 |
I MUST ADMIT THAT WHEN I saw the photos of the 300iX amplifier, which I would like to tell you about, I fell in love with it. And that's because the photos showed a large but compact device with a yellow painted chassis. Nothing new, after all, Fezz Audio amplifiers are colored, Accuphase, Leben and Dartzeel products are gold, Rega offers colored turntables. And yet the cheerful shade of the varnish chosen by the manufacturer (canary yellow) immediately made me feel positive about the 300iX, and extremely positive at that. 
In fact, we can choose from many colors. In addition to yellow, the website also shows black, red, orange, lime green, dark green, blue, and purple. Unlike the companies mentioned above, Perraux coats its devices with varnish, not anode. And maybe that's what makes them look so interesting. Especially since the power switch and the large volume control knob are finished with the same color. The heat sinks and the remote control remain black in every variant. The manufacturer says:
It is a deliberately chosen sales and communication strategy with customers, supported by a fresh and - again - cheerful website, with such usually overlooked details as the unusual, colorful boxes the devices are delivered in. It all looks really good, and the amplifier looks a bit like a big LEGO. | A few simple words… JUAN PABLO CALVERT 
WOJCIECH PACUŁA • Can you briefly tell us about the history of Perreaux? Who founded it, and what was the first product? JP CALVERT • Perreaux Audio was founded in 1974 in Napier, New Zealand, by electronics innovator Peter Perreaux, with an initial investment of just $1,000. The first product to market was the now-legendary GS 2002, an integrated Class A transistor Hi-Fi amplifier delivering a modest yet impressive 22W per channel. The GS 2002 gained recognition for its rugged build and high-fidelity sound, establishing Perreaux's reputation for performance and reliability. Building on the success of the GS 2002, Perreaux expanded its product range, introducing high-quality preamplifiers, power amplifiers, and loudspeakers that catered to both audiophiles and professional audio markets. In 2018, Edwin Nieman, owner of Kamahi Electronics, took ownership of Perreaux. Since then, we've heavily invested in R&D and innovation to push the already outstanding Perreaux sound to new levels while staying true to the brand's legacy. WP • Who currently designs Perreaux amplifiers? JPC • Nick Sargeant is the Head Engineer at Perreaux Audio, leading the design and development of our amplifiers. Nick joined Kamahi Electronics in 2016 and was later tasked with heading Perreaux in 2018. 
⸜ Michelle Law (electronics technician) and surface soldering assembly at the Perreaux factory • photo by Perraux With a background in automotive mechanics and mechatronics from Otago Polytechnic—where he specialized in electric vehicle systems—Nick brings a practical, hands-on engineering approach to amplifier design. He thrives on complex assembly and production challenges, particularly in prototyping and refining designs into production-ready products. A passionate Hi-Fi aficionado, leading Perreaux Audio is a dream come true for Nick. Beyond the lab, he's an avid Formula One fan and track racer, often fine-tuning and racing his Subaru on local circuits. Nick is supported by a team of specialized engineers within Kamahi Electronics, working together to bring Perreaux's designs to life with cutting-edge technology and timeless audio engineering principles. 
⸜ Nick Sargeant (chief engineer) at his station • photo by Perraux WP • What are the key design principles behind Perreaux amplifiers? JPC • At Perreaux, we honour and uphold the brand's heritage while continually refining and innovating. A cornerstone of our design philosophy is the continued use of MOSFET transistors, which are a defining characteristic of the Perreaux sound. Our goal is to achieve absolute neutrality—we do not artificially modify any frequencies. Instead, we allow the inherent characteristics of MOSFETs to deliver the warmth and musicality that Perreaux is known for. This uncolored, natural presentation ensures our amplifiers integrate seamlessly into any system, allowing the source material and speakers to shine. Customer and reviewer feedback consistently highlights Perreaux's natural, fatigue-free sound, making our gear a joy to listen to over the years. 
