“… the Red Dragons remained unruffled under all circumstances. They provided deeper bass and a more articulate midrange. Dynamics were outstanding as was the case with the Orpheus... the Red Dragon amps again demonstrated stunning linearity and neutrality. But we both had to confess that it seemed impossible to rattle the two small Utah boxes. We never sensed any muscle-bound behaviour for having on tap 1’000 watts into 8Ω or even the faintest onset of audible distortion. Listening to the Reference Recordings There's a time featuring Blues legend Doug McLeod, my first impression was focused on the very taut robust bass. That's quite commonplace for class D but this time I noticed a particularly detailed nuanced bottom end to suggest that the two reds had perfect control over my ‘V-twin’ Vivid woofers. On "Rosa Lee", guitar and voice were holographic and located in the same place. I never had this sensation of having a kind of vocal zoom or listening to very distant voices far back in the soundstage. Doug McLeod's voice was sized realistically and showed great detail and finesse. The treble too was very accurate without any brightness. On the second track "Black nights", the guitar's string decay was perfectly reproduced along with a very lifelike modulated voice. By contrast, my Luxman combo provided me with a more organic sound and even more robust bass. The Red Dragons impressed nevertheless with better noise rejection.”
“…I've lived for quite a stretch with his class D mono-block M500mkII digital amps (at 500w/4 ohms) and with the powerhouse M1000mkII version (at 1100w/4 ohms) and will not let these giant killers leave my crusty grasp. The Red Dragons are immensely efficient and incur a blissfully low footprint on your electrical bill. Technical details aside, the bottom line reality of these over-achieving and modestly priced musical work horses is their ability to drive tough speaker loads like the stubborn Magnepan 3.6s and Apogee Stage speakers which approach a 2 ohm resistance. For me, the effortless quality of their interactions with each speaker I've harnessed them to is both impressive and a clearly significant element in their musical surprise. In a commercial world where too many glitzy audio products are hyper-designed cosmetically to suck big spenders into thrall, not for the outcome of sonic accuracy or musical glory, I nominate Red Dragon amplifiers as that most elusive but extraordinary audiophile gift: world class amps at bargain prices. They've made my sonic universe more hilarious with joy and beauty. I'll stack them against a long list of big buck amps that cannot equal their self-confident musical virtues. Jim Merod...”
“…Again, the M500MkII's boundary-defying width in terms of its soundstage was infectious, as it made it seem as if my side walls simply weren't there...Vocals were smooth, articulate and lifelike in their presentation. As with dynamics, bass seemed to also respond well to the improved recording quality, as it dug a little deeper while also exhibiting even tighter control. Low-end texture and inner detail were also very impressive. It is an intimate recording that was presented as such, giving me a front row seat. I loved every second of it and actually listened to the entire album start to finish before getting up to do other things."
“…the Leviathans offer an immediately likeable sound whose defining characteristics include effortless dynamics, rock-solid 3-D imaging, and smooth, mellifluous voicing… Joseph Stalin once famously observed that ‘quantity has a quality all its own.’ Stalin’s comment comes to mind because the Red Dragons produce such copious quantities of power that they reproduce music – especially loud and complex passages – with a disarmingly graceful yet muscular dynamic ease"
"The Red Dragons own a degree of musical and sonic transparency in the service of a necessarily “tactile” bulk of harmonic layering. Together they create an illusion of being in the room “with” the men and women who made it. Among audio illusions that conspire to craft the sense of (re-created) “musical reality,” this one is the most fragile but satisfying.
…what the Red Dragons offer—both relatively, in comparison to these and other refined amps; and absolutely without the invidious tug of comparison—is a touch of musical magic which sounds and feels utterly right in the subjective but totally palpable “there-ness” of music in real space and time."
"Wowsers! I’d never heard the Acoustic Zen or Red Dragon products before and they did not disappoint. I heard deep bass and liquid midrange that just made me swoon. Which component was creating the magic? I don’t know, but everything certainly was passing it on, so I suspect the credit goes to all of them.
Red Dragon’s Leviathan Series monoblock amplifiers deliver 500W into 8 ohms for $5995/pair. Driving Acoustic Zen Adagio loudspeakers, they sure sounded sweet and powerful! They’re packed with cool stuff, such as Neutrik silver XLR inputs and Cardas solid-copper binding posts, not to mention ERS paper, which is “employed at key locations to absorb and diffuse unwanted EMI.”
Maybe I’m just superficial, but I thought the Leviathan’s wood cases and softly glowing logo lid just looked cooler than all get-out. Hey, sound is the crucial thing, but if you can look cool while performing well, I say go for it."
“Easily the biggest surprise of the Show for me came from the Acoustic Zen/Red Dragon Audio room...Let me say this about this system: the Acoustic Zen speakers are gorgeous looking and a flat out steal and the attractively styled, ICEpower module-based Red Dragon Audio Leviathan monoblock amps are a must hear"
“Nothing I threw at the gorgeous Leviathan uncovered a flaw. It passed the Gary Karr bass test and the Aaron Neville texture test with Grade-A scores. On Schubert for Two, Gil Shaham close-miked violin needs increasing power in the midrange at the same time Göran Söllscher’s more distant guitar requires subtle low-level control. The Leviathan not only handled the violin robust highs and the guitar suave trail-off, it also captured each instrument’s woody resonance. This ability to fill out the sound of an instrument is a virtue of tube amplifiers that few transistor amps have matched in my system."