audion silver night 300b

about the audion silver night 300b

The Silver Night range of amplifiers are the best known of the Audion products, and the ones that have won most awards. The Silver Night is the bigger, bolder, more impressive brother to the Sterling EL34 integrated amplifier. An amplifier we firmly believe can go toe-to-toe with any of the best valve amps in the world – The Silver Night 300B needs to be heard, and we think it makes for a demo you won’t forget!  





300b valves.

Having a volume control on the front and 5 channel stereo inputs on the rear means that a pre-amplifier is not necessary with this unit, but is compulsory if you wish to use a turntable . These amps are all auto biased. The 300B amp comes with JJ300B tubes.

The Silver Night Stereo range can reproduce subtleties and nuances in music that can not be found in other amps of this price. The 300B gives a good overall sonic performance from a well known tube, the PX25 delivers slightly more power and presence as well as deeper bass and higher tops, the mid-range is incredibly sweet and controlled.

quality components.

The Silver Night Anniversary integrated is built with components sourced from Europe and the US. Audion’s output transformers are wound in-house to their exacting standards and many of the components are either made by Audion or specifically made for them. They use JJ 300B and Russian New old stock 6H1N-EB as a driver and input tubes.  

As the Audion brand name is so well known, the Silver Night is the most popular selling amp in their range of amps. 

The current Silver Night Anniversary is now 5th Generation product, originally being sold in 1987.


The Silver Night is a detail retrieval machine which benefits almost every aspect of performance, from dynamics to dimensionality. All recordings I listened to had a layer of haze removed. Whether from the simple circuit, or point-to-point wiring, or high quality parts, or all triode tubes, the Silver Night might be the most transparent amp I’ve used.

The Silver Night has dimensionality in spades. On ELP’s Lucky Man, the Moog sounds were in a totally different space from the other tracks. At the end of the cut, the eerie spaciness evaporated into a space somewhere near where the back wall and ceiling met, but several feet beyond. How can four tubes and two drivers do that?

– Words by Phillip Holmes, Dagogo  

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