CANOR VIRTUS A3  INTEGRATED AMPLIFIER REVIEW

Canor Virtus A3 is an integrated amplifier with onboard DAC, MM and MC phonostage, a headphone amplifier, and enough analogue inputs to satisfy most folk. It’s made in Slovakia and costs 6000 Euros. Stuart Smith takes a listen for HiFi PiG.

CANOR is a name I’ve been aware of for ages, but never had the opportunity to experience in our own system. They are Slovakian and have been building HiFi components since 1995, when they made the EDGAR TP101 integrated valve amplifier. That means they are celebrating their 30th anniversary, and I’ve noted they have an excellent social media campaign highlighting milestones over those years. For example, in 2007, the original rand EDGAR rebranded to the current CANOR brand. Another that popped up on my feed was that in 2005 they launched the TP105 integrated that was based on the previous TP 101 and was the first of their models to have the valves within the amp itself rather than on top of the casework. 

Whilst interviewing the very famous loudspeaker designer Karl-Heinz Fink at Munich back in May in the EPOS/CANOR room, I was drawn to the sound I was hearing in the room, and after finishing the interview immediately approached CANOR to secure a review sample of one of their amps. 

The price of the VIRTUS A3 is around 6100 Euros, which seems very reasonable in this day and age, particularly given the feature set on this integrated amplifier. 

DESIGN AND FEATURES OF THE CANOR VIRTUS A3

The Virtus A3 combines four functional elements in a single chassis: a hybrid power amplifier (Class A input tube stage plus Class AB current‑dumping output stage), a discrete phono preamplifier, a headphone amplifier, and a dual‑mono ESS‑based DAC.

The amp has a rated output power is 100 W per channel into 8 Ω, rising to 150 W into 4 Ω (IHF dynamic). The tube input stage (balanced differential using an E88CC) drives a Class A constant stage, while a high-current Class AB stage handles demanding speaker loads. This Current Dumping design is said to avoid switching between operating classes, maintaining consistent Class A control. Distortion is quoted at 0.0002 % at 1 W / 1 kHz.

Both analogue and digital signal paths are arranged in a dual‑mono configuration, each channel powered by independent, multi‑stage regulated power supplies. Rear input selection is relay‑based; initial buffers use discrete Class A JFET zero‑feedback stages, followed by a differential analogue step attenuator. The entire signal path is DC‑coupled using servo circuits to eliminate coupling capacitors in the primary audio path.

The VIRTUS A3 doesn’t disappoint those looking to spin their records and includes a fully discrete phono preamplifier supporting both MC and MM cartridges, with gain selectable via front‑panel controls. Gain ranges from approximately 40 – 66 dB, depending on cartridge type.

And if you are prone to late-night listening sessions and do not want to upset the neighbours and/or family members, there’s a discrete, fully symmetrical, balanced headphone stage is included, with both single‑ended (6.3 mm jack) and balanced XLR‑4 outputs. Output power is 500 mW into 30 Ω, dropping to 70 mW into 300 Ω (unbalanced), and 270 mW into 300 Ω (balanced).

This amp gives users Class A line‑level outputs, both single‑ended (RCA) and balanced (XLR), for driving external power amplifiers or connections to active speakers or subwoofers. I didn’t try this out and used the amp as I reckon most will use it, that is as a fully featured integrated amplifier, though some may want to use this for a sub. 

Analogue inputs (over and above the phonostage I mentioned) are 2 pairs of RCAs and 2 pairs of XLRs, which should be plenty for most folk, given there is an onboard phonostage and DAC. 

About that DAC. Keeping up with the digital side of things, the amp includes USB (asynchronous, galvanically isolated with reclocking and RF filtering) supporting PCM up to 768 kHz/32‑bit and DSD512. It has two coaxial, two optical, and one AES/EBU digital inputs. The DAC employs dual‑mono ESS chips with discrete analogue controllers. Clocking is derived from low‑phase‑noise oscillators with vibration isolation. The analogue stage operates in current‑mode (I/V) for optimal linearity and reduced distortion. Note that the USB input does not use the usual USB B or A inputs, but USB C, which means that the aftermarket (audiophile) USB cables we have were not supported, though a normal USB to USB C cable will obviously work fine. 