⸜ A „surprise” photo of Perreaux engineers at work :) • photo by Perraux WP • Can we expect a transport, file player, CD player, or headphone amplifier from Perreaux? JPC • We currently have a headphone amplifier in development, set to launch within the next couple of years. Perreaux has a strong history in this space, with the award-winning SXH2 headphone amplifier being a standout product in the past. As for a CD player or digital transport, there are no immediate plans, but that could change depending on market demand and the evolution of digital playback trends. WP • How does the New Zealand Hi-Fi scene differ from the rest of the world? JPC • New Zealand's Hi-Fi scene is shaped by a unique blend of influences—from the country's strong DIY engineering culture to its deep appreciation for high-fidelity sound. With a relatively small but highly knowledgeable audiophile community, Kiwi brands tend to focus on exceptional build quality, reliability, and sonic integrity rather than following fleeting trends. New Zealand manufacturers, including Perreaux, have always embraced innovation with a no-nonsense, performance-first approach, which resonates with discerning listeners worldwide. Additionally, being geographically isolated has fostered a self-reliant mindset, where companies prioritize high-end materials, meticulous craftsmanship, and long-term durability—qualities that have helped Perreaux build a global reputation for excellence. JPC ▌ 300iX THE NEW ZEALAND AMPLIFIER is a large but still sleek device, quite heavy though – it measures 426 by 149 by 344 mm and weighs 21.5 kg. It can boast a very high rated power output: 300 W at 8 Ω and 500 W (!) at 4 Ω. The first ten watts are output in class A. It is a transistor amplifier with bipolar transistors in the output stage. ANALOG SECTION • This is the real command center of the audio system. In addition to the amplifier function, it also offers an MM/MC phono preamplifier, a headphone amplifier (separate) and a digital-to-analog converter with Bluetooth receiver. The analog inputs have a fairly low impedance, so it is worth checking the output impedance of your signal sources. There are as many as six inputs, one of which is a phono input with higher quality RCA sockets, and the other a balanced XLR input. The device is not a balanced design, which means that the signal is desymmetrized immediately after XLR input. There is also a direct input to the power amplifier and an output from the preamplifier; one of the RCA inputs can be set to bypass the preamplifier. This allows the 300iX to be integrated into a home theater system. Control lines such as triggers and RJ45 (Ethernet) are also used for this purpose, allowing the device to be controlled from external devices. 
DIGITAL SECTION • The digital section is also extensive. We can send the signal to one of two RCA inputs, one of two Toslink, AES/EBU or USB. When we select one of them, the sampling rate will appear on the display, which we will come back to in a moment. DAC is based on the ESS ES9038PRO Sabre chip, which is already quite old, but until recently was the top model of this company, thanks to which, using the USB input, we can decode the PCM digital signal up to 32 bits, 384 kHz and DSD up to DSD256. The other inputs are limited to PCM signals of 24/192. We should also mention that we can also transfer digital signals, for example from a smartphone, via Bluetooth. HEADPHONES • The headphone amplifier is a separate module. It has a fairly high power output of 1 W at 32 Ω, and we can change its sensitivity to match the headphones we are using. The device is designed to work stably with a load of up to 600 Ω, which is – in the past – a classic impedance for studio headphones such as Beyerdynamic DT-990 Pro. The amplifier is an unbalanced design with a 6.35 mm TRS output, the classic “large jack”. It is Perreaux's own design, the SXH2 model, working with a separate power supply. It was originally designed for the company's studio equipment. CONTROL • I have already mentioned the display already. It plays an important role in this device. The amplifier is microprocessor-controlled and the display shows a lot of information, such as volume level using numbers and a bar graph, the selected input and menu settings. There, we can change the volume adjustment speed, channel balance, mute level settings, and also give names to the inputs. Despite the amount of information, it is displayed clearly and logically. It also helps that it is a monochrome OLED display. So it is a nice and high-contrast unit. By using a powerful DSP system to control the device (the manufacturer talks about the 3rd generation, whatever that means), an effort has been made to make the amplifier as convenient to use as possible. Basic adjustments are made using the large knob in the center of the front panel (volume) and the small buttons below the display. These have a context-sensitive function, which is shown on the display. 
