I was first introduced to Infigo Audio (based in BC, Canada; Infigo means “impressive” in Latin) by hearing their Method 3 Class A monoblocks ($55,000/pair) at the home of Mike Levy (CEO/Founder of Alta Audio). Beautiful and unusual looking, they were gold-coloured blocks with an open top but with a clear glass protective cover, revealing the electronics inside with calming blue light. I was seriously impressed by the sound—but intimidated by the price. There was something new to my ears that was unique. I was intrigued.

I then met Hans Looman, CEO and Founder of Infigo Audio, at AXPONA 2023 since his showroom in the hotel, jointly with Alta Audio, was next to my hotel room (for sleeping). Once again, I was impressed with what I heard. But this time, there was not only a pair of Method 3 but also a new, relatively small Class A stereo amp: Method 6 ($20,000), the focus of this review.

It was bi-wired to a pair of Alta Audio Hestia II speakers, yielding remarkable sound. It, too, had a clear glass top showing off its inside with that calming blue light. It was in black.

Surprisingly, it gave off little heat and supported powerful and controlled bass.

By looking through the top, I saw that the Method 6 incorporated the technology of the Method 3, cleverly combining two into one in a small compact unit. As is summarized on the Infigo Audio website: “2x3=6”.

After meeting again with Looman at the Pacific Audio Fest (June 2023) and listening further to the Method 6 with Stenheim Alumine Three speakers, I was impressed yet again; it offered that same unique quality in sound that the Method 3 had originally conveyed but at less than half the price. As of yet, I could not precisely articulate what that uniqueness was, but I was determined to do so.

Looman, a passionate and knowledgeable engineer who can explain things as technical or non-technical as one might wish, kindly offered to send me, for review, the same Method 6 unit he used at the show.

It arrived to me in NYC one week later in a novel way: In a no-nonsense, sturdy orange-coloured suitcase with a handle, wheels, and a “Made in Canada” sticker— locked with a combination lock. I had been instructed to call him when it arrived to retrieve the combination.

(Note: This Nanuck 950 suitcase weighs 6.8 kg when empty and is waterproof, dustproof, and Military SPEC certified. It is manufactured mainly for medical and military applications. Made in Canada, it retails for $280 US.)

About Infigo Audio

Infigo Audio describes itself as follows:

Infigo Audio Inc. is a Canadian company that designs and manufactures high-end audio equipment. We pride ourselves in using the highest quality materials and production processes, locally sourced, where possible, in British Columbia, Canada.

In addition to two amplifiers (Method 3, Method 6), they also offer a DAC/preamp Method 4, ($35,000), an all-analog solid-state preamplifier Method 7 ($20,000), and a variety of cables.

And if you are wondering about the use of the name “Method” in the products, Infigo Audio explains that “it's not only about the technology, it's also about the method.”

Specifications

Power: 2 x 100W RMS Class A in 8 Ohms (between 100W and 200W per channel into 4 Ohms).

Input: XLR

XLR Pin 1: GND

Pin 2: Signal+

Pin 3: Signal-

Output:

2 x parallel binding post set for an easy bi-wiring speaker cable option

Input voltage: selectable 120V AC 50/60Hz – 240 V AC 50/60Hz

Input impedance: 10 kOhm

Output impedance: ~14 mOhm (milli Ohm)

Gain: 26 dB

Power: 100W (8 Ohm)

Frequency range: 0 Hz – 200 kHz (-3dB)

Damping factor: 550 (8 Ohm)

Sensitivity: 1.6V RMS

THD: 0.0073%

Dimensions: 18” (W), 13” (D), 6” (H)

Weight: 53 pounds

Low temperature and powerful bass

In addition to Anfigo’s “Low-Temperature Class A” technology, which explains why the unit does not get burning hot while outing relatively high power, there is also a proprietary “DCBA” system which, apparently, contributes to the exceptional bass response. As described on the Infigo website:

DCBA™, or DC Bias Adjustment, balances output DC level without limiting low-frequency output. Bass response is tight and powerful, eliminating phase distortion at lower frequencies thanks to the removal of capacitors in the audio path. The low-frequency range extends down to 0 Hz, with a separate protection circuit that disconnects the speakers when the DC level in the signal reaches too high a level.

The back, front, and sides

The Method 6 is elegant and unique looking.

The back contains a power switch with an IEC power socket below it, a pair of XLR inputs, and two sets of speaker binding posts (for a bi-wiring option). The front (black for my review unit) is more elaborate with (in script white) “Infigo Audio” and “Method 6” written near the top and then embedded in the metal are a series of vertical bars which mimic the look of an electrical graph. One of the bars (7th from the right) is a light that serves as a button for controlling the modes of operation (outlined in more detail below) utilizing white, blue, and red light.

The heat grills are on the sides. Although they do get rather warm when in use, they do not get burning hot. In addition to the glass cover, there is also a solid metal protective top that you can attach if desired.

Four (4) solid metal isolation spikes with pads are included that you attach to the chassis’ four holders on the corners. As pointed out by Looman, because the holders are standard M8, they could be used with other M8 speaker spikes, feet or isodampers.

My Use

As a stereo amplifier, the Method 6 ($20,000) took up only one shelf of my cabinet and only one power cord, a significant reduction in space from using my reference monoblocks. I kept it front and center in my Salamander Designs vertical center cabinet. It was already burned in.

