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Ps Audio

שמעתם על הגברה שלא שמעתם עליה?

ההגברה החדשה של Ps Audio מהסדרה היוקרתית PMG בישראל!

המייסד פול מקגאון ומהנדסי החברה שקדו ועמלו על פיתוח הגברה ייחודית ופורצת דרך – ספק כח אקטיבי!
למעשה מדובר בהגברה הראשונה מסוגה בעולם.
בשונה מהגברה מסורתית והשיטה הקלאסית הנשענת ומסתמכת על שנאים מסורתיים שנוטים לקרוס בעומסים כבדים
ואינם מהירים מספיק לשנות את מצבם ממצב מנוחה של המגבר (הנמצא רוב הזמן במצב זה בעת הנגינה)
למצב שבו המגבר נדרש לרגעים לספק עוצמות של כח וזרם מתפרץ אל הרמקולים – מהנדסי Ps Audio
יישמו שיטה ובחרו בספק אקטיבי בעל עוצמה אדירה ומהירות חסרת תקדים בשינוי מצב ממנוחה למצב עומס עבודה וחוזר חלילה על ידי כך
|הספק נשאר יציב לחלוטין גם ברגעים תובעניים וקשים במיוחד, כמו מכת תוף עזה, או תזמורת המנגנת הרכב קלאסי.
בספק כח רגיל כפי שהכרנו ועבדנו עד היום, הספק קורס ונכנס למצב Clipping אשר משפיע רבות על איכות הצליל ועל אף הערוצים הנפרדים (ימין/שמאל).
המהנדס בוב סטאדר יצר מגבר סטריאו יציב ומהיר במיוחד בשינוי מצב המעניק יכולות אף שמגבר מונו אינו יכול!

בנוסף ההגברה עובדת במעגל Class A מרמות של 10 Watt ועד 60 וואט בהתאם לדגם בו תבחרו: PMG – 200,400,800.
אל תנו למספרים להטעות אתכם – מדובר בעוצמות גבוהות בו המגבר שרוי רוב הזמן בניגון מעגל ה- Class A.
דבר המעניק מוזיקליות, ריאליזם עם גוף מלא ותחום תחתון(בס) עשיר במיוחד. (אין רזון בכלל בצליל המתנגן אלה הכלים בעלי גוף מלא, צלול ונקי)
התכנון של המהנדס Darren Myers ו- Bob Stadtherr מאופיין בליניאריות טבעית גבוהה מאוד.

בנוסף תכנון זה מעניק רוחב פס ומהירות תגובה קיצונית ( Ultra – Wide Bandwidth & High Slew Rate)
הרוחב פס מגיע מעבר ל- 500 kHz, זהו טווח קיצון והרבה מעבר לטווח השמיעה של אוזן אנושית.
מהירות התגובה המהירה מאפשרת למגבר לשחזר את גל הריבועי באופן שקוף ומדויק להפליא ללא כל השהייה או מריחה – כל הגלים
מגיעים אל הרמקולים בדיוק רב בדיוק כפי שהוקלטו במקור – זהו מצב שבו כל ההגברות כושלות לחלוטין.

 

 

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תיאור מוצר

PMG Signature · Premium Stereo

The new S400
Stereo.

The PMG Signature voice in a more accessible stereo chassis.

4010W/CHClass A bias>500 kHzBandwidth>200V/µSSlew rateState of the artDistortion vs. frequency

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PMG S400 Stereo

The PMG Signature voice in a more accessible stereo chassis.

Not every great system has room for two amplifiers. Two boxes, two power cords, two sets of cables — for many listeners that is one requisite too many. The S400 exists for them: the entire PMG Signature experience in a single chassis.
What it is not is a compromise of sonics. This is the full Signature topology built in stereo form — two channels of 200 watts each into 8 ohms, doubling cleanly into 4, drawn from the same state-of-the-art active power supply architecture that drives the M400. The same strikingly low overall feedback. The same bandwidth beyond 500 kHz and slew rate past 200 volts per microsecond — the speed that returns a flawless 10 kHz square wave and lets every transient land exactly when the music intended. The same flat, low distortion across the audible band.PMG S400 Stereo

Design

The S400 places two complete PMG Signature channels in a single chassis — and the engineering challenge was making sure neither channel ever knows the other is there. Each channel runs from the same state-of-the-art active power supply architecture as the monoblocks, with the internal layout and isolation engineered so that one channel's demands only minutely disturb the other's signal. Darren Myers's low-feedback, high slew rate topology is carried over without compromise. Hand-assembled in Boulder, Colorado, and brought to perfection by Bob Stadtherr.