We can also control the device with a small remote control. It is quite comfortable, well-made from an aluminum block. The buttons are the same as on the amplifier and are also unlabeled. However, I figured out what's what pretty quickly. But that's normal. A modern innovation, sometimes found with other manufacturers, but rarely, is the ability to control the amplifier via a smartphone app. We then connect to the amplifier via Bluetooth. And this is probably the easiest way to initially set all the items in the menu.SOUND ▌ ODSŁUCH HOW WE LISTENED • The Perreaux 300iX integrated amplifier was tested in the “High Fidelity” reference system. It was compared to a split reference amplifier consisting of the Ayon Audio Spheris III preamplifier and the Soulution 710 solid-state power amplifier. During the test, the device stood on its feet on the upper carbon shelf of the Finite Elemente Pagode Edition Mk II rack. 
During the test, I used the Ayon Audio CD-35 HF Edition SACD player and the Lumin T3 file player as analog and digital sources, respectively. The signal between the SACD player and the amplifier was transmitted via an RCA Crystal Cable Absolute Dream interconnect, and from the file player it was sent via a Siltech Master Crown cable; both were unbalanced interconnects. The amplifier was powered using a Harmonix X-DC350M2R Improved-Version cable, and the signal to the speakers was delivered by a Crystal Cable Da Vinci speaker cable. The tested amplifier drove Harbeth M40.1 speakers. » RECORDINGS USED FOR THE TEST ⸜ a selection
⸜ LEONARD COHEN, Popular Problems, Sony Music Labels SICP-4329, CD (2014). |
POWER CANNOT BE MISTAKEN for anything else, especially high power. The first bars of Leonard Cohen's Nevermind, a track from the album Popular Problems, and it's clear: Perreaux's amplifier has complete control over the musical material. Simply perfect, I can't think of any other word at the moment. The thing is that each of the plans set by the producers, and there are several of them and they are clearly separated, has been displayed on a large sound stage, both in breadth and depth. On a stage that seems to have no limits. Not because it is inflated, but because of the lack of physical “boundaries” at the edge of vision. And when, halfway through the fourth minute, the sound of hand-played drums is heard, it seems to come from off-stage. The phase shift with which they were shown was rendered by this device in an extremely accurate way. And I think this is one of its most important skills, namely controlling the selectivity of the material and the ability to deliver everything effortlessly, as if by the way. Low-power amplifiers have something special in their sound that cannot be replicated. But with that comes a kind of “giving up” on many elements, such as macro-dynamics or details. They seem to have them, and - with a few exceptions - they only suggest them. And the 300iX has a lot of them. The sound is closest to that of Accuphase devices, but from a few years ago, to the sound of Fezz Audio amplifiers, led by its top monoblocks, or to the sound of Circle Labs devices, another excellent Polish company. It is a fast, powerful, dynamic sound. And direct. But it also maintains proportion and “decorum”, if I may say so. Because even Cohen's vocals, recorded on this album in a rather primitive way, with little fullness and a lot of hoarse “throat”, were not exaggerated, and the hoarseness was not “overdone”. 
