The following is an original authorized review from April 15, 1999.

Odyssey Design Group Stratos 150 Stereo Amplifier
Designed By Symphonic Line

by Clement Perry

April 1999

Odyssey Design Group, U.S. distributor of Symphonic line Products, recently started production of an all-new line of affordable products. The often abused word "affordable" may be misleading because it seems to always imply compromises. However, Odyssey's management has stated to me in no uncertain terms: "The mission of Odyssey Design Group, Inc., is to provide products at a level of quality, performance, and price that's identified as one the best values in the high-end audio market."

As a direct descendant of the mighty $36,000 Kraft 400 Mono's, I'm under the impression this amp has a lot of blue blood flowing through it's $1,295 silicone heart. More importantly, after only a brief stint spent listening, I discovered it possessed the "this is some amp" look and feel usually reserved for the bigger ticket items. My first exposure was at the home of SCE Audio's designer (Harmonic Recovery System), John Solicito. I was immediately impressed with this amps demeanor. After more listening in the Stratos/HRS/Custom House room at HiFi 98 in L.A., I requested a review for StereoTimes. Finally, in full production (delayed do to upgrades), I received the latest review sample and give you the results of my last six months of evaluation.

The Odyssey Stratos 150 amplifier as stated, is derived from the German amplifier lineage of Symphonic Line. Compared directly to the $5,800 Clayton M-70 mono’s, as well as the $16,000 Lamm M1.1 mono’s. I’ve concluded, the Stratos is a serious amplifier. Definitely not in the same league as the Lamm M11.1 amplifiers, but it comes damn close to matching the Clayton, (falling behind slightly to the Clayton’s wonderful top end and superior inner detail). Probable budget shoppers as well as big money spenders could very well regard the Stratos as the reference budget amplifier at it’s price. Here's why.

The look and styling of the Stratos is very similar to many high priced amps. The circuitry is designed by a German company, Symphonic Line. Its finely brushed aluminum faceplate and chassis is, to this reviewer, quite attractive, as is the backlit laser engraved logo. The heat sinks are massive, resembling its more expensive relative, the Kraft 250 mono's. Turning the Stratos around for inspection revealed more expensive features: equipped to handle both single ended as well as XLR balanced inputs, its big, sturdy gold-plated connectors are standard, a big plus for an amp at its asking price.

The Stratos is no featherweight either, weighing in at a hefty 52lbs. The internal build integrity of the Stratos is superb, employing Wima caps, metal film resistors and ALPS Potentiometers while all internal wiring is Custom House's Benchmark Reference cable.

All Odyssey Design Group products are manufactured by Goguen Industries, a world class electronics manufacturing plant that operates under ISO90001 compliance. I was informed this level of operation is the most comprehensive standard of quality assurance a company can achieve. My review sample came in red! A burnished cherry red to boot. Odyssey states a simple strategy, "we offer multiple combinations in colors because we feel they have a better WAF appeal. And we have expanded your choices further than just standard silver and black. What colors you ask? How are these flavors for the ladies with taste; Simply Red, Blue Velvet, and Green River? How can one argue that? Well, it certainly brought up mucho debate with the vote split down the middle. Ten hated it while another ten gave it "two snaps and a circle!" Overall, I thought of it as innovative, and a step in the right (albeit WAF appeal) direction. An object that's sure gonna bring up tête-à-tête. Shall we now discuss its sonic performance?

Listening to this amp was a treat. The Stratos has a neutral sound quality I would put oh so slightly on the dark side of neutral. A "cool," sounding amplifier with just the right amount of detail to give it life. This balance was impressive right from the git-go. My preliminary notes read: very detailed, yet not too intrusive or forward sounding. Its' sense of focus and image stability was very good, lending greater insight to soundstage layering and depth. The best way to describe the Stratos' overall sonic makeup I would have to say, in a word, "relaxed." It handles, almost nonchalantly, dynamic extremes, both micro and macro with a sense of ease that really makes this amp superb.