Application

The S400 is a single stereo chassis with a single power cord — the Signature experience without two boxes on the floor. Two hundred watts per channel into 8 ohms, doubling into 4, will comfortably drive the great majority of high-quality loudspeakers in rooms of moderate to generous size. It suits the listener who wants genuine reference amplification but values simplicity, space, and a clean installation as much as ultimate output.

Class A purity

Ask an amplifier designer what separates a merely good output stage from a truly transparent one, and the conversation will arrive, quickly, at Class A. In Class A operation every transistor conducts through the entire waveform and never switches off — no crossover point, no handoff between devices, no discontinuity for the music to cross. It is the most linear mode of amplification there is. It is also the most demanding: a Class A stage runs hot and draws power continuously, even in silence. That cost is why genuine Class A is so scarce. It is rare for a high-end amplifier to provide even a single watt of true Class A, and many that claim the term operate purely in it for only a fraction of a watt.
The S400 dedicates 10 watts of pure Class A bias to each of its two channels. In a stereo chassis — where two channels must share one enclosure and one thermal budget — that is a serious commitment. Those 10 watts per channel cover the quiet, low-level passages where the ear is at its most revealing and least forgiving: the inner detail of a recording, the decay of a note into a room, the texture of a voice held softly. It is precisely there, in the delicate material, that crossover artifacts are most audible and most fatiguing — and precisely there that the S400 stays pure. Both channels carry the same operating integrity as a PMG Signature monoblock, in a single chassis that asks for none of the compromises you would expect.

Two channels, one design

Building a stereo amplifier that truly rivals a pair of monoblocks is harder than it sounds, and the reason comes down to one shared resource: the power supply. In a stereo chassis, both channels draw from it. When the left channel demands a sudden surge of current — a drum strike, a crescendo — that demand pulls on the supply the right channel is using too. On a conventional amplifier the supply voltage dips under the load, and the second channel is dragged a fraction off course. You can measure it as crosstalk; sometimes you can hear it, as a soundstage that narrows when the music turns complex. It is the historical reason monoblocks have long been considered the purer choice.
The S400 closes that gap, and it begins with the power supply itself. A state-of-the-art active power supply delivers far cleaner power, and far greater current on demand, than any traditional transformer-based design — and it holds its output stiff under load. When one channel slams it with a transient, it sags very little, so the other channel sees only the smallest of the disturbance.
The rest is layout. Bob Stadtherr, drawing on decades of amplifier engineering, arranged the S400's grounding, board topology, and mechanical structure so the two channels' currents never intermingle and neither can couple into the other. An active supply that rarely sags, and a layout engineered channel by channel: together they bring the S400 remarkably close to the separation of true monoblocks — 200 watts into 8 ohms per channel, doubling cleanly to 400 into 4, from a single chassis with a single power cord.

The PMG disappears into the Music

Every amplifier colors the music to some degree. The art of high-end design is in reducing that coloration toward nothing — and the temptation, always, is to do it the easy way: wrap the output stage in heavy negative feedback and let the correction loop scrub the distortion away. It works on the test bench. But feedback corrects by reacting, and reaction takes time. With real music the correction is always slightly behind the signal, and the listener pays for it in lost immediacy and a subtle sense that the performance is being reproduced rather than reproduced faithfully.
The S400 follows the same principle as every PMG Signature amplifier: strikingly low overall feedback. Its output stage is engineered to be deeply linear on its own merits, so only a light touch of feedback is required. Distortion stays flat and low across the entire audible band — not scrubbed away after the fact, but largely absent to begin with — and bandwidth reaches well beyond 500 kHz, leaving transients intact and uncolored.
Combined with the S400's construction, the effect is striking: no phase smear, no recovered artifacts masquerading as detail, no soundstage that collapses when the music turns complex. The amplifier disappears. The two loudspeakers in front of you stop sounding like loudspeakers and start sounding like the room the recording was made in. That vanishing act — electronics that refuse to announce themselves — is the whole purpose of the Signature Series, and the S400 performs it in full.

