{"product_id":"herron-audio-2x-m-150-monoblock-power-amplifier-150w-rms-fully-serviced","title":"Herron Audio (2X) M-150 Monoblock Power Amplifier* 150W RMS * Fully Serviced","description":"\u003cdiv class=\"title-content-space\"\u003e\n\u003ch2\u003e\u003cspan class=\"field field--name-title field--type-string field--label-hidden\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0673\/9204\/5301\/files\/ServicePowerAmp.png?v=1775445787\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2\u003e\u003cspan class=\"field field--name-title field--type-string field--label-hidden\"\u003eHerron Audio M150 monoblock power amplifier\u003c\/span\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"meta-data\"\u003e\n\u003ca href=\"https:\/\/www.stereophile.com\/writer\/90\"\u003eStereophile's Michael Fremer.   \u003c\/a\u003e\u003cspan\u003eMar 04, 2001\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"sharethis-inline-share-buttons st-left  st-inline-share-buttons st-animated\" id=\"st-1\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"article-content-wrapper\"\u003e\n\u003cdiv class=\"in-article-img-wrap\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"clearfix text-formatted field field--name-body field--type-text-with-summary field--label-hidden field__item\"\u003eKeith Herron plopped himself down in my listening chair and smiled, clearly pleased with the sound of my system now that his M150 monoblock power amplifiers had been substituted for my\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.stereophile.com\/\/amplificationreviews\/205\/\"\u003eMusical Fidelity Nu-Vista 300\u003c\/a\u003e. He began to tell me why.\n\u003cp\u003e \u003c\/p\u003e\n\u003cimg src=\"https:\/\/www.stereophile.com\/images\/archivesart\/Herronm1501.jpg\" width=\"400\" height=\"110\" border=\"0\" loading=\"lazy\"\u003e\n\u003cp\u003e \u003c\/p\u003e\nI stopped him. While I appreciated his enthusiasm, I explained why it's a no-win situation to suggest to a reviewer what he's going to hear. The more a manufacturer tries to plant ideas in a reviewer's head, the more the reviewer feels trapped, and the more likely he is to break away and hear something else.\n\u003cp\u003e \u003c\/p\u003e\nHerron agreed and bit his tongue, but not before telling me he wanted me to hear his\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ecomplete\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003esystem: Herron M150 amps, upgraded \"A\" versions of the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.stereophile.com\/\/analogsourcereviews\/211\/\"\u003eHerron VTSP-1\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003etube preamp and Herron VTPH-1 phono preamp that I reviewed in March, 2000, all connected with the Herron cables he was about to market. I agreed—but only after first listening to the M150s with the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.stereophile.com\/\/amplificationreviews\/291\/\"\u003eHovland\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand Ayre K-1x preamps and the Audio Research Reference phono section, using familiar cables.\n\u003cp\u003e \u003c\/p\u003e\nMuch research tells us that what we see can sometimes affect what we hear, and I kept that in mind while reviewing the M150. While some amplifiers demand shelf or floor space for their looks, that can't be said for the homely M150—its folded sheet-metal chassis is about as plain as it gets. In that department, the dramatic-looking, $16,000\/pair Audio Research VTM200 that I reviewed in January would be a hard act to follow, but even compared to the similarly priced Nu-Vista 300 ($5495), the $5895\/pair M150 pales. That says a great deal about what Keith Herron thinks he's accomplished and for whom he's accomplished it.\n\u003cp\u003e \u003c\/p\u003e\nHerron, a music-lover and a no-nonsense electrical engineer with a background in professional audio—in the late 1980s and up until 1992, he was director of research and development at SLM (St. Louis Music) Electronics, who make Crate and Ampeg gear. He was also involved in designing a bar-code documentation system for Chrysler that determines what parts and accessories go on which minivan chassis as it rolls down the assembly line.\n\u003cp\u003e \u003c\/p\u003e\nFor his own line of electronics, instead of concentrating on frills and fancy faceplates, Herron has put his money into R\u0026amp;D, and into parts and design quality—he's convinced that there's a ready and willing marketplace for his \"musical accuracy first\" designs. As I wrote last March, in my review of his preamp and phono section, Herron approaches the marketplace in a cautious, stealthy manner, working from the ground up to grab the ears of audiophiles.\n\u003cp\u003e \u003c\/p\u003e\n\u003cb\u003eInside the M150\u003c\/b\u003e\u003cbr\u003eThe M150 is a fully complementary symmetrical bipolar design, and if that means nothing to you, don't worry about it. What's more important is how Herron described it to me in plain English.