Especially important is the heart and soul reproduction of the midrange. To me, any amplifier's merit should be immediately apparent by the way it handles the human voice. The Kathleen Battle/Wynton Marsalis, CD entitled Barock Duett, (Sony SK 46672) displayed especially good tonal balance between both trumpet and soprano voice. The Stratos' ability to keep Kathleen's voice distinct, clear and natural while grasping Wynton's communicative spirit, simultaneously, proved very impressive. It didn't stop there. Sade's Love Deluxe, (Epic EK53178) as well as Billie Holidays' Lady In Satin, (Columbia CK40247) showed the Stratos neutrality through a variety of harmonic illustrations. Never did the Stratos lose touch with the recording venue in Holiday's hauntingly vivid "I'm A Fool To Want You."

Even when playing loud with peaks rising up at around 110dB, the Stratos 150 weaved through complex chords, dynamic passages, and demanding bass tracks with ample finesse. In addition, for any amplifier to quiet itself in silent passages as swiftly as this amp did is as important as how well it handles the rough and tumble. Still not as convincingly as the Lamm1.1’s, (these amps simply seem to swell up with power, strength and dynamics), but providing run for the money against the Clayton M-70’s. Furthermore, not everything could be considered "just right" when concentrating on the upper registers, namely the upper treble region.

From about 3kHz to 10kHz, the Stratos was not as sweet or forgiving as the hybrid Lamms (employing a single 6922). This amp simply excels in sweetness, and I don't mean in the euphoric sense of the word. And hell, it just may simply be the nature of the Stratos' all silicone heart that I was even able to detect, on certain CD's, an ever-so-slight silvery treble in the first place. Nothing to scream bloody murder about but nonetheless, still noticeable. Of course, I hear virtually this same effect in the treble region on every solid state amp I've auditioned. My solid state references are Balanced Audio VK1000 monos, along with the Lamm1.1’s and the latest Spectral amp, heard at length at Harry Pearson's Sea Cliff pad, for me, suffer the least in this area. Note: I’ve listened to Mike Silvertons 33h’s (reviewed in this issue) and Arnie Balgavis’ Krell 250c mono’s, both reference state of the art rigs. Keeping these systems in mind along with the price of the Statos, there isn’t much to indict the Stratos of.

Listening to the Reference Recording Dallas Wind Symphony's Fiesta (RR-38CD), I found where the Strato's strengths were brought to light. A few seconds into the percussive "Prelude and Aztec Dance," a thunderous low frequency boom from a huge tympani drum literally shook my trousers. I could easily hear the mallet striking the skin, right before sending the sonic shock wave through my body. Here, in the sonic depths of bass, is where transistors have always seemed to have the edge against their tube counterparts. (My single ended 50-watt KR VT800 just don’t provide this sense of power and control in the bass. They do however sound more real rendering plucked bass notes) Still, I felt an incredible sense of control in the lower registers, a sheer power that I miss with my 50 watt tube amps.. The Stratos served as a rude awakening here.

Of course, the "get down boogie oogie oogie" 96dB sensitivity of the VR-6's must have helped in creating such dynamic interpretation. I think this amp could mate well to a variety of speaker systems whether dynamic, planar, or electrostatic. Its conservative power rating of 150 watts per channel drove superbly the Avance 980, (see review elsewhere) as well as the Phantom 5.2's. Excessive sibilance or treble on commercial CD's will not be concealed by this amplifier, a byproduct of this amps great transparency despite it’s cool sounding demeanor. So, thorough, careful, listening sessions with your local dealer will be required to find the perfect speaker/amplifier combination.

Overall, I thoroughly enjoyed my time with the Stratos 150 and I think you will too, especially when partnered with the right speaker. In my opinion, if you're looking for a great amplifier selling for less than $3,000, you owe it to yourself to audition this one sweetheart of an amplifier.

