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CODA products are the hidden gems of high-end audiophile amplification without the outrageous pricing of the recognized brands, ONE OF THE BEST KEPT SECRETS IN HIFI!

The 16 competes with the very best 100W per channel PURE Class A amplifiers from Accuphase, Gryphon, Pass Labs and others at a fraction of the price, a STEAL!

CODA


The 16.0 is Coda’s flagship Class-A stereo amplifier that is perfect for low-impedance speaker systems where higher current capability yields superior performance.

The Coda 16 in SILVER WITH AMBER BACKLIT METERS is AMONG THE BEST LOOKING AMPLIFIERS with SCULPTED INDUSTRIAL DESIGN IMHO!

Its dimensions are 17.5”W, 19”D, and 7.7”H. It weighs 110 pounds. The chassis, which is composed of graphite anodized aluminum and a stainless-steel finish, was fronted by a ½” thick front plate that had an engraved CODA logo in the center. Just below the logo, there are two sets of LEDs/buttons that allowed you to choose between RCA/XLR inputs and to put the amplifier into standby bias. Around back, you find the IEC/main, on/off switch, four pairs of high-quality speaker wire terminals, and a pair of handles. I found the appearance of the 16.0 amplifier to be elegant in an understated fashion. If one wants more “bling,” a couple of cool-looking meters can be added as an upcharge. Internally, you will find first-rate craftsmanship, excellent components such as double-sided gold-plated circuit boards and a very high-quality 3.0kVA toroidal power transformer. The 16.0 amplifier drops 150-watts Class A/B into 8 Ohms and 300 watts Class A/B into 4 Ohms. The first 100 watts into either 8 or 4 Ohms is pure Class-A. 

 RAVE REVIEWS

When I put on jazz trumpeter Jeremy Pelt’s “The Art of Intimacy, Vol. 1,” it was noticeable that the total noise floor of my system was now at an astoundingly lower level than before. The No.8 had been the quietest amplifier I had used compared to other excellent amps in my collection. However, the 16.0 became the new “champ” in this regard. Often, listeners use language for describing a vanishingly-low noise floor using phrases like, “a darker background or, I heard things on familiar music I never had heard before.” My way of expressing what the 16.0 amplifier was rendering at the highest level, was that the smallest micro-details just would float out of the background in an easier to hear fashion and the overall mosaic of the music blended more naturally. 

One of my favorite jazz albums is Branford Marsalis’ “Trio Jeepy,” because of the beauty of the music, the powerful individual style that Marsalis plays with on his tenor saxophone, and the sound quality of the colors/timbres of the instruments, overall dynamics/drive, and the acoustics of the studio recording venue are all at the highest level. What shined through with this recording was the 16.0 amplifier’s transient speed and quickness. The 16.0 amplifier nailed every stop/start with precision and an overall effortlessness that made all the pop and pace of the music clearly present. It was if the 16.0 amplifier had the speed of a 211 SET amplifier that could drop 100-watts of Class-A power!

The album by the talented, but underrated keyboardist Larry Golding, “Whatever It Takes” is a great jazz/funk selection of extremely dynamic B3 Hammond Organ trio music with very extended and powerful bass pedal fundamentals. I use this album to see if an amplifier can produce these low fundamental frequencies with control and accuracy. If you are old enough to remember the JBL speaker commercial ad where the guy’s pants are fluttering because of the sound pressure wave, you have a visual representation not only of the overall macro-dynamics but the bottom-end reproduction of this amplifier. With no effort, the 16.0 amplifier pressurized my huge acoustic space with a visceral response in my gut. I would attribute this ability to create such accurate/precise sub-sonics and grunt to the 16.0 amplifier’s immense power supply and its ability to drop up to 100 Amperes of current per channel on a peak transient.

One of my favorite pieces of classical music is “Beethoven’s Symphony No. 6 in F Major, Op. 68 (Pastoral).” My finest recording of this magnificent piece of music is on the legendary Mercury Living Presence label. This recording has Antal Dorati conducting the London Symphony Orchestra in England in 1962. If an amplifier is up to the task, along with the rest of the system, two sonic qualities can be experienced. First, you will be transported to the large acoustic space of Watford Town Hall with the illusion of a gigantic realistically layered orchestra in front of you that transcends the boundaries of your listening space. Secondly, the timbre and color of the string section is beautifully captured on this recording. Therefore, the delicacy and sweetness of these string instruments should be easily heard and connected to in an emotional fashion. The 16.0 amplifier brought both these wonderful sonic virtues to a superlative level I had never experienced before in the many years I have listened to this selection of music.