The front-mounted control knob houses a 1.3‑inch LCD touchscreen, offering full access to all the amps settings, basic VU metering, input selection, volume, and mode operations. The control knob runs on a precision double‑row bearing and is very, very cool. I loved it and it’s certainly something of a talking point. As its screen saver, you can either have it set to display the CANOR logo or basic VU meters. It can also show the real-time temperature information for each channel. 

A custom heat‑pipe heatsink system coupled with low‑speed silent fans provides thermal management. This is designed to ensure stable operation under load without introducing mechanical or acoustic noise. 

The chassis is available in silver or black finishes, and it measures about 435 × 130 × 460 mm (W×H×D), weighs about 18 kg.

You also get a stylish little remote that deals with the main amp duties like turning the amp on and off, dimming the display brightness, selecting the input, adjusting the volume, and muting the whole thing. The same remote will also control a CANOR CD player. There’s an extra battery included and a little hex key to open up the back when the time comes to change the battery – the screws are small, so don’t lose them.

Another cool feature of the CANOR Virtus A3 is that it has an Input Relay Cleaning function that is designed to extend the life of relay contacts. Basically, it triggers every 20th time the unit is turned on and sends high-frequency signals through all the relays on the amp. Apart from it flashing up on the control knob, you don’t really know this is going on, but it’s a cool feature and is a testament to CANOR’s attention to detail.

I like the styling of the CANOR; it’s streamlined and stylish but erring on the side of classy minimalism. From a purely “I’m a 58 year-old bloke with the mind of an 18 year-old“, I loved the control knob and I reckon this will be a bit of a selling point in bricks and mortar HiFi shops. 

Packaging was excellent, and the amp is available in black or silver – this one came in silver, but my personal preference is for the black version. 

So that’s your lot on the design and features of the VIRTUS A3. All in all this amp adds up to a fully-loaded, modern integrated amplifier that has everything onboard to satisfy digital and analogue music lovers.

I do like integrated amplifiers, though I use separate pre/powers in the main system. Given that a modern integrated will have an onboard DAC, phonostage, and analogue inputs, they represent an elegant and home-friendly solution for those looking to enjoy their tunes, but retain domestic harmony and design.

SOUND QUALITY

First up, I use the XLR inputs with the source being our Lampizator DAC, being fed with the Auralic Streamer. Speakers used were the Ø Audio ICON 12s reviewed a few weeks ago and which will be staying in the system for the time being. I don’t actually think many folk will buy this amp and then use an external DAC, as that kind of defeats the objective of a modern integrated, but it gives me the opportunity to put a well-known bit of kit in the system and compare directly with the reference system. With that said, those still using a CD player who don’t want to use its digital outs will use it in this way. These line-level inputs will also be useful for those looking to put the telly or games system through the amp. 

The start-up sequence of this amp is very cool indeed! Push the touchscreen on the knob, and it shows a valve image and a countdown/up. This takes around 23 seconds, and I found it fascinating to watch. 

There’s certainly a good deal of grip on the lower end with this amp, and I loved the way it handled the house, techno, and rock tunes. Though overall, I would suggest that this amp is a little warmer and a little more forgiving through the mids and tops. This is not a bad thing in the grand scale of things, and whilst certainly not being a pipe and slippers sound, the sonics of this amp will appeal to those who are looking for a slightly less analytical presentation – I’d suggest that this is likely to be the majority of listeners, if they are honest. This slightly less analytical sound than I’m used to with the reference kit meant that I could sit for hours and hours without feeling it was all too much and needing a break. Now, if you are reading this and think I’m suggesting that this amp is a bit wooly and rolled off in the mids and tops, that is not the case; there is still bags of detail and nuance coming through with the CANOR, it’s just got a bit of warmth to it, and I guess that is coming from the E88CC tube in there. Dynamics are handled very well with the speakers I was using, and that Class A bias was certainly doing its part. All in all, there’s a great deal to commend with this amp using the analogue inputs: there is enough oomph to keep up with even the most demanding of tracks, and at the same time a pleasant and easy-going nature to the way it presents music. I guess a lot of reviewers would say that the Virtus A3 is “musical”. 