Solid State Power Amps

Solid state design has matured to the point where you can choose from a wide range of sonic capabilities and sonic personalities. Some amps are supremely transparent, articulate, and fast, while others are veiled and defocused. Some class 1 amps (Odyssey Design, Plinius) are musically natural. With a wonderfully neutral balance between the best of solid state sound and the best of tube sound One (Audio Refinement) even goes over the fence and sounds for all the world like a very capable tube amp. Some Class 2 amps (Levinson 33H Krell FPB 300) try valiantly to smooth and soften the hard edge typical of solid state, attempting to sound musical, but instead they succeed only in being veiled and defocused. Others (ARC 100.2) go for maximum clarity while letting in some solid stale artifacts. And then there are those amps in Class 3 or worse (Chord. Copland. Alchemist ? and to some degree Sutherland, Siemel ) that have utterly failed advance beyond he hopeless artifice of early solid state sound with its obnoxious glare and glaze that covers and blocks so much of the music. On with the parade.

drop in price for the sound of Symphonic Line, all the way down to $995 for the 150 watt (per channel) Stratos, when the Stratos is purchased with the companion Tempest preamp (also $995), if purchased separately the units an $1195 each.

The sound of the Stratos and Tempest combo, played at CES, lives up to everything we have come to expect from the big Symphonic Line amps. The sound is extraordinarily clean. And it is very fast, articulate, transparent, and neutral - a step behind the McCormack DNA?2 LAE in these aspects (as well as delicacy, bass, and dynamic authority) but way ahead of the class 2 amps below, most of which sell for a lot more. The Odyssey sound also has excellent individuation of subtle details and intertransient silence, even in the trebles where most other solid state amps get into trouble (again with either a clogging hard glaze or a defocused smear). Upper frequencies almost perfectly meet the neutrality of the hybrid ideal being either to soft or to hard (there's just a touch of hardness in the upper midrange). Bass is very good, in line with what is typical of other capable solid state amps.

Technical features include a rated current capability of a hefty 45 amps, a wide bandwidth to 450,000 Hz, and a current slew rate of 400 VA/microsecond. Inputs are XLR for accepting balanced signals. The Stratos can be converted al the factory to bridged rnonoblock, and there is no surcharge for doing this to your stereo Stratos if you elect to purchase one for stereo and later decide to upgrade your system by converting it to bridged mono and buying a second Stratos.

As a bonus, the Odyssey products are also very handsome. They have thick anodized metalwork that is available in your choice of anodizing colors (red, green, blue, gold, black, etc.) And the Tempest preamp has a pair of large chromed knobs that give a satisfyingly hefty tactile feel.

The Stratos and Tempest offer you solid state sound that is very refined, and would be desirable at any price. The $995 per unit price is an amazing bargain, and obviously establishes Odyssey as the value leader in solid state separates.

Class 1b

Odyssey Design Group Stratos

This power amp is a sonic miracle at its $995 price and an easy IAR Best Buy. We (and then others) have praised he sonics of Symphonic Line power amps in the past. They sound very transparent, fast, and clean, with capable extension to the frequency extremes ?? all the typical strengths of solid state. Yet, throughout the midranges and trebles where virtually all other solid state products run into trouble of one sort or another (too glazed and hard in some frequency region, or too defocused and smeared), the big Symphonic Line amps stay eminently neutral giving a very natural portrayal of music by straddling the line between solid state sound and tube sound (what we have called hybrid sound). Thus the sonics of the big Symphonic Line amps give you the best of solid state sound combined with al least some of the best aspects of good tube sound.

But there has been a problem with the big Symphonic Line amps. Being made in Germany, they are very expensive especially when imported into the USA. Enter Klaus Bunge, who has been the US importer for Symphonic Line. He arranged for the basic design of the Symphonic Line power amp to be captured in a smaller unit, and arranged for it to be built in the USA. The result is an astounding