It is a sound, however, that is direct nonetheless. That is to say, with a strong foreground. A clear and selective foreground. Internally saturated, with a distinct body to the instruments. But never warm. This is not that kind of device. I would say that it is about finding a balance between the attack and the sustain. And you don't get such an attack every day. The wonderful performance on the MAYO NAKANO PIANO TRIO’S album entitled Miwaku was therefore rendered by the Harbeth M40.1 emphatically, strongly, quickly, deeply. Perraux 300iX “takes no prisoners”. The microphones placed quite close to the speakers slightly increased the volume of the instruments and brought them closer. The amplifier immediately showed this. But it didn't throw everything in our direction either. It slightly reduced the warmth of the upper bass and lower midrange, directing the whole towards explosiveness. Every album I listened to with it, regardless of the production and mastering, had an energy that was communicated by the device as if it had been created for this very purpose - and it was the same this time. TAKE GEORGE MICHAEL's Faith album, for example, a remaster that was released in 2010. An edition with beautiful graphics and a messed up sound. Too bright, too sterile – the original vinyl doesn't sound like that. The New Zealand amplifier, despite this, or rather in addition to this, did not brighten it up, it provided a lot of information that made this recording still “alive” and rock. This ability to balance the truth of information and the truth of music is particularly appealing in this case. This will be appreciated by all those for whom Sugden or Simaudio amplifiers are too warm, who find the new Accuphase amplifiers lacking in edge and who are looking for the energy of Naim equipment, but in a more nuanced form. That is why the 300iX showed so well the combination of “field recording”, which gives the impression of “being there”, and the very good production of the NDUDUZO MAKHATHINI’s album entitled uNomkhublwane. | Our albums ⸜ NDUDUZO MAKHATHINI Blue Note Records ST-85225 
ONE OF MY “DISCOVERIES” in recent years, when it comes to jazz, was Shabaka Hutchings. First, thanks to the EP Afrikan Culture, and then the album Perceive its Beauty, Acknowledge its Grace (reviews, respectively → HERE and → HERE). Nduduzo Makhathini is a member of his band. South African pianist, composer, healer (in the sense of folk shamanism) and philosopher Nduduzo Makhathini is currently the head of the music department at the University of Fort Hare in the Eastern Cape. He has performed at renowned festivals, including the Cape Town International Jazz Festival and the Essence Festival in New Orleans and South Africa. In 2019, he made his debut at the Blue Note Jazz Club in New York and played at Jazz at Lincoln Center, where he was a special guest of Wynton Marsalis and the Jazz at Lincoln Center Orchestra. In addition to producing albums, he has been running the label Gundu Entertainment since 2014, together with his wife and singer Omagugu Makhathini, and has released eight of his own albums on this label. uNomkhublwane is his third album recorded for Blue Note Records. It is, as the publisher says, a “transcendent three-part suite” paying homage to the Zulu goddess uNomkhubulwane and telling the tragic history of Africa. We will hear Makhathini's trio with bassist Zwelakhe-Duma Bell le Pere and drummer Francisco Mela. The album is available on colored and black vinyl, CD in a cardboard box like a “mini LP” (with a booklet) or in a digital version, in FLAC 24/96 files. 
The reviewed album is a combination of a candid “field recording” and a studio recording. The former is manifested in the fact that the noise and hum of a device heard at the beginning, when we do not yet have a strong beat with a richness of texture, has not been cut out. There is also a sense of the improvisational nature of this music, even if it is studio work involving skillful editing of the material. Makhathini sings in the Bantu language, which has sounds called 'qa' made by tapping the tongue against the palate - in English, the closest word to describe them would be 'clap'. And this is a great challenge for the system, as it is a sound with incredible energy contained in a short period of time. The whole thing is reminiscent of a concert recording, where the double bass is heard in a somewhat “boxy” way, and the piano is heard from a distance. But, let's face it, we are talking about a very “alert” recording, in which everything has its specific place, including the strong, “heavy” cymbals. When necessary, such as with the double bass solo in ˻ 2 ˺ Uxolo, there is a strong, almost tangible image of the instrument. A musically excellent album with an extremely interesting approach to sound – both close and distant. And strongly saturated with bass and treble. ● » Sound quality: 8/10 THE HIGH SATURATION of the top and bottom of the band is characteristic for this amplifier. However, it is not “too much” if that is what you are wondering. The thing is that the tested amplifier is a highly resolving device, and also very selective, both in terms of tone and dynamics. The sound it produces is therefore very expressive. I see this as being related to the power of the device. I have a similar feeling when comparing the sound of the Soulution 710 power amplifier with other amplifiers, a comparison which almost always shows the anemic nature of the “others”. This was not the case this time. 
