AGD Productions Allegro

by Dawid Grzyb / July 20, 2026

The AGD Productions Allegro marks an important milestone for Alberto Guerra’s company as its very first integrated design. That’s our subject this time around. Enjoy!

Class of Its Own

During the very first episode of Srajan Ebaen’s and my most recent YouTube endeavor named 7th Moon, we casually mentioned several audio brands, one of which happens to be particularly important to this story. At one point Srajan asked me which company, known primarily for its Class D amplification, had made the biggest impression on me over the years. Without hesitation I answered: Alberto Guerra’s AGD Productions. The exchange wasn’t scripted. Neither of us had the slightest idea where that conversation would lead or what topics would naturally emerge once the cameras started rolling. Looking back now, however, AGD surfacing more than once during that podcast feels anything but accidental. The truth is, Alberto’s work has been on my radar for years. Here at HifiKnights alone, his portfolio has already amassed rather extensive coverage spanning five products: the Andante and Alto DAC/pre designs, alongside the Tempo stereo amplifier and the Audion Vivace monoblocks, the latter awarded with our rare Victor badge. That isn’t a coincidence either. Whenever an AGD component landed in my system, it consistently reminded me that judging an amplifier by its operating class alone is an increasingly futile exercise.As someone who has spent countless hours with genuinely accomplished Class A and Class AB amplifiers, I can say without reservation that Alberto Guerra’s finest efforts belong in exactly that company. His amplifiers never struck me as excellent for Class D products. They simply were excellent amplifiers, period. In my experience they occupy the uppermost tier of contemporary amplification regardless of topology, and that’s perhaps the highest compliment I can pay them. With that established, let’s briefly rewind to the recent High End show in Vienna. As it turned out, that event proved instrumental in setting today’s review in motion. Although Alberto Guerra didn’t exhibit at the Austria Center Vienna during the maiden High End Vienna show, he was very much present just a five-minute stroll away at HiFiDeluxe, hosted by the ARCOTEL Kaiserwasser. There, on the hotel’s fifth floor, AGD Productions shared a room with Bayz Audio, whose Courante 2.0 loudspeakers were entrusted with showcasing several of Alberto’s creations. One of them was the company’s latest and by far most ambitious undertaking, an all-in-one affair named Allegro.

I spent far too little time there to form any meaningful conclusions about the system’s sonic prowess. Besides, Bayz loudspeakers are omnidirectional designs, which present music in a fashion quite unlike that of conventional forward-firing speakers. Anyone without prior exposure to such concepts needs a moment to recalibrate their expectations, particularly where imaging and spatial cues are concerned. As such, any off-the-cuff remarks about the sound would have been premature at best. On a more personal note, the Vienna show finally gave Alberto and me an opportunity to shake hands in person. Although our acquaintance dates back to early 2020, with numerous conversations and correspondence exchanged in the meantime, our paths had never actually crossed until then. It was a long-overdue meeting and, as it turned out, the beginning of Allegro’s journey to my listening room. Roughly two weeks later, a large package bearing AGD’s logo landed on my doorstep and the game was afoot.The cargo arrived in a rather substantial cardboard box that housed a flight case seemingly fit to withstand an artillery assault. I expected nothing less. Over the years, this level of packaging has become one of AGD Productions’ trademarks, and Allegro follows that tradition to the letter. Once the latches were released, the case revealed a dense foam interior precisely machined to accommodate its contents. The main attraction was naturally the amplifier itself, accompanied by a microfiber cloth, a pair of woolen gloves, a user guide tucked inside a red envelope, a nicely appointed power cord, and a handsome aluminum remote control that offers everything one might expect: power, mute, volume adjustment, input selection and a confirmation button for menu navigation. Functional, tactile and reassuringly solid, it mirrors the philosophy behind the product it accompanies. In fact, the entire unboxing experience feels carefully considered rather than merely adequate. Nothing strikes as an afterthought and, as so often with AGD, Alberto Guerra’s attention to detail is evident long before the amplifier itself is connected to the mains.

