Review of the Audia Flight Pre 50
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This article originally featured in January 2009’s Hi-Fi News’ magazine.
issues and highly efficient Class D amplifiers in the ascendant, true Class A
designs are thin on the ground. Audia Flight bucks the trend with a hot
Stevenson - Lab Report: Paul Miller
something about the Italian high-end that gets my juices flowing. It’s the style, the grace, the sheer passion
that goes into the design – and the absolute certainty that there will be flaws
of epic, forehead slapping proportion.>
Exhibit A – the
Audia Flight Pre remote control. Utterly
gorgeous. CNC-machined from an aluminium
billet and offering an innovative multifunction interface that keeps the button
count to a luxurious minimum. Flip it
over and the brushed aluminium base plate sits on four feet – well, ultra cheap
stick-on plastic blobs that you can buy from B&Q in a sheet of a thousand
for sixpence. Clearly ‘don’t spoil the
ship for a hapeth of tar’ doesn’t translate into Italian.
The Flight Pre
is a beautifully crafted piece of equipment, exuding high-end kudos with its
25mm thick milled aluminium fascia and subtle blue lighting. It’s a dual-mono, balanced design with
microprocessor control affording such trick features such as individual input
gain and the ability to name each source.
Connectivity is excellent with twin sets of balanced XLR inputs and an
array of solid-feeling RCAs for in, out, record and monitor.
COME THE REVOLUTION
The operation is
a little quirky as you set the mode (source/volume/balance etc) and then use
the main fascia knob or remote’s +/- keys to adjust accordingly. On the downside, switch to a source with the
volume racked up high and you have to wait five seconds before the main knob
becomes a volume control again to turn it down. Favourite flaw is the volume knob itself – requiring a hilarious 17
(yes, seventeen) complete revolutions from minimum to maximum volume.
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