\n\u003cp\u003e \u003c\/p\u003e\nIn most tube and solid-state designs, beginning with the input stage, each stage drives the next until there's enough voltage gain to drive the output stage, which provides the main current gain and drives the loudspeakers. According to Herron, solid-state output devices are usually the slowest and tend to have poor linearity at very small signal levels. In other words, they \"go to sleep\" at the very low levels where music \"lives.\"\n\u003cp\u003e \u003c\/p\u003e\nHerron showed me in a diagram how he \"seamlessly\" routes each stage directly to the output stage, as opposed to just stacking the stages atop each other. Along with a unique output-stage configuration, his design is said to eliminate the usual need for high output-stage (or continuous class-A) idle currents, which generate lots of heat. The unique circuit design is one reason these amps are so compact—and, as advertised, they run incredibly cool. Even rocking at moderately high volumes, they remained literally cool to the touch. I'm playing a test pressing of Classic Records' reissue LP of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLed Zeppelin IV\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eas I write this (such torture!), and there's almost no heat coming from the M150s.\n\u003cp\u003e \u003c\/p\u003e\nThere are no DC-blocking coupling capacitors in the forward direction of the circuit. For speaker protection, the M150 uses automatic low-level direct-current offset cancellation, plus high-level DC shutdown. Herron believes fanatically in low distortion, and claims that proper stage-to-stage impedance matching ensures extraordinarily low distortion. Combined with what he described to me as \"successive stage to output confluence,\" the claimed result is \"a seamless combination of micro\/nano-resolution from forward stages and robust controlled power and authority from successive stages.\"\u003c\/div\u003e\n\u003cdiv class=\"clearfix text-formatted field field--name-body field--type-text-with-summary field--label-hidden field__item\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"clearfix text-formatted field field--name-body field--type-text-with-summary field--label-hidden field__item\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eUsing the M150s was simple. Speaker connection is via five-way TIFF binding posts, and there's a gold-plated RCA jack on the rear for the input. An IEC jack allows you to play with AC cables, and there's an AGC 6 speaker-output protection fuse that you can change, depending on what power your speakers can handle. If your \"audio guru\" tells you such fuses are \"directional,\" go for it! I didn't touch the fuses in my review samples.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eWhen you flip on the rear-mounted power switch, three lights go on in sequence: The first indicates Power to the unit, the second that Voltage has been applied to the circuitry, and the third that the Output relay has been engaged and you can begin listening. If DC is present at the input, the Voltage light will blink to alert you. If the Output light turns red and the Voltage light goes out, you've overheated the amplifier (its temperature has exceeded 78 degrees C). It will shut down, and remain shut down until the heatsinks cool off by 10 degrees C.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cb\u003eListening\u003c\/b\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThough I asked him not to spoonfeed me what I was going to hear, Keith Herron isn't shy about describing the sound of his amps in his product literature: \"A live presentation with none of the hardness normally associated with solid-state amplifiers,\" along with \"the fine resolution and liquidity normally associated with tube amplification plus the power and bass control of solid-state.\"\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eHerron may have smiled when he installed his amps in my system, but my own first reaction was different. Having just spent time with the Nu-Vista 300 and M3 and, of course, the Audio Research VTM200 monos, I'd become used to a big, \"bloomy\" soundstage and a rich midbass. In comparison, the Herron M150s sounded small and created a more distant picture. That much was immediately apparent from my less than \"sweet\" listening spot. So why was the designer smiling?\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eHerron feels that most power-amp designs add a warmth or lushness that's not present in the recording or the real world. That added sound is part of what contributes to the bloom of some gear, and that bloom helps create a false sense of a big space.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eWhatever the cause, the Audio Research VTM200s produced an \u003c\/span\u003e\u003ci\u003eenormous\u003c\/i\u003e\u003cspan\u003e, exciting, and enveloping soundstage, though of course its size depended on the recording. The Musical Fidelity Nu-Vista's stage was scaled back somewhat, but the Herrons' picture was the most modest and, ultimately, the most tidy. From Herron's point of view, \"modest\" and \"tidy\" are not negatives.