PRIMA-LUNA EVO 300 HYBRID POWERAMP REVIEW
Prima-Luna EVO 300 Hybrid Power Amplifier is a £6,498 power amp that, as the name suggests, uses both valves/tubes and MOSFET technology. In this review for HiFi PiG, Janine Elliot takes a listen to this interesting and good-looking 100W/Channel stereo (it can be used in mono) amplifier.
I have always been fond of reviewing PrimaLuna products, such as their EVO 100 phono-stage. They are a Dutch company founded by high-end distributor Herman van de Dungen in 2003, and I’ve always found them both highly musical and visually appealing (particularly with the latest valve “cage” in situ). The word PrimaLuna means “First Moon” and their products are increasingly becoming the first choice for audiophiles around the world. Herman’s earlier career included designing, manufacturing, export, import, and retail of HiFi products. The increasing EVO – or EvoLution – series is the culmination of many years of experience.
The first PrimaLuna hybrid amp, the EVO 300 Hybrid Integrated Amplifier, was launched in 2021 and was followed by a hybrid power amp, the EVO 300 Hybrid Power Amplifier in 2024, further elevating the product line. With design led by Herman van den Dungen, this is their most recent model. The EVO range, I have to say, is rather confusing though; The EVO 100 is at the entry level, then EVO 200, EVO 300, and then EVO 400 at the top. The EVO 100, 200 and 400 are entirely valve-based, with each tier including an integrated valve amp, a valve preamp and a valve power amp. The EVO 300 tier, however, is slightly different because, as well as an integrated amp, a preamp and a power amp of all-valve design, it also includes the hybrid integrated amp and hybrid power amp. Coming in at £6,498, though, it offers a considerable amount of design, looks, weight, and heat to fill your room, with valves in the input stage and solid-state at the other end. The hybrid design uses clever and unique circuitry to tightly conjoin the tube and MOSFET sections, so that they are always working well together. Just as hybrid designs in cars don’t often work as well as they suggest (my Diesel Juke does much better MPG than most hybrids), sometimes hybrid amps similarly don’t quite gel sonically. What is important here with the PrimaLuna is that the MOSFETs used in the power stages of the EVO share similar characteristics with tubes, so they work well together, and I wasn’t to be disappointed when I switched the ignition on.
BUILD AND DESIGN OF THE EVO 300 HYBRID POWERAMP
This is a brilliantly robust unit, and incredibly heavy at 31kg (6kg more than the Integrated version). With 6 specially chosen PrimaLuna Silver Label 12AU7 valves (ECC82s) lighting up the front (two in the input stage and the rest operate as drivers), and available with silver or black brushed aluminium front, with a single LED in the middle to let you know you have found the on-switch, which is their usual rocker button on the left of the unit. A red light tells you it’s getting ready, and then quite a few seconds (about 57) later, it turns to green so you can start to enjoy the unit. Inside the main frame, lots of red LEDs light up the ventilation holes on the top. Those valves at the front aren’t quite so bright, though they need some 100+ hours on the clock before the unit would be ready for any serious review, but luckily, Pedro and his team at Absolute Sounds had concerns for my electricity bill, so they did that before it arrived! To protect those iconic valves is the lovely black valve protection cage; normally, I hate these and remove them from all valve amplifiers, but the PrimaLuna grid is one of the very best and simple, and I prefer it in situ.
Whilst the front is spartan – the Integrated has just two knobs for volume and source at either end of the fascia, plus headphone socket – both include a magical word that links the two (and other EVOs); “Floyd”. With that word, my review would obviously have to include the band’s music, but the reason here for this verbal candy is simply that the solid-state section of the amplifier is designed by Floyd Design, which is the design arm of Durob Audio, which is PrimaLuna’s parent company. The head of Floyd design, Jan de Groot, has been making amps with MOSFETs for over half a century and well knows their valve-like characteristics, which means they should work so well in a hybrid environment.
The rear is more complicated. Not only is there a choice of XLR or RCA inputs, but a triplet of small switches allows you to select your input choice, plus a switch to choose between high or low output, and finally a stereo mono/switch so you can buy two EVO300s and double the output from 100W to 220W (8-ohms) (150W to 300W into 4-ohms). These numbers are considerably higher than the basic EVO 300 power-amp, which has a maximum of 2 x 44W output in ultra-linear mode. The rear is complemented with an in and out trigger socket and a switch to turn the function on.
