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Jim Milton
The output tubes are the EL34, which are popular within the valve community, and there’s a mode switch that lets you choose either tetrode or pentode operation. The input tubes are 12AX7/ECC83, and each unit is shipped with a spare pair of 6N2P input tubes.
The Fezz Audio SLP has three RCA inputs and utilizes Toroidy toroidal power and output transformers for low noise and punchy dynamic abilities. Its 35 watts per channel output will be enough for almost any passive speaker on the market. That wattage is pretty hefty for a tube-integrated amplifier. In my review, the Fezz ESLP powered my Sonus faber Sonetto Vs and the new GoldenEar T66s with ease.
Fezz Audio Evo Silver Luna Prestige Integrated Amplifier Highlights
- 35 watts per channel into 8 ohms
- 3 RCA analog inputs
- THD is <0.35%
- Four EL34 (power output)
- Two ECC83/6N2P (pre-amp and power drivers)
- Solid, heavy construction
Fezz Audio HQ is based in Poland and is the sister company of transformer manufacturer Toroidy. They manufacture toroidal transformers which are custom-made for Fezz amplifiers. Most other tube amp companies source their transformers from outside vendors and having these made in-house for Fezz gives them a custom fit for their products. The Evo Silver Luna Prestige is one of their most universal amplifiers and is built with an additional set of 6N2P EW Voskhod control tubes and a switch to change between pentode and tetrode mode. With two toggle switches, the user can get up to four separate tone colors, depending on your sonic preferences.
Upon unboxing the Fezz Audio ESLP, I was a bit taken aback by the weight of the amp. It was not ungainly heavy, but those transformers were beasts. The unit came with a remote, power cord, two spare 6N2P tubes, and four spare fuses. Also included was a top-mounted cage with a glass front should you wish to keep those hot tubes out of harm’s way. The cage didn’t look bad, but I liked the Fezz naked.
Type:
Stereo vacuum tube integrated amplifier
Tubes:
EL34 x 4 (Power output), ECC83/6n2p x 2 (Pre-amp and power drivers)
Maximum output power:
2 x 35 watts
Circuit type:
Push-pull class AB1
Output impedance:
4 and 8 ohms.
Inputs:
3 x RCA
THD:
<0.35%
Frequency response:
15Hz-77kHz (-3dB)
Power consumption:
170 watts
Weight:
33.7 pounds
Dimensions:
H 14.8” x W 15.7” x D 7.1”
MSRP:
$3,495
SECRETS Tags:
fezz audio, silver luna prestige, tube amplifier, amplifier, integrated amplifier
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On the front are volume and input selector knobs. Both exhibited a nice tactile feel with the volume knob having a nice smooth glide to it. When powered up, the Fezz logo on the front turns a soft white. The power switch is on the back left upper corner and was easy to reach.
On the back side, there are three solid analog RCA inputs and six sets of speaker-outs. You can select a 4-ohm or 8-ohm speaker load. My GoldenEar T66s sounded great using the 8-ohm posts. The boxed tubes were numbered to their corresponding slots on the top of the amp. Cloth gloves are included and should be used. Mounting the tubes with your bare hands can leave an oily residue that could potentially cause the tubes to heat up in a non-uniform manner and crack the glass. The unit has self-bias capabilities because there are no adjustments to be made once the tubes have been installed. If you are worried about making manual adjustments, fear not, it is taken care of already. The EL34 tubes are made in Russia, Slovakia, and China and are currently easy to find online.
The remote was the only disappointment I had with the Evo Silver Luna Prestige. It has an unconventional shape, does not power the unit on or off, and does not work as an input selector. Press up on the circle raises the volume and pressing down lowers the volume. Even then, I found the volume to move up too quickly each way and it was not granular enough for my tastes. Since I had to get up to turn it on, setting the volume by hand was easy enough so that I rarely ever had to use the remote anyway.
During my first 50 hours with the Fezz, I kept the volume low with mostly vocal and acoustical instruments till I felt it had broken in safely. Afterward, it was classical orchestra and rock and roll at moderate to loud listening levels. I was struck by the warm midrange and remarkably solid bass.
Some tube amps I have listened to in the past always seemed to be vague in their bass output. This is not the case with the Fezz. Tight and dynamic bass really sets this unit apart from the crowd. I missed a few weeks of seeing if it could drive the Estelon Aura Speakers (my current review project) but was not disappointed by how well it played with my GoldenEar T66s. After some trial and error, I picked pentode mode (anode, cathode, and three grids) with the 12AX7 tubes as I felt the bass was a bit tighter and fuller. Your mileage may vary, but the ability to select according to your taste was a nice plus. I also would be remiss if I didn’t mention that the tubes look so aesthetically pleasing when you dim the room lights!
