Cary Audio CAD-300SE LX20 rare chrome monoblocks, high output SET

STEREOPHILE REVIEW BY MARTIN COLLOMS Martin Colloms review of the CAD 300 SE LX 20 from Stereophile:Many tube aficionados hold that amplifiers built with the venerable 300B tube hold the aces when it comes to sonic purity and beauty of harmonic line. From the first note, the amplifier had that uncanny, even spine-tingling ability to convey the innate "startle factor" of really clean transients—the very reason for their presence in music. The 300SE LX20 was shocking in its ability to deliver impact, to surprise and startle, and for the revelation that so much of the drama, excitement, and impact of reproduced music is flattened and compressed by so many other power amplifiers. Within its compass, reasonably and sensibly matched to a fine loudspeaker, the 300SE LX20 proved a veritable cracker for pace, rhythm, and timing—never mind lively dynamics.So striking was the Cary's transient and rhythmic performance that it dug deep into all kinds of recorded music, and to such a degree that many familiar classical recordings that I commonly use were now heard with hitherto unsuspected degrees of rhythmic drive. Stereo imaging was exemplary. Stage width was very good, with no false noises on- or offstage, no "splashing" of image information to defocus the effect. Over the primary stage, focus was excellent—strikingly better than the norm, and the more so for its most obvious coherence. By this I mean the proper and natural association of diverse higher-frequency harmonics with their lower-range fundamental components. High-treble "edges" were not, in this case, disassociated from the dynamic "attack" components of midrange sounds. Indeed, as a result, treble focus was exceptionally good. To this highly focused picture I can add equally exceptional depth. Achieved without emphasis, the outstanding level of transparency helped to deliver soundstage resolution that reached way back, clearly illuminating the far boundaries of the recorded acoustic, convincingly delineating the placements of performers within this large acoustic, and placing natural "air" around the performers without false brightness—indeed, it sounded more like an aura or "glow" than the oft-encountered pseudo-"glare." While the LX20's midrange has convincing percussive qualities, I also found that the bass possessed a convincing kicking "bounce," and was articulate and very tuneful—indeed, as if the high resolution so apparent in the midrange was continued directly down into the bass. Assuming that issues of sufficient power and load matching are under fair control, this amplifier stands with the world's finest I cannot forget its natural harmonic line, the liquid textures, the sense of air and space, the transparency, and the fine perspectives. Likewise, I must include the drama, rhythm, dynamic expression, and strong listener involvement, achieved with a very low fatigue index. These monoblocks are the rare chrome version. Uses top-of-the-line Czech 300BX tubes. Higher output version compared to other Cary CAD 300SE models. Many tube aficionados hold that amplifiers built with the venerable 300B tube hold the aces when it comes to sonic purity and beauty of harmonic line.
From the first note, the amplifier had that uncanny, even spine-tingling ability to convey the innate "startle factor" of really clean transients—the very reason for their presence in music. The 300SE LX20 was shocking in its ability to deliver impact, to surprise and startle, and for the revelation that so much of the drama, excitement, and impact of reproduced music is flattened and compressed by so many other power amplifiers. Within its compass, reasonably and sensibly matched to a fine loudspeaker, the 300SE LX20 proved a veritable cracker for pace, rhythm, and timing—never mind lively dynamics.
So striking was the Cary's transient and rhythmic performance that it dug deep into all kinds of recorded music, and to such a degree that many familiar classical recordings that I commonly use were now heard with hitherto unsuspected degrees of rhythmic drive.

Stereo imaging was exemplary. Stage width was very good, with no false noises on- or offstage, no "splashing" of image information to defocus the effect. Over the primary stage, focus was excellent—strikingly better than the norm, and the more so for its most obvious coherence. By this I mean the proper and natural association of diverse higher-frequency harmonics with their lower-range fundamental components. High-treble "edges" were not, in this case, disassociated from the dynamic "attack" components of midrange sounds. Indeed, as a result, treble focus was exceptionally good. To this highly focused picture I can add equally exceptional depth. Achieved without emphasis, the outstanding level of transparency helped to deliver soundstage resolution that reached way back, clearly illuminating the far boundaries of the recorded acoustic, convincingly delineating the placements of performers within this large acoustic, and placing natural "air" around the performers without false brightness—indeed, it sounded more like an aura or "glow" than the oft-encountered pseudo-"glare." While the LX20's midrange has convincing percussive qualities, I also found that the bass possessed a convincing kicking "bounce," and was articulate and very tuneful—indeed, as if the high resolution so apparent in the midrange was continued directly down into the bass.
Assuming that issues of sufficient power and load matching are under fair control, this amplifier stands with the world's finest
I cannot forget its natural harmonic line, the liquid textures, the sense of air and space, the transparency, and the fine perspectives. Likewise, I must include the drama, rhythm, dynamic expression, and strong listener involvement, achieved with a very low fatigue index.
This is a rare chrome model which is exemplary in its condition. The LX20 is the more powerful version of the CAD 300SE series and uses the top of the line CZECH 300BXC tube.