Having already designed separate DAC/preamplifiers and power amplifiers, one could reasonably expect Alberto Guerra’s next move to be a fully analog integrated amplifier that simply combines both disciplines under one roof. Instead, he skipped that stop altogether and ventured straight into all-in-one territory. AGD Productions’ Allegro is indeed an integrated amplifier, but one that comes generously seasoned with a DAC, head-fi out, network streamer and a fully fledged phono stage, which together turn it into a bona fide command center capable of handling virtually every modern source component. In other words, it does everything, perhaps even a few things some prospective owners won’t ever need. Take me for example. Vinyl has never been part of my routine, so as a predominantly digital-oriented listener, I’d inevitably be paying for a phono stage that would remain permanently idle. That observation felt particularly relevant before Allegro arrived, because this isn’t a modular platform where individual sections can be specified or omitted at the time of purchase. In an ideal world, such an ambitious product would allow buyers to configure it according to their actual needs instead of asking everyone to finance the exact same feature set.Then again, reality is rarely that straightforward. Perhaps modularity would have compromised Allegro’s remarkably compact enclosure? Or significantly increased its already substantial asking price of $14’999 before VAT and import fees? Maybe Alberto’s objective from the outset was to create one uncompromising centerpiece equally comfortable in digital and analog environments, and therefore inherently future-proof? Whatever the rationale, those initial reservations gradually faded once Allegro entered daily service. As I would soon discover, genuinely high performance has a curious way of making theoretical objections seem increasingly academic. More about that later. For now I’ll play devil’s advocate. Should I ever decide to venture into vinyl—and I can’t entirely rule out that possibility—Allegro would already have me covered. Better still, it could finally provide the incentive to do exactly that. Even before delving into its sonic merits, one thing had already become apparent: Allegro is the sort of product one builds a system around rather than eventually upgrades from. At this early stage I can already confess that it also belongs to the exceedingly rare breed of components that qualify as endgame purchases. It truly does.

Allegro occupies a mere 280 × 280 × 90mm footprint and shows 10kg on the scale. Those figures alone hardly prepare one for just how much hardware Alberto Guerra managed to squeeze into such modest real estate. Via its USB input, Allegro accepts PCM data up to 32-bit/768kHz and native DSD all the way to DSD512, so there’s effectively no commercially available high-resolution format beyond its reach. The in-built streamer supports the DLNA/UPnP standard, and it already works with Qobuz Direct and Audirvana. Spotify, Tidal, and Roon certification are on their way. Analog enthusiasts weren’t left behind either. Allegro’s onboard phono stage caters to both MM and MC cartridges, with the former seeing the customary 47kΩ input impedance and the latter 420Ω. The remaining figures are equally reassuring: signal-to-noise ratio reaches at least 85/75dB for MM/MC operation, RIAA equalization stays within a razor-thin ±0.1dB, frequency response spans the entire audible range with the same ±0.1dB tolerance, while harmonic distortion doesn’t exceed 0.05%.As expected from AGD, the power amplifier section is where the engineering credentials become particularly impressive. Allegro is specified to deliver 125 watts per channel into 8Ω and exactly twice as much into 4Ω, a textbook indication of a stout power supply and output stage happy to source current on demand. That impression is reinforced by a peak current capability in excess of 50 amperes, enough to make one wonder whether Alberto inadvertently designed a small welder, while distortion remains below 0.005% at 10W/1kHz. Frequency response stays ruler-flat within ±0.1dB across the entire audible band and doesn’t roll off until 80kHz (-3dB), whereas a dynamic range exceeding 120dB rounds out a specification sheet that leaves very little to be desired. Output Noise (A-weighted) remains below 45µV, and factory gain is set to 23dB. As such, Allegro appears fully equipped to remain unfazed by demanding loudspeaker loads.

In the flesh, Allegro takes the form of an adorably compact square-shaped device that occupies surprisingly little rack space. It also barely gets warm even after extended listening sessions, which makes it an exceptionally domesticated piece of hardware. From a practical standpoint, this is exactly the kind of component intended for listeners who want a single box to do everything, albeit on a level that firmly places it very high on the performance ladder. Its enclosure, generously peppered with ventilation perforations across the top and underside, is machined from a single aluminum billet, while access to the internals is provided from below. Normally, I’d have no reservations about removing the bottom plate to inspect Alberto Guerra’s handiwork. This time, however, discretion prevailed. Since my review sample had to continue its journey to another reviewer immediately after my evaluation was complete, I decided not to risk opening it.The front fascia is as clean and purposeful as the rest of the machine. The knurled rotary encoder on the left, complete with an integrated push function, handles standby on/off, input selection and menu navigation. Its counterpart on the right, positioned just above the 4.4mm balanced head-fi output, governs volume and confirms menu selections. Interestingly, whenever the headphone out detects a connected load, Allegro automatically places its entire GaNPower amplifier stage and main power supply in standby, leaving only the dedicated Class A headphone circuitry, fed by ultra-low-noise voltage regulators, operational. Sandwiched between the two controls inside a shallow horizontal recess is a generously sized OLED display that reports the selected input and current volume level. Personally, I have no issue with its deliberately restrained scope. The Innuos app on my smartphone already supplies everything else I might want to know, from sampling rate and file format to track metadata and album artwork. As such, I never found myself wishing Allegro’s own display attempted to duplicate that information.