I did note that the amp does get quite hot, and this is likely down to the CLASS-A biasing it uses. It’s not so hot that you can’t touch it, but I’d suggest giving it a bit of breathing space above the amp in your rack. 

Next up, I connected the Auralic streamer directly to the DAC of the amp. I wasn’t able to use our normal aftermarket USB lead as the CANOR uses a USB-C input. Not a problem, as I’ve about a million of them lying about, but it is worth noting if you already have expensive aftermarket USB cables. I think this is the first time I’ve come across this configuration on an amp, but it does kind of make sense given that pretty much everything uses USB-C these days. The first cable I used (a multi-ended cable) didn’t work, but a straightforward USB-A to USB-C worked immediately. You get a number of filters you can scroll through, and (as with all of these filters on DACs), I found that one that sounded best to my ears and stuck with it. Worth noting here is that the touch screen on the knob and actually turning the knob work very well in scrolling through the menus, and I really enjoyed that experience – menu diving without the associated hassles. Detail was excellent, but the DAC didn’t have that bit of magic that the vastly costlier Lampizator brought to the party, but it’s very usable, very good sounding, and very much in keeping with the price of this amp – in fact, it was very, very enjoyable to listen to. It’s a little less organic-sounding than the Lampizator, but then the Lampi costs about nine times what this whole amplifier costs. What is good with the DAC input is that it maintains the overall flavour of the amplifier that I mentioned in the previous section; a degree of warmth and an analogue feel that is lovely to sit and listen to for extended periods of time. 

Next up was the phono stage, and I chose to use the excellent Michell TecnoDec with the moving magnet cartridge that came with it. The inclusion of phonostages in integrated amps is a must for me, and I’m guessing many others. It means that if you start out with a streamer into this amp and then decide to get a turntable, you don’t need to start getting any more outboard gear. It also means you can add a turntable and play all your old records without any added expense. There’s enough MC and MM control to satisfy most folk, and like the rest of the stuff on this amp, it all works very nicely and sounds excellent. There is the overall sound of the amp that comes through, and I’d be more than happy to use this on a day-to-day basis. Dynamics are still there, and the sound is balanced and coherent. Nothing is too toppy, and nothing is pushed in the bass with the phonostage. There’s great sound-staging and imaging too, which is very important for me – not as great as with our reference, but for an integrated amplifier, it is a very good phonostage. I didn’t try an MC cartridge with the amp, but I expect it will work just as well as the MM did. 

I’m not a huge headphone listener, but it worked well and drove the planar headphones I have to good levels and with similar sonic attributes to the rest of the amp. 

QUIBBLES

The USB input is not the standard used on most other kit we own or have had in for review. This meant we couldn’t use our normal USB cables for digital transfer. 

I love the touch control on the knob and thought the display was a great talking point, but it did take me a few goes to get used to handling it. Once I did get to grips, I really enjoyed playing with it.  

CONCLUSION

There’s a lot to like about this amount from CANOR, and I enjoyed listening to it very much. It’s got an easy-going and undemanding sound that you can just sit down and enjoy your tunes with. It doesn’t demand that you sit there and analyse your records, and in that respect, I reckon that it’s a really good choice of amplifier for those who want to enjoy their tunes to a high standard but without getting into the whole obsessiveness that can often come with this hobby. Overall, I’d suggest that this is an amplifier for the modern home and for people who don’t want a million and one boxes cluttering up their home, but do demand high-quality sound. 

Whatever source and input I used on the CANOR, I enjoyed a great deal. Not once did I feel I was being bombarded with a sound that was overanalytical and “too much”. I found myself sitting down, relaxing, and just enjoying my records. 

I had a reader contact me very recently, and he said that he was a music lover, had good kit, but wasn’t “obsessive” over it; and this is exactly the kind of person/family that this amplifier is geared towards, in my opinion. It’s got enough inputs and features for you never to think about feeling the need to upgrade, and as such, the asking price is very reasonable. Add the best pair of speakers you can afford, buy this and a streamer/turntable, and (potentially) for less than ten grand, you’ll have a system that will keep you satisfied for years to come. 