Bench measurements

Independently verified across the tests that separate good amplifiers from great ones.

Distortion vs. Frequency

Distortion vs. Frequency — This measurement tracks total harmonic distortion across the entire audio band, from 20 Hz to 20 kHz, under four conditions: no load, 8 ohms, 4 ohms, and a punishing 2 ohms. The traces do vary — distortion climbs gently with frequency, and the hardest 2-ohm load runs highest — but the takeaway is simple. Even at its worst, the PMG's distortion stays a tiny fraction of one percent, far below the level of audability. Linearity held this tight, across every load, and achieved without adding negative feedback, is something perhaps one amplifier in a hundred can claim — which means distortion simply stops being part of the conversation.
Twin tone Intermodulation results

Twin tone Intermodulation results — Here the amplifier is fed two tones at once — 19 kHz and 20 kHz — and we look for everything it adds that shouldn't be there. An amplifier that isn't perfectly linear lets those two tones beat against each other and spawn entirely new frequencies that have no musical relationship to the original signal. Those added tones are precisely what the ear registers as harshness, grain, and listening fatigue. The PMG produces almost none — the spectrum is essentially just the two original tones and silence. That is the measurable fingerprint of sound that stays clean and natural no matter how dense or demanding the music becomes.
10kHz square wave response

10kHz square wave response — A square wave is the cruelest signal you can hand an amplifier; it demands instantaneous swings in output voltage. Reproducing one cleanly takes tremendous speed — measured as slew rate — and the PMG Signature series exceeds 200 volts per microsecond. You can see the result here: vertical edges, flat tops, no overshoot, no ringing. Real music is full of fast transients — the leading edge of a cymbal, the snap of a plucked string — and an amplifier too slow to follow them rounds those transients off and smears the detail. The PMG follows all of it. In fifty years of designing amplifiers, we have never measured a square wave this perfect.

Features

8 key features

200 watts into 8Ω per channel, doubling to 400 watts into 4Ω per channel

10W Class A bias per channel

Slew Rate > 200V/uS

Bandwidth exceeding 500 kHz

Strikingly low overall feedback architecture

State-of-the-art active power supply

Designed by Darren Myers

Engineered by Bob Stadtherr

Reviews

1 reviews

SG Akustik - Youtube
SG Akustik – Youtube

Interview with Paul at the High End Vienna show 2026

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Specifications

Technical details

Unit Weight 57.2 lbs / 25.9 kg
Unit Dimensions 16 in L × 17.5 in W × 8 in H (406.4 × 444.5 × 203.2 mm)
With feet & binding posts: 16.75 in L × 17.5 in W × 8.75 in H
Shipping Weight 68 lbs
Shipping Dimensions 23.5 × 23 × 15 in / 596.9 × 584.2 × 381 mm
Input Power Auto Voltage: 120VAC or 230VAC, 50 or 60 Hz
Power Consumption Standby (Ready): <2W  |  Idle: 190W  |  50W/4Ω: 390W
Fuses No user serviceable fuses
Audio Inputs RCA (Single-ended): 1 pair  |  XLR (Balanced): 1 pair
Speaker Outputs Silver Plated Binding Posts: 4 pair
Trigger Input: 3.5mm, 5–15VDC  |  Output: 3.5mm, 12VDC
Gain 26.2 dB
Sensitivity 2.0V
Power Output 200W/ch into 8Ω, 400W/ch into 4Ω (1kHz, <1% THD)
Class A Power Output 10W/ch into 8Ω
Frequency Response <10Hz – 80kHz (±0.25dB)
Input Impedance 100kΩ Single-ended  |  200kΩ Balanced
Bandwidth >500kHz
THD <0.002% typical (20Hz–20kHz, 1W/8Ω)
Damping Factor >240 at 8Ω (20Hz–1kHz)
Crosstalk >90dB at 1kHz

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