To say that Allegro’s business end is busy would be an understatement. From left to right, the rear panel accommodates five digital inputs in the form of LAN, coaxial and optical S/PDIF, AES/EBU and USB, followed by a 12V trigger output and a Bluetooth antenna. Next come the grounding post and an RCA phono input, followed by two RCA line-level inputs and one on XLR, all directly coupled and with an output impedance below 50Ω. The analog section concludes with a preamp out and a subwoofer out, both on RCAs, the latter low-passed at 80Hz with a shallow 6dB/octave slope. Completing the picture are a pair of handsome loudspeaker binding posts, a fused IEC inlet and the primary power rocker. The UI is intuitive, straightforward and easy to navigate. From there, users can adjust channel balance and MC loading, invert absolute phase, select between MM and MC cartridge operation, set display brightness, engage home theater pass through, configure the date and clock, pair the remote control and inspect system information. And just to state the obvious, should my photos fail to do it justice, Allegro is very well put together.Long-time HiFiKnights readers may recall my review of AGD’s Andante, where I noted Alberto Guerra’s preference for proprietary digital solutions and industrial-grade components. Back then, the volume control circuit comprised an 8-bit attenuation ladder with sixteen industrial relays, while D/A conversion itself was entrusted to four industrial-grade R-2R DAC chips. The analog output stage, in turn, relied on a dedicated buffer based on THAT Corporation’s professional audio chipset. Although Allegro’s DAC architecture has since evolved into a fully discrete implementation, the underlying philosophy of keeping as much as possible in-house appears very much intact.

While I didn’t inspect Allegro’s internals firsthand, Alberto Guerra was more than happy to fill in the blanks. Its R-2R DAC is now a fully discrete design developed internally. The same applies to the streaming platform built around a quad-core ARM single-board computer equipped with 512MB of RAM and 4GB of onboard storage, it further underscores Alberto’s determination to keep as much of the product under his own engineering umbrella as possible instead of relying on readily available third-party solutions. Power comes courtesy of a proprietary 600-watt switching supply based entirely on gallium nitride technology. This isn’t a one-off solution developed exclusively for Allegro, but AGD’s newest-generation platform already adopted in the latest Forté and Gran Vivace Mk IV. In short, Allegro isn’t a technological outlier within the company’s portfolio, but rather another beneficiary of AGD’s latest hardware architecture, one intended to become the company’s new standard across the range.One technical aspect worth highlighting concerns AGD Productions’ GaNPower output stage. Beginning with the Mk II generation introduced in 2022, every amplifier in the company’s portfolio saw its switching frequency doubled from roughly 400 to around 800kHz. According to Alberto, that increase became possible thanks to new 600V GaN MOSFETs, a revised GaNTube output stage, improvements to the PCB layout and several other key component upgrades. At the heart of this architecture sits AGD’s proprietary GaN module built around dual depletion-mode gallium-nitride FETs with exceptionally low input and output capacitance. Configured as a cascode half-bridge, these devices minimize the electrical path between the switching elements, an approach that reduces parasitic effects and helps preserve switching integrity at very high operating frequencies.