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eMy perception of the Herrons' sonic picture was reinforced when I substituted his revised preamp and phono section for the Hovland, and somewhat less so when I substituted the Herrons for the Ayre K-1x. While this is supposed to be a review of the M150, I'm going to make it a review of the Herron system, because I believe that most buyers will gravitate toward the full package, even if only one piece at a time.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cb\u003eDifferent experiences\u003c\/b\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAt the Y2K Consumer Electronics Show, I had been listening to a pair of loudspeakers that sounded diffuse, listless, and not particularly well-organized. Keith Herron entered the room with his unimpressive-looking amps under his arms. Out went the large, aluminum-faceplated amp with its blue LEDs, and in went these old socks of a pair of monoblocks. Suddenly, the same musical selection we had been listening to took on form, shape, and substance. Bass tightened, and there was a focus on rhythm, pitch, and texture. The difference was remarkable. The former diffusion gave way to a compact, organized, well-focused soundstage—but not an enveloping one.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eA year later, the M150s and the rest of the Herron gear produced the same sound in my system, but now my reaction was mixed. One of the things I admire most about the Sonus Faber Amati Homage speakers in my new, well-treated listening room is the grounded soundstage I get. The experience of sonic images \"floating\" in air without legs bothers me; among the few negative observations I have about the Herron system (and about the M150s by themselves when I drove them with the Hovland or Ayre preamps) is the imaging and soundstaging they produced: pictures floating in air.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eWhen you're in a jazz club, you hear a combination of direct and floor-to-ceiling reflected sound; superb live recordings like \u003c\/span\u003e\u003ci\u003eMel Tormé and Friends at Marty's\u003c\/i\u003e\u003cspan\u003e (Finesse W2X37484) should put you convincingly in the club where they were recorded. When I listened to the M150s with the lights out and my eyes closed, three (or more or fewer, depending on the recording technique) well-focused spheres of sound hovered across the soundstage. The entire picture floated off the ground, and that sensation remained constant whether the music had been recorded with three spaced omni microphones, à la Mercury Living Presence, or the multi-miked production used for the Tormé album.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan\u003eIt could be argued that this homogenization of the amplifiers' soundstage could have been speaker- or room-related, but the speaker placements were made according to RPG's computer program, and have proved ideal for all speakers and electronics I've reviewed in the room. I certainly didn't position the speakers to complement or \"frequency-balance out\" my reference amplifiers.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"clearfix text-formatted field field--name-body field--type-text-with-summary field--label-hidden field__item\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"clearfix text-formatted field field--name-body field--type-text-with-summary field--label-hidden field__item\"\u003e\n\u003cdiv class=\"article-content-wrapper\"\u003e\n\u003cdiv class=\"clearfix text-formatted field field--name-body field--type-text-with-summary field--label-hidden field__item\"\u003eBut let's go back to the positives I heard from the M150s that first time in Las Vegas and in every listening session at home: The amplifiers were superbly well organized in time. They were rhythmically coherent, creating a correct sense of musical organization. And yes, they were \"liquid,\" sounding neither \"tubey\" nor \"solid-state.\" I have to agree with Herron's assessment of his amplifier: To me, it sounded remarkably neutral tonally and harmonically, extremely well-focused without etch or grain, and offered the low-frequency control of a good solid-state amp and the smooth, liquid detail of a good tube amp. He's accomplished all of that, and that's a great deal. Mel at Marty's may not have had \"legs\" to stand on, but the rest of the presentation was superbly neutral, detailed, and honest...though I've had a greater sense of being able to reach out and \"touch\" the performance with other amplifiers in the same system.\n\u003cp\u003e \u003c\/p\u003e\n\u003cb\u003eDetails Galore\u003c\/b\u003e\u003cbr\u003eThe Herron M150s reminded me of the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.stereophile.com\/\/loudspeakerreviews\/295\/\"\u003eInfinity Prelude\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eloudspeakers I reviewed in the May 2000\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eStereophile\u003c\/i\u003e. Infinity worked hard to create a truly \"flat\" loudspeaker by eliminating \"peaky\" tweeter performance; the result was a smooth-sounding speaker that initially sounded as if it didn't really have extended highs or a great deal of detail. In fact, the Prelude had both, as did the Herron monoblock. Extended listening revealed that the speaker's top end was airy and extended, and the flatness of the response revealed incredible inner musical detail, especially among different instruments inhabiting a similar frequency band.