The inside typically shows PrimaLuna’s flair for component choice and engineering prowess. The unit has dual inrush protection circuits to keep everything safe with separate protection for each stage of the amplifier, and components include Swiss DuRoch tinfoil capacitors, Japanese Takman resistors, lots of hardwiring and thick 105um gold-plated copper tracks on the heavy-duty anti-resonant 2.4mm thick PCB. The EVO has separate high-voltage power supplies for each tube and channel, and the design has a generously sized power supply, which should give the music plenty of grunt when it needs it. The Power Amplifier uses the same tube and solid-state power amp stages as in the Hybrid Integrated, though the power amp’s solid-state circuit also has a gain relay, which allows for gain switching between 24 or 30 dB, and generally offers a more controlled performance. It even comes with an equally solidly built matching remote in case you need to “mute” the sound.
SOUND QUALITY
Having been informed that the EVO300 delivers a great dynamic range and has a deep stereo imaging, I was lucky enough to also still have at Chez Janine Estelon’s amazing Aura floor-standing speakers that excel in soundstage delivery. First through Qobuz was Mahler’s Symphony No. 2 from DG (Wiener Harmoniker, Gilbert Kaplan). Mahler and Bruckner both loved dynamism in their music, with rhythmic drive mixed in with delicacy at the other extreme. This symphony does it all. What I love about this version is that each movement is split into separate CD tracks for each section/theme, such as “bassoon and violas”, “piccolo”, “cellos and basses” etc, meaning the 85-minute, 5-movement instrumental and vocal work has a total of 28 different tracks! Like a test disc, I could check different types of orchestration to create a good opinion on the amplifier or speakers. In the 1’01 “Vorwarts” section of the 3rd movement, I was able to hear all I needed to get an idea as to the dynamic punch, fluidity and transparency from this amplifier. Soundstage was also impeccable.
I turned from one extreme to another; Herbie Hancock’s “Watermelon Man”. I love this track as it has such good front-and-back detail, and great definition from instruments, with fluid trumpet playing on the left channel. Finding a dead centre spot with the Aura speakers was essential to get a full sense of the saxophone solo mid-centre. Herbie on keys just does a basic repeating riff until starting his solo in the second half. Everything is positioned in micro-detail, with the EVO300 sounding very controlled and careful.
Blue Rodeo’s “Diamond Mine” gives a very wide drum-kit, which just wouldn’t work in a traditional jazz recording, but is a great sound in this 1980s Canadian New Wave rock band. With electric guitar, vocal and synth lines that are clearly laid out on the stage, the EVO300 just make it all sound so easy. The track “Now Forever” brings a more ‘country’ sound with great guitar reverb and the synth bringing in an accordion sound. The EVO has good rhythmic drive and gives the listener a sense of trust in the music. If anything, the sound is just a little too ordered.
With the translation of word “PrimaLuna” and the “Floyd” mention earlier, my listening actually ended up with quite a lot of references to the “Moon”; Melody Gardot’s “Moon River” takes that iconic Audrey Hepburn song, first appearing in the film “Breakfast at Tiffanies”, into another adventure, adding more peace to the amplification with her low breathy vocals and the controlled acoustic electric guitar. Bass is very well controlled here; the Estelon goes down to 2-ohms at around 58Hz, so the reserves in the EVO’s power supply enabled a very enjoyable and melancholy bass-line and synth strings.
The double-bass in “Jump St(u)art” (Naim ‘True Stereo’ compilation) has a brilliantly controlled and life-like performance from Larry Kohut, just being a little less clear in the lower frequencies in Steve Cutler’s “Saudades on 8th Avenue”. Similarly, bass in ELP’s “The Barbarian” is very clear, with the Hammond Organ very smooth and controlled. My favourite track, “Take a Pebble”, has some lovely piano playing at the start from Simon Emerson, including internal piano strumming, to sound like a harp. These tracks appeared on their first album and orchestrated their rise to fame quickly. Everything is there, but not quite as “tight” or “bright” as I expected. That said, the ride cymbal is crystal clear, just not as fast as I have heard before. There is a very warm and musical sound, but I was disappointed by the slight lack of energy. The acoustic guitar in “Knife-Edge” was very detailed with razor-sharp transients, but didn’t quite leave me on the edge of my seat. Again, soundstage was unquestionably good, especially with the synthesiser on steroids moving across the soundstage, typical of the 1970s “stereo” obsession.
So many of Patricia Barber’s albums repeat tracks from other albums, but I am always happy to listen to her great jazz style, especially for reviews, as it ticks so many boxes. The ‘Verse’ album has very fluid double-bass octave riffs from 1’09” in “The Moon”. These are highly musical through the amp and speakers, with a very laid-back and open performance, with plenty of time and space for you to take in this beautiful music. The drum stick hits are all well-positioned and punchy, especially on the toms. The build-up for the trumpet solo really shows the amplifier’s musical bent.