This amplifier offers boundless macro-dynamics/powerful control of low-end frequencies, gorgeous color/tonality, an overall grainless silky smooth presentation, and the ability to render lifelike spatial dimensions rarely found in solid-state amplifiers. Because of its ability to drop immense current (100 amperes) it will easily drive virtually any speaker on the market today yet retain a beautiful musicality that many “muscle” amplifiers on the market totally miss out on. When you figure in the 16.0 amplifier’s build quality, the quality of its internal components, that’s completely hand-built here in the US, and not inexpensively, but very competitively priced compared to other US-based high-end companies, the 16.0 amplifier is a great addition to the world of audiophile-level equipment. With all I shared in this review I don’t think it’s a surprise I’m figuring out a way to finance my purchase of the 16.0 amplifier because I don’t want it to leave my system. 

I purchased it after trying it in house on my Magnepan 20.7, comparing side by side to my Audio Research Ref250 monoblocks fed by an Audio Research Ref3.
I was amazed as the difference was so striking , starting from the firsts seconds playing music, much finesse, much power and grip than my tubed audio research , going deeper in the bass and sweeter in the highs without losing any details or air or space,……also more 3d rendering both in depth and width. Honestly I didn’t expect that at all and was so surprised and delighted during the test that I did buy it and sold my Audio Research.
It says a lot about it !

The latest designs with the new FETs are amazing products. The noise floor is amazingly low resulting in detail, depth, imagining and soundstage that have to be heard to believe. The tonal qualities of the 0.7x rival tube designs that I’ve owned or heard over the years. The Automobiles and Roadhouses cut is just amazing. It cause goosebumps as big as Horseturds!

This combination of preamp and amplifiers (I own two CODA 16 amplifiers and the 0.7x) combined with my Legacy Audio V speakers and my Lampizator Pacific DAC brings the sound quality of my system to heights I’ve never heard anywhere. I always loved my Pacific and had no idea I hadn’t really heard what it could do. Ditto for the Vs. I think that Lukasz and Bill might be surprised at what their respective designs can do.

One thing the CODA preamp does that I’ve not heard from other designs capable of occurs when I use the volume control to turn the system up. Usually a preamp plays the system louder (Duh) but the 0.7x volume control causes the instrument(s) and voice(s) to swell individually without one being reminded that the volume has increased. Listening at low volumes is a treat as one doesn‘t notice a loss of detail or impact.

One of the first is a Three Blind Mice recording called Misty and the cut, I believe was Angel Eyes. The pianist plays the piano with an attack that I as a pianist could never begin to do without bruised and mangled fingers. The pianist also either taps along with the music or uses the sustain pedal with gusto. With my previous preamp one knew you were hearing a powerful played piano by a dynamic pianist. But when played back with the 0.7x and the 16s it sounded more like a piano than I’ve ever heard before. And the work with the sustain pedal through the 16s and 0.7x is a revelation. Each pump with the pedal resonates and swells front to back of my listening room and from side to side. And the attack at the keys, oh man one can hear the fingers as they strike the keys. Its an amazing recording and if you haven’t heard it you should seek it out.

Another recording I’ve been amazed with is Suo Gon, a track from Steven Spielberg‘s soundtrack Empire of the Sun. This is a recording of a boy’s choir. One can hear Jim, the soloist, sing out from the other boys during his solo. Jim never gets lost in the crowd. One gets a sense of height, depth, and width of the stage that’s uncanny. I’ve listened to this recording many times in many systems and in many homes and its never come to life like this.

Now they’ve heard the system with the Coda 16s and the 0.7x and they believe the difference is profound. I just shake my head in disbelief and have to be pried from my chair.

The 0.7x is a marvelous preamp. My respect for it grows daily. It always sounds true to life. But also retains that sound that tube users love. And it still is so accurate. It’s easy to change small things like footers, toppers, ROON settings, etc and hear the difference. In the winter I open one of my basement windows to let the heat out and keep the room nice and chilly. Until the addition of the CODA 0.7x I couldn’t tell if that window being open or closed made any difference. But now one can notice instantly when that window is open or closed. I could not do this with several high end preamps such as the ARC Ref 3, Levinson 32, the CODA CP, Gryphon Sonata, or the Dude.