\n\u003cp\u003e \u003c\/p\u003e\nThe Herron, like the Preludes, was designed to be listened\u003cspan\u003e \u003c\/span\u003e\u003ci\u003einto\u003c\/i\u003e, not to blow you away in your seat. There was nothing sparkly or crystalline about the M150's high-frequency performance, nor was there anything dull, rolled-off, or muffled.\n\u003cp\u003e \u003c\/p\u003e\nThis self-effacing quality made the M150 less than the most exciting amplifier I've ever heard, but one that should satisfy many listeners over the long haul. It imparted very little of its own sonic character on the music, but most of the character that I did notice with any consistency was subtractive in nature. Sometimes I'd feel that the M150 shortchanged macrodynamics (it certainly got microdynamics correctly), but then I'd put on a record like Classic's 45rpm edition of Mussorgsky's\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePictures at an Exhibition\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(Reiner\/CSO), and the full orchestral slam\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ewas\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ethere. Whenever I started thinking the Herron lacked deep, authoritative bass, some familiar low note would come along, and there would be no doubt that the amp had dug down very deep while remaining extremely well-controlled.\n\u003cp\u003e \u003c\/p\u003e\nBut when there wasn't an obvious low-frequency fundamental, as in a bass-guitar line, I felt a lack of midbass presence. Perhaps that's what Herron calls \"bloom,\" but I think it was part of why the soundstaging lacked \"legs,\" at least in my room with the Amati Homages. And it may have contributed to the other subtractive qualities I consistently noticed: images, though solid, lacked body weight, and the soundstage always opened from the speakers back, never seeming to project forward into the room. As a friend put it, \"You can't wrap yourself around the picture.\" Or sense that you can walk into it, as you can with some other amplifiers.\n\u003cp\u003e \u003c\/p\u003e\nNonetheless, the Herrons did produce an accurate soundstage in terms of depth and width—it's just that the picture never existed forward of a line drawn between the speakers, and that the overall picture was more compact than the one drawn by some other amplifiers. For better or worse, the Herrons' clarity laid bare with ruthless precision the microphone techniques used by many well-regarded engineers: clusters of musicians standing around microphones at Columbia's old 30th Street studio were exposed populating the soundstage of Duke Ellington's phenomenally spacious and well-recorded\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePiano in the Background\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(Columbia CS 8346, \"six-eye\").\n\u003cp\u003e \u003c\/p\u003e\nHerron values lack of coloration over harmonic drama, and the M150 seemed to be colorless—a word that has both negative and positive connotations. On the positive side, it meant that the lack of vivid, additive colorations from the amp—which, while exciting in the short haul, can grate and bore over time—allowed the true harmonic makeup of instruments to shine through. I believe that the M150 is among the most neutral amplification devices I've yet encountered—I never could get a harmonic handle on its sound. On the other hand, I was seldom excited or enthused by what I heard. My response was more a consistent feeling of respect and appreciation for Keith Herron's clearly brilliant balancing act.\n\u003cp\u003e \u003c\/p\u003e\nThat may not be a bad thing. In fact, it had me thinking back to the time I spent with the pair of Audio Research VTM200s.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThese\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003emonoblocks got my adrenalin pumping with their big 3D images, dramatic soundstaging, and intensely dynamic swings...but I had trouble with their string tone. I don't blame Audio Research's Terry Dorn for saying, in his \"Manufacturer's Comment,\" that I got that part \"wrong\"—he might be right—but it's what I heard.\n\u003cp\u003e \u003c\/p\u003e\nString tone from the Herron amps was far more sonorous and liquid—and that's from a solid-state amplifier—but their overall sonic picture was far less intense, less transparent, and much less entertaining. Perhaps with that last comment I've damned myself as a seeker of sonic thrills. So be it. Perhaps all Herron is selling is \"music.\" Perhaps, with my music, I want a roller-coaster ride.