I’m giving the Canor Virtus A3 a very high 5 Hearts award as I believe it offers excellent value for money and is feature-rich. It loses points only on the sound being a little less incisive than I prefer, though that is something that is purely down to personal taste, and I know that some will absolutely adore the easy-going nature of this amplifier.

AT A GLANCE

Build Quality and Features:

Looks great, and if you don’t like the displays, you can dim them out

That interactive and touch-sensitive knob is a very cool thing

Remote is very nice to use

Overall build quality is very good, though I’d have liked posher speaker posts – that’s just me, and I don’t know if that would be doable at this price

DAC is very good and very usable

Uses UBC C input, which meant that after-market USB cables I have couldn’t be used

Onboard phonostage is very good

Loads of inputs; probably more than most will use

Sound Quality:

Leans to the warmer-sounding side of things, but still with loads of detail

Very easy to listen to and get on with for extended periods of listening

Value For Money:

It’s six thousand Euros, and in today’s HiFi world, that doesn’t usually get you very much. This amount gives you loads of inputs and modules that should suffice pretty much everyone; in fact, I’d suggest it has more analogue inputs than most folk will ever need. If you have six grand, want a future-proof amp, and want the digital and turntable side of things covered, then hey-presto, the CANOR has it all

We Loved:

A warmer and very inviting sound that just draws you into it

Plenty of power and dynamics

Loads of inputs that are all good quality and sound great

Looks cool

That touch-sensitive knob is very cool

Decent enough remote

Never heard the fans kick in once; if they did, they are very quiet

We Didn’t Love So Much:

Couldn’t use my usual USB cable

The remote did get mislaid a couple of times, but at least it’s bigger than those awful Apple remotes that people used to use

May not be incisive enough for those who prefer that kind of presentation

Price: 6000 Euros

Elevator Pitch Review: The CANOR VIRTUS A3 is a fully fledged, modern integrated amplifier that has a good-sounding DAC and MM/MC phonostage built in. If you already have external kit, then you are covered with plenty of RCA/XLR analogue inputs. It looks great in silver, but is also available in black. A key feature of the VIRTUS is that it has a funky touch-sensitive control knob that is great fun to use. Sonically, it’s a lovely listen with a slightly warmer presentation that is untaxing and yet detailed enough to satisfy. Overall, the VIRTUS A3 is a music lover’s kind of product that sounds great and has loads of flexibility. 

Stuart Smith

SUPPLIED BY CANOR

SUPPLIED TECHNICAL SPECIFICATIONS

Stereo Output Power	2 x 150 W / 4 Ω (IHF Dynamic Power) 2 x 100 W / 8 Ω (IHF Dynamic Power)
Headphone Unbalanced Output	500 mW / 30 Ω 70 mW / 300 Ω
Headphone Balanced Output	500 mW / 30 Ω 270 mW / 300 Ω
Gain	34.5 dB
Input Sensitivity	550 mV
Gain Phono	MM 40 dB MM 46 dB MC 60 dB MC 66 dB
Damping Factor	180 / 4 Ω 380 / 8 Ω
Frequency Range	10 – 35 000 Hz (± 0.5 dB / 5 W)
Input Impedance	50 kΩ
Analog Inputs	1 pair RCA (Phono) 2 pairs RCA 2 pairs XLR
Analog Outputs (Variable Out)	1 pair RCA 1 pair XLR
Digital Inputs	2 x COAX 2 x OPTO 1 x USB 1 x AES/EBU
DAC Configuration	2 x ESS 9038 (Dual Mono)
Headphone Outputs	6.3 mm jack 4-pin XLR
Total Harmonic Distortion	< 0.005 % / 1 kHz, 5 W < 0.008 % / 1 kHz, 1 W
Signal-to-noise ratio	> 90 dB (20 Hz – 20 kHz)
Tube Complement	2 x E88CC
Trigger Connectors (12 V)	1 x IN (3.5 mm jack) 2 x OUT (3.5 mm jack)
Power	115 / 230 V, 50 – 60 Hz, 820 VA
Dimensions (W x H x D)	435 x 130 x 460 mm
Weight (Net)	18 kg
Weight (Gross)	23 kg