The 175S is a single chassis luxury analogue amplifier with dual mono output channels.
Based on the world acclaimed 350M Ultimate Reference Mono Blocks, the 175S high current outputs can comfortably drive virtually any loudspeaker on the market. The 175S makes every speaker sound its very best with corrrect harmonic structure using Tenor’s proprietary HSI technology.
The 175S is available in 2 models.
The standard 175S is the standard by which all stereo amplifiers are judged.
Know as the 175S HP, the Haute Puissance optional upgrade delivers the performance of the standard 175S with additional headroom and double the damping factor. It is recommended for individuals discerning a slightly more aggressive presentation while preserving all of the attributes of the legendary 175S.
Ernie, Fischer, The Inner Ear Magazine writes his Synopsis on the 175S Stereo Amplifier:
"Expensive? Yes — but by no means the most expensive, some of which I have seen and heard. I believe that the price of the amplifier is warranted and fair, and I give you my reasoning for this inference:
In my almost 30 years as a reviewer, I have listened to some outstanding and great-sound amplifier designs. Fact is, I have loved some, I have lusted after some, I have lived a harmonious life with some — BUT, if I had to marry one, it would only be the Tenor. What more is there say…”
“Although the sound of the Soulution 710 was impressive, it was maybe a bit too precise for my tastes. Then, Parish replaced the Soulution with the Tenor 175S stereo amplifier and the sound immediately became more natural and relaxed; it was more musical. The Tenor 175S, is a tube driven design, as opposed to the solid-state Soulution, and to my ears, allowed the YG loudspeakers to perform their finest. I also noticed that the YG’s allowed the distinct character from each amplifier to come through, thus, imparting little, if any, of its own sonic character to the sound. On “Lt. Kije”, the soundstage developed even further with the Tenor in place; allowing you to hear deeper into the orchestration and therefore, the composers intent. The realistic decay of the trumpet in the Hall was livelier and more natural than with the Soulution. The strings were sexy and the celeste had a more direct presence.
Listening to “St. James Infirmary,” Armstrong’s voice appeared dead center in the mix and his playful phrasing was heard full- with-body and with all the delicate complexities his human voice exudes — as it should be. This was one of the most realistic sonic presentations of this haunting LP I have ever heard (and that is saying something since I listen to this LP practically every day in our Reference Rooms).”