\n\u003cp\u003e \u003c\/p\u003e\n\u003cb\u003eConclusion\u003c\/b\u003e\u003cbr\u003eHave you ever seen an unsure animal poking and prodding another one that's playing possum as a defense? That's how I felt during my months with the Herron M150s. It's quite possible that I listened right past one of the finest amplifiers ever designed and mistakenly heard one that's merely very, very good. I poked and prodded, but was never sure what I was hearing. The Herron M150s always delivered music, and without tacked-on glaze, glare, grunge, or too much or too little of anything. They never sounded bright, dull, rich, threadbare, compressed, weak, or strong. Was their tonal balance utterly neutral or utterly bland? I'm not sure, for while I always\u003cspan\u003e \u003c\/span\u003e\u003ci\u003erespected\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewhat I heard, I was rarely enthralled or moved. I was enthralled and moved by the music, but not by the amplifiers. Maybe that's more of an indictment of my listening preferences than it is of the amps' performance.\n\u003cp\u003e \u003c\/p\u003e\nMy only reservations were about the M150's subtractive qualities: Maybe it was a bit light in the midbass, or lacked natural, not artificial, bloom—but Keith Herron is anti-bloom, convinced that bloom\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eisn't\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ein the music and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eshouldn't\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ebe in the audio system. The M150 was about the most neutral amplifier I've yet encountered, and that's why I felt it was playing possum with me—I kept wanting for it to show its true nature. Perhaps, in its unwavering neutrality, it was.\n\u003cp\u003e \u003c\/p\u003e\nStill, I was troubled by the M150s' lack of soundstage \"legs,\" and by their self-effacing-to-a-fault, non-vivid overall presentation. I wanted more solidity and dimensionality, more\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eballs\u003c\/i\u003e. But amplifiers don't\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ehave\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eballs—or breasts or butt cheeks, for that matter. We always say we want the electronics to get out of the way and let the music through. The M150s may very well do that better than any amplifier I've yet encountered. If so, I'm ashamed to say that, at the end of the day, that's not what I want.\n\u003cp\u003e \u003c\/p\u003e\nCall me an \"audiophile.\" In some circles, you couldn't call me worse! Perhaps the combination of the M150s and the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.stereophile.com\/\/loudspeakerreviews\/139\/\"\u003eAmati Homages\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003ewas not a good one. Or perhaps Keith Herron has designed out more than just the colorations of most amplifiers. Maybe he's gone overboard and, in his desire to design out colorations, has designed out some of the life of recordings and music.\n\u003cp\u003e \u003c\/p\u003e\nYou'll have to be the judge of that—and I strongly recommend that you put on your black robe and find out. Don't let the M150's plain looks fool you: it's a special amplifier that deserves your serious attention.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"footnote\"\u003e\u003cnav id=\"book-navigation-11490\" class=\"book-navigation\" role=\"navigation\" aria-labelledby=\"book-label-11490\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eDescription:\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eSolid-state monoblock power amplifier. Output power: 150Wpc at 1kHz into 8 ohms (21.8dBW), 275Wpc at 1kHz into 4 ohms (21.4dBW). Frequency response: 20Hz-20kHz, ±1dB. THD: not specified. Voltage gain: 24dB. Input impedance: 47k ohms. Input sensitivity: not specified. Absolute polarity: Non-inverting. Power consumption: not specified.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eDimensions:\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eAmplifier: 19\" W by 4\" H by 10.5\" D. Weight: 25 lbs.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003ePrice:\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e$5895\/pair. Approximate number of dealers: 15. Warranty: 2 years parts \u0026amp; labor.\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eManufacturer:\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eHerron Audio, Division of Herron Engineering, Inc., 12685 Dorsett Road, #138, St. Louis, MO 63043. Tel: (314) 434-5416. Fax: (314) 434-6629. Web: \u003c\/span\u003e\u003ca href=\"http:\/\/www.herronaudio.com\/\"\u003ewww.herronaudio.com\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cul class=\"book-pager\"\u003e\u003c\/ul\u003e\n\u003c\/nav\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Herron Audio","offers":[{"title":"Default Title","offer_id":48366692729077,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0673\/9204\/5301\/files\/DSC_0001_d1d17378-78f7-4e12-9c61-54c21b8eb547.jpg?v=1783205975","url":"https:\/\/www.theturntablestore.com\/products\/herron-audio-2x-m-150-monoblock-power-amplifier-150w-rms-fully-serviced","provider":"The Turntable Store","version":"1.0","type":"link"}