The unit comes with a small plastic black remote that allows switching between modes and dimming the front light a bit. I tried it (it works), but I put it aside for this review; it is so easy to simply press the light on the front when turning my system on for listening. Although I wanted to, I did not try bi-wiring even though my speakers allowed it. (I had ordered an identical set of my custom-made reference speaker cables—Waveform Fidelity—but they did not arrive in time.)

Once the power switch (in the back) is turned on, three operating modes can be cycled through by pressing the front panel light: 1 (cold standby), 2 (warm standby), and 3 (fully on). This is how the modes work:

Mode 1: blinking blue; it is engaged when the back power switch is on.

Moving from Mode 1 to 2: the light changes to (and remains) blinking red.

Moving from mode 2 to 3: The light starts blinking white, then when mode 3 is fully engaged, the light changes to (and remains) blue and is ready to play. Mode 2 (warm standby) is a compromise between keeping Mode 3 on all the time or keeping Mode 1 on when not in use.

In Mode 2, some heat is given off but not at the full 3, so it saves energy and keeps the system “on enough” so that moving next to 3 is quick and the unit is ready to play.

In general, I kept the unit in Mode 2 whenever it was not in use.

If I started in Mode 1, I found it best to stay in Mode 2 for several minutes before moving on to Mode 3.

Note: I found the blinking light of Modes 1 and 2 a minor nuisance, especially at night. I would suggest that Infigo Audio modify the lighting so that blinking occurs only briefly, and then the light (once the mode is locked in) remains constant as:

Mode 1: white, Mode 2, red, Mode 3: blue.

Reference Equipment

Preamp: PS Audio BHK Signature ($6,000)

Amplifiers: Audio by Van Alstine DVA M750 monoblocks ($5598/pair)

DAC: Mojo Audio Mystique X SE ($9,999)

Music Server: Mojo Audio Deja Vu ($7,000) (with a Roon Core)

CD Transport: Jay’s Audio CDT3-MK3 ($4,998)

Speakers: Alta Audio Adam Floorstanding ($18,000)

Phono Stage: Pass Labs XP-17 ($4,300)

Turntable: VPI Industries HW-40 Direct Drive ($15,000) with a Grado Aeon3 cartridge ($6,000).

Power regenerators: PS Audio Direct Stream Power Plant 12 (2, $6,000 each).

Cabling by Audio Art Cable, Wireworld Cable Technology, Waveform Fidelity, and Anticables

Isolation/Footers by Iso Acoustics

Sound

In addition to exhibiting a large soundstage, superb imaging, and excellent clarity, the Method 6 exposed trinkets of delicate details, making timbres sound ever so slightly more elaborate and involving; little details seemed to blossom. That is what was unique to my ears and remains so. Piano music was particularly impressive, for example. The bass was more than adequate, and given the low bass response of my reference speakers (below 20 hz), it was surprisingly well-controlled, too. As compared to my reference monoblocks, I’d say that my Audio by Van Alstine DVA M750 has a dash more overall clarity, but the Method has that unique new (to me) quality of exposing more in the music, “elaborate and involving” that I mentioned above. (But then, the Method 6 is almost four times the price of the DVA M750!)

Music Examples

Piotr Anderszewski at Carnegie Hall, (2009). Erato/Virgin Classics (CD and Qobuz/Tidal streaming). Performed live at Carnegie Hall, this superb recording shows off Anderszewski’s skill at both interpretation and piano playing. The Method 6 yields the piano natural sounding with impeccably clear highs and rich lows. In particular, the piece by Robert Schumann, “Faschingsschwank aus Wien (‘Phantasiebilder’),” for piano, Op. 26, is remarkable. I was so impressed that I wondered why, since I live in Manhattan, I did not attend the concert when he performed at Carnegie Hall for the recording in 2008. (It turns out I was away then in Singapore for several months.)

“Indian Summer”, The Doors from Morrison Hotel (50th Anniversary Deluxe Edition (remaster, 2023), originally 1970, 24/192 (Qobuz). Dreamy and mystical but also hypnotic, soothing—and strange; this piece with Jim Morrison on vocals is like a lullaby for adults. The musicianship is well recorded and offers opportunities for the Method 6 to show off how it makes the gentle sounds more elaborate and involving for the whole. The acoustic percussion, in particular (drums/cymbals), is taken to a new level and becomes mesmerizing.

“Tijuana” from Harry Manx Mantras For Madmen (2005), Dog My Cats Records (Qobuz). It was composed by J.J. Cale and was not meant to be exotic per se. But Manx does his magic to create this exotic version with Western and Indian influences using his instrumental prowess (and voice), including Sarad, Slide Guitar, Mohan Vina, and Tambura. It is gorgeous, and the Method 6 takes full advantage of the soundstage with impressive finesse.

Final Note: In regards to The Doors, “Indian Summer, for being “strange,” I next moved on to listening to The Doors, “People Are Strange” from Strange Days (50th Anniversary Expanded Edition) 2017 Remaster, which brought back memories of when it came out as a single 45 RPM record in 1967 when I was only ten years old. My two older brothers and I bought it and played it repeatedly, driving my parents crazy. I now played it over and over. I ended up driving my wife and kids crazy. But I like it, and I give the Method 6 credit for bringing back such a special memory.

Summary

Like a beautifully balanced glass of wine—that truly shines when served at the right temperature and in the right glass—the Infigo Audio Method 6 excels in serving music with analogous helping hands. It offers a unique and exceptional sound. Although expensive, I very highly recommend it if you can afford it; after all, at $20,000, it costs less than half the price of the monoblocks ($55,000 per pair) and is arguably equally good sounding, albeit with a bit less power.

Further information: Infigo Audio