Although the jump from 400 to 800kHz may appear to be little more than an engineering footnote, it carries several tangible benefits. Moving the PWM carrier farther away from the audible band allows for a less intrusive output filter with improved phase behavior, flatter response into complex loudspeaker loads and easier suppression of ultrasonic switching residue. While none of that automatically guarantees better sound, it does give the designer considerably more freedom to make a Class D amplifier behave like one that isn’t. In other words, the higher switching frequency doesn’t rewrite the rulebook, but it significantly relaxes several of the compromises traditionally associated with the topology. Naturally, nothing comes for free. Operating at 800kHz raises the bar in terms of switching losses, PCB layout, EMI management and overall circuit complexity. Alberto Guerra regards this operating point as the practical sweet spot where measurable gains remain worthwhile without incurring disproportionate thermal penalties. The challenge, however, isn’t merely to switch faster, but to do so cleanly, with precise timing, minimal dead time between the switching devices and without the spikes or delays that inevitably translate into distortion.Achieving that required considerably more than selecting fast gallium-nitride devices. Allegro’s 800kHz architecture is the result of the entire amplification platform being developed as a cohesive whole. Its GaN output stage, PWM controller and 600W GaN-based power supply were engineered to complement one another, not to operate as isolated building blocks. As is so often the case in high-performance audio, no single ingredient deserves all the credit. Instead, Allegro’s amplifier section is best understood as a carefully balanced ecosystem whose individual elements only reveal their full potential when working together. Enough theory. Let’s see what all of this sounds like.

While Allegro is packed with features and there’s undoubtedly much to be said about each of them in isolation, I decided to review it the way I suspect most customers would actually use it: as an all-in-one platform. Accordingly, it replaced virtually my entire reference system save for the power distribution, speaker cables and the two loudspeakers that serve as my daily drivers. In doing so, AGD’s newcomer effectively found itself squaring off against a roughly nine times dearer front end comprised of the Innuos Statement Next-Gen server/streamer, LampizatOr Horizon360 DAC and Trilogy 915R/995R analog end. Making the necessary back-and-forth comparisons proved surprisingly painless. All I had to do was mute the Trilogy 915R, swap the loudspeaker cables, unmute Allegro and select it as the active playback device in the Innuos Sense app. Hardly a chore, especially since I once again appreciated being able to control both streaming platforms from the very same smartphone application without any downtime or needless reconfiguration. It is also worth mentioning that whenever Allegro took center stage, the Innuos Statement Next-Gen simply assumed NAS duties.Before delving into Allegro’s sonic performance, there’s one practical aspect worth mentioning. A quick glance at the rear panel reveals just how densely populated it is around the loudspeaker terminals. With these posts positioned in close proximity to the IEC inlet, Bluetooth antenna and analog outputs, Allegro is very much a design that prefers speaker cables terminated with banana or BFA plugs. Spades and bare wire are accepted just fine, but installing either requires a bit more patience than usual simply because there’s very little room to work with. Some users may view this as a minor drawback. Then again, considering just how much hardware Alberto Guerra managed to squeeze into such a compact enclosure, criticizing Allegro for it feels somewhat unfair. Ditto its lack of XLR outputs despite of its balanced architecture. In a product this compact, such packaging compromises are virtually inevitable and, in the grand scheme of things, hardly dealbreakers.

Considering what Allegro is, or rather what it packs under its hood, certain expectations naturally arise as to how it might sound. Its GaN FET output stage and R-2R DAC strike me as the two principal contributors to the sonic outcome, so let’s begin by examining what each of these technologies typically bring to the table. Elsewhere I described R-2R converters as inherently biased toward musical naturalness rather than forensic analysis. Instead of prioritizing sheer speed, edge definition and microscopic detail retrieval above all else, they tend to communicate through tonal richness, elasticity, dynamic ease, tactile presence and that difficult-to-define organic quality that lends instruments and vocals convincing substance without making them overly warm, thick or sluggish. Their presentation is often denser and more colorful than that of many delta-sigma designs, yet also highly resolving, expressive and structurally complex. In my experience, this particular combination is precisely what makes R-2R DACs so compelling. It also makes them ace companions for electronics and loudspeakers primed for quick, fit and nuanced sound.Previous encounters with AGD’s finest amplifiers have painted a remarkably consistent picture of the company’s sonic priorities. Their presentation invariably leans towards openness, speed, dynamic eagerness, generous spatial scale and pinpoint clarity, yet never at the expense of tonal sophistication. While this sort of voicing often risks becoming dry, coarse, lightweight or overly etched, Alberto Guerra’s designs have repeatedly avoided these pitfalls with utmost ease. Instead, they combine athletic reflexes, explosive dynamics and unwavering control with uncommon smoothness, liquidity and textural complexity. They illuminate recordings rather than dissect them, sounding energetic and highly revealing without ever becoming nervous, fatiguing or emotionally detached. Equally important, their low-frequency authority remains as substantial as it is disciplined, which prevents all that openness and immediacy from drifting into lean, ethereal, hyper-explicit territory. To my ears, this ability to reconcile seemingly opposing qualities has become AGD’s defining house sound: inherently sporty in its priorities, yet unmistakably elegant.