˻ 6 ˺ Handshake Drugs, a track from WILCO’S A Ghost Is Born, sounded powerful, with strong bass and saturated guitar. Jeff Tweedy's vocals were not too loud and were clearly “anchored” in the mix. It is an amplifier that does not bring anything closer or distort it. It is exactly the opposite; it restores the sound sources to their proper size and expression, averaged out by most other devices. That is why LUDOVICO EINAUDI's records, recorded by him on the piano, which also “plays” with its imperfect, worn-out mechanism and sound box, but not in a basic role, but in the role of natural rendering of a real event, sounded so convincing. The digital single “Jay”, released right at the beginning of 2025, had a beautiful depth of sound, but above all, the scale - of the room and the piano - was perfectly captured. The tested amplifier also showed sounds “from outside the studio’s window” - it can be heard as if the recording was made late in the evening, when cicadas are particularly active. And this differentiation is, next to scale and energy, the most important thing for the tested device. DAC • The digital-to-analog converter in the amplifier under test has a different character than its analog section. It is a gentle, mid-range-focused sound. There is, of course, energy, there is momentum, after all, we are still playing music through the same amplifier. And yet there is no doubt that the digital inputs, both USB and RCA, are geared towards a more relaxed sound. The stage is slightly recessed, although still deep and wide. Together with the mild timbres, this results in a pleasant, smooth, flowing sound. HEADPHONES • This headphone amplifier in the 300iX is excellent! Deep, dynamic sound with the right attack-to-filling ratio, powerful yet delicate. As with the main amplifier, it is more about energy than relaxation. There is a deep bass range, which is always well-controlled, as well as high dynamics. The sound is a bit darker than through speakers, but with headphones it is good, you can use them for a long time without fatigue. ▌ Summary LONG STORY SHORT, the key word summarizing this test is “energy”. Everything in this sound is alive, pulsating, changing, there is no “suspension”. The device saturates our room with a strong sound, but unlike the energetic amplifiers that show the warmer side of power, which I mentioned in the text. Those saturate it evenly, as if all the air were “alive”. Perreaux does it selectively, it is there where there is a beat, where there is saturation, it focuses our attention. The rest of the “air” is only a carrier for these sounds. We will not lack power with it. And it is intelligent power, controlled by music. It has very low, perfectly controlled bass and strong treble. But they are not dominant. It is a very balanced sound, but with an emphasis on energy. The device is perfectly built, versatile in functionality and very impressive. It costs about the same as the Accuphase E-4000 (with phono preamp and DAC modules), but is significantly different. So there is plenty of choice. ▌ DESIGN The Perreaux 300iX INTEGRATED AMPLIFIER is a solid device with an excellent mechanical design, reminiscent of what we know from Accuphase amplifiers. The manufacturer has always been very proud of the quality of its products, and in early advertisements, we can see pictures of amplifiers being dropped from a height, hit by a car, and still working after being connected to a system. So you can try something like that with the 300iX, but it would be a shame to scratch such a nice paint job... FRONT AND REAR • The housing is made of a rigid steel frame to which aluminum elements are screwed, including large heat sinks on the sides. The front is really thick, so it mechanically stabilizes it as well. On the front, there is only a volume knob, a power switch with an LED micro-diode and a display with small buttons below. And there is a headphone output. There is much more going on at the back, because there are a lot of sockets here. They are divided into two groups and arranged in a mirror image, which emphasizes the dual-mono design of the device. As a reminder, we will see a similar view when we turn the Gryphon amplifiers upside down. Most of the RCA inputs are soldered to the circuit boards, but they are at least gold-plated. The phono preamplifier and digital sections use higher quality RCA input connectors. The speaker terminals are also gold-plated, although they are nothing special. Except for the fact that there are eight of them – the manufacturer has made it easier to connect speakers in a bi-wiring system. The signal from the power amplifier PCBs is routed to them via separate cables. The cables themselves also look good – they have a large diameter and are made of OFC copper. According to the inscriptions, it is a SC-Orbit 240 Mk II model by Sommer Cable. INSIDE • And so we found ourselves inside. It's quite crowded in here because a large toroidal transformer takes up a large chunk of the space. And here's a surprise: it was made by Toroidy.pl, the parent company of Fezz Audio. It has traveled across the Pacific Ocean at least twice. It has many secondary windings, and there are many separate power supplies on PCBs. Eight Nichicon capacitors, four per channel, are used. There are more quality components, such as Vishay capacitors, Ohmite and copper-plated, brass, thick connectors with which the voltage is transferred to the power terminals. It is also clear that the manufacturer wanted to connect the grounds of the individual circuits in a star configuration right at the power supply. The inputs are switched in relays and the volume is adjusted in an integrated resistor ladder. Apart from these circuits, as well as the aforementioned chip after the XLR input and the phono preamplifier, the signal is amplified exclusively in transistors. 