CODA, particularly the latest products like the #16 amps and 07 FET preamp are among those products that don't receive anywhere near the amount of mention they deserve. I've heard the 15.5s and the new 16 amps; they are stunning and seem to have no practical limit on what they can drive with well defined and imaged very musical power. The 07 FET preamp is stunning at its price, or multiples of its price. It definitely needs burn-in, 250 hours on up it really opens up and fleshes out the details.

When I evaluate a power amplifier I am typically looking at three things:

1) objectively, does it have enough current to drive the intended set of speakers to their best

2) somewhat objectively, does it let everything through, from each end of the spectrum, and especially microdetails in the mids and upper registers (tone and air). Some call this transparency.

3) quite subjectively, does it have synergy with the rest of the system upstream, and as stated above, does it present itself fully to the speakers. This aspect is the most difficult to find, as it can be quite telling. A robust and transparent amp can expose things upstream, or just not fit with what is upstrream.

In all cases, these 3 things are important to discover in one's own system, in one's own room. Amplifier eval is not done well when relying on showroom sound or even forum feedback (usually). The showroom is good for confirming fit and finish, and forum feedback is important to help whittle down the prospect list to a group of somewhat qualified candidates.

I've spent the last 3 weeks evaluating the wonderful Coda No. 16 stereo amplifier. A dear friend and professional reviewer turned me on to the Coda, so I bought one sight unseen (my length of eval was not going to work if I somehow found a demo). And I'll cut to the chase; this is the most transparent power amplifier I've ever heard, and one that can drive my Aerial 20Ts to wondrous depths.
So...if you already have a wonderfully colorful and tonally rich system sound, and need more transparency and balls then the Coda No. 16 stereo amp should be on the top of your list, I've not heard a better amp. Me, I have accidentally stumbled across a synergy that I'd never thought possible, and I'm sticking with it.

with CODA one gets his money’s worth from a product that compared to many other brands is inexpensive.
They also have away of engineering Class A amplification that does not heat up the room to sauna temperatures Even when playing all day they still stay a bit warm to the touch which is amazing since the 1st 100 watts is class A biased.

The Coda 16.0 is certainly the best amp I’ve owned/heard. My second favorite is the Plinius SA-103 I spent some good time with at a local dealer years ago. That thing was a room heater though, quite literally. The Coda is not. The Coda is also more neutral than the Plinius, which had a warmer sound. Could be a MOSFET vs. BJT thing.

When considering amplifiers that are Class A biased one usually gets an amplifier that doubles as a space heater. Not so with the CODA 8 or 16. While warm to the touch one could not fry an egg on top like most Class A designs I’ve experienced.
Definitely something to consider during the summer during the summer months.
While not flashy audio jewelry, the CODA build quality is second to none in my experience both inside and outside.

BOTH NEW AND DEMO UNITS ARE AVAILABLE!

PURCHASE WITH CONFIDENCE FROM A LONG TERM AUDIOGONER / DISTRIBUTOR / DEALER WITH 25+ YEARS OF PERFECT FEEDBACK!

HighResHiFi LLC is the EXCLUSIVE US DISTRIBUTOR OF FINAL AUDIO ELECTROSTATIC SPEAKERS and an AUTHORIZED ONLINE DEALER PARTNER of CODA TECHNOLOGIES, offering Coda amplifiers and preamplifiers exclusively paired with FINALs,

Coda products are PERFORMANCE POWERHOUSES that offer reference level amplification technologies at sensible real-world pricing, perfectly aligned with FINAL ELECTROSTATICS product strategy! 

They deliver exceptional performance and sound quality that is transparent, musical and dynamic, a revelation, surpassing the capabilities of many preamplifier and amplifier systems. 

Coda products are highly regarded by the audiophile community and reviewers alike,

Refer to the rave reviews below;

Coda Technologies 16.0 Amplifier by Terry London

Coda no 16 amplifier | What's Best Audio and Video Forum. The Best High End Audio Forum on the planet!

Coda technologies NO 8 and no 16 | Audio Science Review (ASR) Forum

Audiogon Discussion Forum - SIMPLY AMAZING: Coda Technologies 07x Preamplifier