Combine a discrete R-2R DAC with AGD’s signature GaN amplification and it should be fairly clear where Allegro’s sonic footprint is headed. Alberto Guerra deserves credit for pairing these two remarkably complementary technologies. As it quickly turned out in practice, that intuition was entirely correct. Still, although I had a fairly accurate idea of how Allegro ought to behave, the end result still largely caught me off guard. In hindsight, I think I know why. Much as enthusiasts appreciate a well-executed all-in-one component, few of us instinctively place such products on the same pedestal as carefully assembled separates costing several times more. We tend to view AiO machines as sensible, convenient solutions designed to satisfy rather than astonish, products that trade outright performance for versatility and practicality. Allegro had no interest in conforming to that stereotype. Quite the opposite. It repeatedly challenged my expectations of what a compact one-box component should be capable of and, in terms of sheer sonic performance alone, proved legitimately startling.Alberto’s previous designs had consistently embodied an aesthetic built around speed, sunlit tonal hues, outrageous dynamic span, excellent drive and control, generous insight, directness and seemingly inexhaustible energy. What comes to mind is the kind of vivid, spacious, punctual, brilliantly illuminated, and fresh presentation that brands such as Goldmund, Enleum and Kinki Studio routinely achieve with lateral Exicon MOSFETs in their Class AB amplifiers. Right from the outset, however, Allegro surprised me with its broad tonal palette, high colour intensity, and unmistakably fruity disposition. Think of a delicious dish that is light on your stomach, yet exceptionally complex in flavour, packed with nutrients, brilliantly seasoned, and one that artfully balances sweetness, acidity and just the right amount of spice. In that analogy, my primary system would represent a meal of comparable sophistication, albeit decidedly heartier, unapologetically fattier, and one that keeps your digestive system busy for longer.

This food metaphor extends well beyond matters of tone or taste. It proved equally relevant in the bass department. With the notoriously demanding Boenicke W11 SE+ loudspeakers, my Trilogy 995R monoblocks, whose damping factor into 8Ω remains in the low two-digit territory, produced bass that was bloomier, softer around the edges, less disciplined and not quite as punctual. None of that came as a surprise. Allegro told a rather different story. Although AGD doesn’t disclose its output impedance, the way Allegro controlled the Swiss floorstanders strongly suggested a damping factor well into the triple digits. Class D amplifiers have long been known for combining abundant power with low output impedance, a combination that always translates into exceptional loudspeaker control.  Compact though it may be, Allegro is every inch a workhorse purpose-built to tame demanding loudspeakers with complete authority and unquestionable ease.While I quickly realized that my assumptions regarding Allegro’s successful fusion of R-2R virtues and gallium nitride amplification were entirely correct, the biggest surprise lay elsewhere. As accomplished as it already was in balancing athleticism with tonal sophistication, this inconspicuous machine also exhibited remarkable finesse, refinement and precision in the way it rendered spatial cues and the upper reaches of the audible spectrum. The longer I listened, the more evident this elusive and genuinely rare level of sophistication became. I had expected Allegro to hold its own in these areas. What I hadn’t anticipated was just how profoundly it would exceed those expectations.

