Satie Mono 22 S
High-Power Triode Mono Power Amplifiers

Since 1997 Consequence Audio produces high-power triode amplifiers under the family name Satie, which use the 211 (VT 4C) vacuum tube in their power stage.
In the 1930s this large triode was developed in the USA as a radio transmitter. It is highly recommendable for audiophile applications. The 211 is the only large triode capable of similar musical finesse, for which successful 300 B concepts are rightfully treasured. Yet unlike the legendary WE 300 B, the 211 has the advantage of 20 Watts of output power per channel and hence the competence to drive even speakers of only medium sensitivity. The realization of a potent 211 amplifier, however, requires substantially higher technical efforts.

On the occasion of Consequence Audio’s 15th anniversary, Reinhard Gundlach decided to craft his ‚masterpiece’ - the mono power amplifiers Satie Mono 22 S, which uncompromisingly continue the concept of the internationally highly valued stereo power amplifier Satie S MK II.

Construction
 „Form follows function“. According to Sullivan’s slogan, the enclosures of the Satie Mono 22 S primarily serve to provide space for the mechanical parts and the electrical circuitry. However, the designer indulges in quite some luxury by using only the finest materials for the outer enclosure elements: the wooden frames are finished in high gloss lacquered burl wood (or black piano lacquer), and the palladium-plated metal surfaces are polished to mirror finish.
The classic mono amplifier principle guarantees optimum channel separation. The external power supply provides superior signal to noise ratio. Generously dimensioned capacitor banks, five separate, partly regulated, partly choke-filtered direct current power supplies and a carefully adapted internal power line filter achieve the best possible independence of noise-ridden ac power outlets. The largest effort was devoted to the sensitive output driver stage, which comprises a specially designed vacuum tube stabilization.

Sound
The experienced Jazz vocalist and passionate classics listener Reinhard Gundlach trusts his seasoned ears. In the tonal fine tuning of the Satie-Monos his attention focused on „high fidelity“ in the strict sense – naturalness and authenticity:
Do Brown’s and Mingus’ double basses have a sufficiently large body, yet are they light enough still to swiftly swing, showing the characteristic singing overtones of the string instrument?  Are the rolling initial drum beats in Gershwins „Concert in F“ separated clearly, and does the drumhead nonetheless impress us with physically perceptible impact? Is the pianist, by the way, playing a Steinway Grand or a Bösendorfer? Is there metallic radiance in the Queen of Night’s voice as she sings of her desire for revenge, yet is she mellow still and not exaggerated by hiss? Or: Are the horn sections in Bob Mintzer’s Big Band incisive, attacking, and of the same imaginary size at each and every pitch, originating from an exactly defined position on the stage…?  
Questions such as these will find definite and competent answers with the Satie–Mono amplifiers.
Reinhard Gundlach frankly admits that his creations do not intend to reveal musical truth in absolute terms. What they do instead is, very much like a top class orchestra, provide a brilliant interpretation, of what recording engineers strived to capture as treasured monuments in musical history.

In image hifi (3/2006) Cai Brockmann enthusiastically commemorates the performance of the Satie Mono 22 S (in combination with the Syrinx Spreamplifier):

„Especially with good classical productions the amplifiers reveal their full potential. The spatial extent of the sound stage created by the Syrinx/Satie combination is exemplary. The 3-dimensional contours of instruments and vocalists are razor sharp and solidly anchored as if chiseled from stone. And with respect to spectacular energy, flashing dynamic, fluorescent and bewitching tone colors, these Consequence Audio masterpieces are second to none. With electrically critical speakers the exceptional quality of these amplifiers becomes even more obvious.„

The critic is left with „a lasting, great, all-encompassing impression of overwhelming vehemence, might and power, immediate and limitless dynamic, sensationally authentic lucidity of tone colors, and an incredible sound opulence, which totally justifies all of the invested efforts. This is most evidently felt if one is (regrettably) forced to go back to ‘smaller’ electronics. In short: Gundlach passes the examination for the degree of a master craftsman – summa cum laude...“