PATHOS
LOGOS mk 1
VALVE HYBRID
INTEGRATED LINE AMPLIFIER


Pathos Logos Specifications
Power Output: 110W RMS @8 Ohms, 220W RMS @4 Ohms
Frequency Response: 2Hz-200KHz +-0,5dB
THD: <0.05% at 1 WRMS
S/N ratio:>90dB
Input Impedance: 100KOhm
Inputs: 2 balanced (XLR), 5 single-ended RCA;
Outputs: 1 Pair 5-Way Binding post/channel, 2 pair Fixed RCA tape outputs
One Variable Level Preamp Out
Dimensions: 9(w) x 5.75(h) x 19 (d) in.
Weight: 60 lb
 stereo times said
 The Logos threw a very convincing soundstage on this number, with Freelon and her two accompanists hanging in the recording space (especially prominent in using the Silverline monitors as imaging champs) with each player in precise and natural positions. Soundstaging on large scale orchestral works, however, was only adequate with the Logos, not extraordinary. For example, on the expansive and melodious final movement of Dvorak’s Symphony No. 6 played by the London Symphony Orchestra [LSO Live SACD LSO0526], this wonderful live recording felt slightly less grand in scale and depth with the Logos driving either the Harbeths or the Ascendo loudspeakers. The Logos still brought out its best traits of great detail in string textures and individual woodwinds, but those great brass flourishes were a bit compressed in the soundstage, with layering not as deep or expansive as heard with other reference integrated amps, such as the solid state Mark Levinson 383. There was a more compressed, slightly forward presentation, making it difficult to hear to the back of the hall on this recording as I had clearly discerned with the ML 383, for example. Still, the Logos’ special character for providing amazingly natural and delicate treble and midrange textures made for great individual musical exploration. Violin tone was superb, with that special fragility and textured detail floating high above the Bohemia dance melodies that Dvorak so beautifully interweaves in this composition.

Let’s sum up with some Rock & Roll, shall we? How about from the band which Bill Graham once proclaimed to be “The Greatest Band In The Land” - the Grateful Dead. Speaking of treble detail, beautiful texture and delicate filigreed notes, I would opinion that Jerry Garcia’s solos on Eyes of the World, played at Englishtown, New Jersey 9/3/77 (Dick’s Picks, Vol 15, GDCD 4035) is a classic lesson in this regard. The man could play, and his fragile melodies and spurts of sweet high end energy on guitar will never be duplicated. I loved this version of “Eyes” through the Logos: here were the sweet, delicate high plucks of Garcia, soaring to a crescendo that the Logos portrayed with a fluidity and naturalness rarely heard by this listener. Down below, we have the creative bass foundation of Phil Lesh with dynamic punch through the Logos. On the side, we have the crisp strums of Bob Weir’s rhythm guitar, painting a nice foil to Garcia’s explorations. The Logos gets it right and brings a special treble delicacy to the table of this musical feast. It is the most beautiful integrated I have laid eyes on and truly draws the listener into its orb, with its cosmetic beauty and its mid to upper delicacy and naturalness second to none. If you are looking for an integrated in this price range, I highly recommend an audition of this Italian Beauty in your own system to hear its delicate and versatile magic for yourself.