The digital section features three circuit boards: for Bluetooth, for USB and for the other inputs including the “DAC”. The USB input uses an XMOS chip that converts the USB signal to IIS. The D/A conversion is done in the ESS Technology ES9038PRO Sabre chip. This is currently one of the most popular chips of this type in the high-end audio world. Originally designed for home theater systems, it has eight channels, usually combined, as here, into two, which increases dynamics and reduces distortion. It is an excellently made device. ● ▌ Technical specifications (according to the manufacturer)
• Maximum output (RMS): 300 W/8 Ω, 550 W/4 Ω 
THIS TEST HAS BEEN DESIGNED ACCORDING TO THE GUIDELINES adopted by the Association of International Audiophile Publications, an international audio press association concerned with ethical and professional standards in our industry, of which HIGH FIDELITY is a founding member. More about the association and its constituent titles → HERE. |
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Reference system 2025 |
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 1) Loudspeakers: HARBETH M40.1 |REVIEW| 2) Line preamplifier: AYON AUDIO Spheris III Linestage |REVIEW| 3) Super Audio CD Player: AYON AUDIO CD-35 HF Edition No. 01/50 |REVIEW| 4) Stands (loudspeakers): ACOUSTIC REVIVE (custom) |ABOUT| 5) Power amplifier: SOULUTION 710 6) Loudspeaker filter: SPEC REAL-SOUND PROCESSOR RSP-AZ9EX (prototype) |REVIEW| 7) Hi-Fi rack: Hi-Fi rack: finite elemente MASTER REFERENCE PAGODE EDITION Mk II, more → HERE |
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Cables Analog interconnect SACD Player - Line preamplifier: SILTECH Triple Crown (1 m) |ABOUT|» ANALOG INTERCONNECT Line preamplifier → Power amplifier: Siltech ROYAL SINLGE CROWN RCA; review → HERE Speaker cable: SILTECH Triple Crown (2.5 m) |ABOUT| |
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AC Power Power cable | Mains Power Distribution Block - SACD Player: SILTECH Triple CrownPower (2 m) |ARTICLE| » POWER CABLE Mains Power Distribution Block → Line preamplifier: Acoustic Revive ABSOLUTE-POWER CORD, review → HERE » POWER CABLE Mains Power Distribution Block → Power amplifier: Acoustic Revive ABSOLUTE-POWER CORD, review → HERE Power cable | Power Receptacle - Mains Power Distribution Block: ACROLINK Mexcel 7N-PC9500 (2 m) |ARTICLE| Power Receptacle: Acoustic Revive RTP-4eu ULTIMATE |REVIEW| » ANTI-VIBRATION PLATFORM under Acoustic Revive RTP-4eu ULTIMATE: Graphite Audio CLASSIC 100 ULTRA, review → HERE Power Supply Conditioner: Acoustic Revive RPC-1 |REVIEW| Power Supply Conditioner: Acoustic Revive RAS-14 Triple-C |REVIEW| Passive filter EMI/RFI: VERICTUM Block |REVIEW| |
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Anti-vibration Speaker stands: ACOUSTIC REVIVE (custom)Hi-Fi rack: finite elemente MASTER REFERENCE PAGODE EDITION Mk II, more → HERE Anti-vibration platforms: ACOUSTIC REVIVE RAF-48H |ARTICLE| » ANTI-VIBRATIONAL FEET: |
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Analogue Phono preamplifier: Phono cartridges:
Clamp: PATHE WINGS Titanium PW-Ti 770 | Limited Edition Record mats:
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Headphones » HEADPHONE AMPLIFIER: Leben CS-600X, review → HEREHeadphones: Headphone Cables: Forza AudioWorks NOIR HYBRID HPC |
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