Once I unpacked the unit, I had it set up and running in under 15 minutes. I ran a PS Audio DSD Perfectwave DAC into input 1 and an Oppo UDP-203 optical disc player into input 2. There are upgrade modules available from Fezz to make the amp Bluetooth capable or to add sub outputs (not included on my review sample), but I used my Perfectwave as my streamer and most of my listening was done via Qobuz.
I will not go into an essay on how tubes affect the sound quality because our Editor-Emeritus, John Johnson, gave a comprehensive treatise on it when he recently reviewed the Octave Audio V 110 SE Integrated Amplifier.
The irony for me is that I just recently purchased a Benchmark AHB2 amplifier which outputs virtually no distortion even at full rated power (0.0003%). When using a tube amp, having some euphonic secondary harmonic distortion is part of why one chooses a tube amp. I enjoy the sound of each amp, but I want to use a low-distortion amp for critical listening to review various products. However, strictly for listening pleasure, the Fezz was delightful. It generated music that was lush and dynamic. It made everything from Jazz, Classical, and Rock-n-Roll sound organic and “fleshed out”. If I ever get back into a more simplified two-channel lifestyle, this amp would be high on my list.
Simon & Garfunkel, “Simon & Garfunkel – The Complete Albums Collection (Sony)”
Simon and Garfunkel – The Complete Albums Collection (Sony): I started off with a week’s worth of “breaking in” the Fezz with mostly vocal and acoustic music and I had plenty of material from arguably the great singer, writer duo of the 60-70’s. The guitar work had a nice warm natural tone as did their vocals. Their Live From New York album (1967) was able to capture the acoustic signature of the venue within a large hall that reveals itself when the crowd enthusiastically applauds at the end of each song set. The delicate purity of the guitar and vocals are a joy to behold. The Fezz sound was quite enjoyable with great detail and dynamics. The treble may have been slightly rolled off, but the mid-range was superlative.
Alf Linder, Marianne Mellnas, Oscar’s Motet Choir, Torsten Nilsson, “Cantate Domino (Proprius)”
Cantate Domino (Proprius): Though technically a Christmas album, this highly sought-after audiophile recording is famous for capturing the sense of space inside the Oscarskyrkan in Stockholm. Not only are the choirs immaculately rendered, but the brass players and pipe organ are thrilling to hear. My favorite piece is Handel’s “See the Conqu’ring Hero Comes”. The power and clarity of the a cappella choir voices are nothing short of stunning and the Silver Luna Prestige provided a wide soundstage and captured the beauty of the recording. The brass had a burnished sound to their playing and the organ was more than adequate to test the amplifier’s ability to hit super deep notes. I have no doubt the Toroidy parts played a major part in that performance!
Bernard Herrmann, National Philharmonic Orchestra, “The Fantasy Film World of Bernard Herrmann (London/Mobile Fidelity Ultra Disc)”
The Fantasy Film World of Bernard Herrmann (London/Mobile Fidelity Ultra Disc): I love this music because it brings back so many memories as a kid who watched too much sci-fi TV. The Journey to the Center of the Earth suite has everything from harp glissandos to crashing pipe organ chords. He even calls for a long-extinct instrument called a Serpent for one section. The Seventh Voyage of Sinbad has crashing cymbals and brass fanfares. The Day the Earth Stood Still uses a Theremin, dueling pianos, and synthesized bass. All these sonic details were well presented by the Fezz. I was impressed that anything I played through it sounded clean and detailed. Some tube amps sound great for one genre or another, but not always for everything. The Fezz works with all types of music from both ends of the spectrum. In all instances, it was a warm, detailed, yet dynamic-sounding amplifier. It had plenty of power to play full orchestral works with aplomb. It never ran out of steam, even when playing full orchestral works.
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The Fezz Audio Evo Silver Luna Prestige Tube Integrated Amplifier delivers a classic tube sound with crisp precision and quality for a reasonable price.
- Rich, organic tube sound at a fair price
- Plenty of output oomph
- Beautiful looking tubes
- Solid build quality
- Better-designed remote
By the end of my time with the Fezz Audio Evo Silver Luna Prestige Integrated Amplifier, I was impressed with its musicality and power. If I were a two-channel enthusiast looking for an elegant, powerful, beautiful-looking cornerstone to build upon, this would be near the top of my wish list.
If you are considering a stereo setup, the Fezz Audio Evo Silver Luna Prestige would make a great foundation. It looks as good as it sounds and has enough output to drive any reasonably efficient speakers. It lacks a headphone jack, and phono output and there is no sub out but there are ways around those things. If music is the food of the gods, Fezz will have you saying, “More, please!”
Recommended!