Pink Floyd should surely be next for playback? Well, one of my favourite albums from the noughties was ‘Dub Side of the Moon’ from the Easy Star All Stars. This turns Progressive Rock into Dub Reggae, but still maintains all those iconic musique-concrete statements that will forever be set in stone, or perhaps vinyl. By the time the first 56 seconds have been played, you’d think that this was just a media student’s Cubase vox-pop project taking the best of ‘Pink Floyd’s greatest, but then the fun starts with the off-beat reggae taking over. The EVO is very precise and controlled; each instrument in its own space, with the reggae style iced-over with excellent tape-head echo, of course. Each track reworks the Floyd originals, with their own musique concrete actually adding to and improving on the original. It shouldn’t work; turning Prog Rock into Dub, Rap, Jungle or even Dance Hall. But it does! The famous clock section that starts “Time” even adds a Cuckoo and an American wild-west horn salute to entertain us, and each is timed and positioned to perfection across this stage. “Money”, which usually starts with that Floyd irregular time-signature of coins and the cash register, is replaced here with someone smoking something dubious and then coughing in time. This album is really worth listening to if you want to be entertained with laughs as much as brilliant playing and sound engineering. This Hybrid power amplifier gave a very controlled and masterly performance.
QUIBBLES
It is never easy to find issues with PrimaLuna products. They always do what you expect them to do, so unsurprisingly, it is hard to criticise the EVO300 Hybrid power, apart from just a sense that there isn’t just quite as much excitement or dynamism as I would perhaps like.
CONCLUSION
PrimaLuna can never be accused of producing middle-of-the-road products. They always reek of style, fluidity, conviction and musicality. This £6,498 power amplifier doesn’t disappoint. Everything sounds accurate and musical. The bass is particularly good, so it will work well on speakers that have plenty of lower grunt, and the detail in terms of space and positioning is superb.
AT A GLANCE
Build Quality:
Immaculate inside and out
Sound Quality:
Excellent bass control and great soundstage
Value For Money:
£6,498 is excellent value for such a good thoroughbred
We Loved:
Imaging and clarity; the soundstage is excellent
Rhythmic drive and agility
Impactful bass performance
Excellent in all types of music
Beautiful looks
We Didn’t Love So Much:
Just lacks a little excitement.
Elevator Pitch Review: When you agree to receive a PrimaLuna to review, you know you won’t be disappointed. With great looks, components, and intense musicality, you know you are going to be in for long listens and late bedtimes. The EVO300 Hybrid Power Amplifier takes its Integrated to a new level, and if you want even more power and have the £6,498, then you can always switch it to mono and buy another one. With the 6 12AU7 tubes lined up to attention at the front, you won’t have time to lie back and fall asleep.
Price: £6,498
Janine Elliot
Bluesound Node (Streamer); Pre-Audio GL-1102N/Ortofon Kontrapunkt b (phono-stage); Krell KPS20i (CD); Estelon Aura and Graham Audio LS5/9 (loudspeakers); Tellurium Q and Townshend cables, Coppice Audio stand and Townshend rack.
SPECIFICATION
Specifications Model EVO 300 Hybrid Poweramplifier Power 8 Ohm > 100 Watts per stereo channel (typical 115 Watts)
> 220 Watts per mono channel (typical 245 Watts)Power 4 Ohm > 150 Watts per stereo channel (typical 160 Watts)
> 300 Watts per mono channel (typical 303 Watts) Frequency Response 10 Hz – 80 kHz +/- 3 dB THD with AABB < 0.2% 100W @ 8 Ohm (stereo)
< 0.2% 245W @ 8 Ohm (mono)S/N Ratio -105dB (A-Weighted) Input Impedance 32 kOhm (RCA), 49 kOhm (XLR) for stereo
18 kOhm (RCA), 50 kOhm (XLR) for monoInput Sensitivity 805 mV (RCA), 901mV (XLR) for stereo
1330 mV (RCA), 1340 mV (XLR) for monoTotal Gain 30 dB (H), 24 dB (L) Power Consumption 104 Watts (no signal in); 645W@4R Weight Net weight: 68.3 lbs / 31 kg
Shipping Weight: 77.2 lbs / 35 kgDimensions 15.9″ x 15.2″ x 8.1″ / 405 x 385 x 205 mm (L x W x H) Shipping dimensions 22.7″ x 18.4″ x 12.4″ / 578 x 468 x 316 mm (L x W x H) Inputs 1 pairs Stereo RCA, 1 pair Stereo XLR Outputs Stereo & Mono output & Trigger output Tube Complement 6 x 12AU7 Damping Coefficient 300 (1 kHz) for stereo
150 (1 kHz) for mono