The last time I experienced a comparable degree of insight, immersion, elasticity, expressiveness, tactility and sheer delicacy was when the FirstWatt SIT-4—one of only two amplifiers I consider the finest pieces of hardware I’ve ever had the privilege to hear—spent time in my system. I’m not suggesting that the SIT-4 and Allegro sounded alike. Rather, despite their different sonic identities and the two-year gap between their reviews, both ultimately evoked a remarkably similar intensity and emotional response that followed. Every now and then, with the right recording, they possessed that exceedingly rare ability to strike exactly the right nerve and leave me listening with moist eyes. To be clear, such moments are exceptionally rare, therefore memorable. I neither anticipate nor avoid them; they simply happen when they happen. Yet whenever they do, I’ve learned to treat them as perhaps the most reliable indication that the component on my workbench is something truly special.It’s only fair to admit that I initially underestimated the Allegro. Quite simply, I didn’t expect it to be what it ultimately proved to be. Looking back, I suspect much of its profound impact stemmed from the fact that it never placed its explosive qualities on a pedestal. Exceptionally muscular, fearless and authoritative though it undoubtedly was, it never felt compelled to flaunt those traits. Instead, it behaved as if perfectly aware that such capabilities were always there in reserve, deliberately drawing my attention to precisely those qualities that Class D amplifiers are still rarely celebrated for. In doing so, Allegro quietly but unequivocally challenged long-held preconceptions, and it did so with remarkable confidence and complete conviction.

In that regard, Allegro dismantled the usual Class D stereotype, much like several other outstanding designs of its kind that I had hosted before it. That, in itself, wasn’t the revelation. The next genuinely intriguing moment arrived when I set the Boenicke W11 SE+ aside and partnered the AGD with my sound|kaos Vox monitors instead. These compact Swiss loudspeakers will happily make music with virtually any amplifier, yet unusual as they are, they simply refuse to reveal their full potential unless driven by my Trilogy 995R monoblocks biased into Class A, or an amplifier of similar topological pedigree.Allegro changed that equation. The little Swiss monitors sounded positively wicked, while simultaneously revealing just how spectacular Alberto Guerra’s latest creation was in spatial terms. Particularly striking was the way it rendered key images between the speakers, with finely sketched outlines and an almost uncanny sense of physical presence, a quality I had previously considered to be one of my DAC’s defining strengths. The sound I got from this pairing was as remarkably intense in colour, zesty, elastic and vivacious as it was quick, spatially outrageous, direct, instantaneous and precise. Although some upper-bass bloom and body naturally disappeared in the process, I greatly appreciated the iron grip Allegro exercised over the Voxes below the waistline, and how effortlessly they reached their natural bottom end. More importantly, nothing about this sound struck me as artificial or contrived. Instead, it exhibited remarkable correctness, balance, order and natural coherence. That, perhaps more than anything else, was what caught me off guard. Nor had I seen it coming that an amplifier this resolving and quick-footed could render key images so present, tangible, substantial and close to the listening seat all at once. Having lived with the Vox for years, I simply hadn’t expected a Class D amplifier to unlock this level of performance from them. Simply put, I was prepared for sound that was predominantly mechanical, explicit, well illuminated and decidedly big-bore, but certainly not this artful, sensual, and alive. I also appreciated just how silent these rather sensitive monitors were when fronted by Allegro in the absence of music. In that respect, this amplifier was squeaky clean indeed.

The above confession paints the picture of Allegro used exactly as intended, namely as an all-in-one device. Still, I couldn’t resist eventually fronting it with my DAC first and my streamer later. While the resulting shifts in overall balance and the accompanying list of sonic gains were readily apparent, detailing them here feels largely redundant. Allegro already accomplishes an extraordinary amount as a self-contained design, so explaining how its performance can still evolve when partnered with standalone components rather misses the point. Anyone contemplating such an exercise is no longer evaluating an all-in-one component, but an altogether different proposition. In fact, I’m willing to bet that most listeners exposed to a system built around this AiO and sound|kaos Vox monitors wouldn’t even contemplate adding more boxes to it for a very long time. Let’s wrap.

I’m sure that many seasoned audiophiles will instinctively dismiss the Allegro. To them, an all-in-one component—however accomplished, however costly—simply cannot compete where it matters most with dedicated separates. The inconvenient truth is that it very much can. It also suggests what the industry’s performance peak may well look like a decade from now. The difference is that Alberto Guerra has already arrived there ahead of schedule. Beautifully voiced and visually understated, his latest design drives home the point that genuine high-end can dress up as a single inconspicuous box that takes up very little rack space and needs only a pair of loudspeakers to accomplish things it honestly shouldn’t. Currently, I know of no competing AiO affair that performs at this level. The award below merely acknowledges that reality. Those intent on building a minimalist system capable of extraordinary things should take note.

Associated equipment:

Retail prices of reviewed components in EU (excl. VAT):

  • AGD Productions Allegro: $14’999

 

Manufacturer: AGD Productions

 

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