“The HV-35 was consistently in my top two for all tests with the Radial Workhorse chassis. In comparison to transformer-based Class-A designs, it was more open on the top with less compression of transients and a more detailed sense of ambience and space. Compared to some of my favorite tube-based pres, the HV-35’s low end was punchier and thicker. The HV-35’s high end was accurate and pleasing, while in comparison the tube pre’s additive harmonics and softening of transients felt quite flattering on acoustic guitar. Overall, the timbre of the HV-35 was more balanced than all of its tested counterparts, and its placement in the stereo field was more “three-dimensional.”
– Randy Poole – Pro Audio Review

“The HV-35 is extremely well-built, sounds great (well actually, it’s more like it has no sound at all), and the DI is well-implemented. It accomplishes its goal of transparency, but also has the depth that’s the hallmark of a well-designed amplifier.”
– Craig Anderton,  Electronic Musician

“I ran the new HV-35 right alongside my original HV-3D and after matching the input settings I can say, “I hear zero difference in sonic character or quality!” None! I have no idea how they crammed all of the HV-3D’s electronics in there and how they scaled the power to work within the 500-Series voltage restrictions, but somehow they did it.”
– Paul Vnuk, Recording Magazine

“The San Francisco Symphony has always owned both Millennia preamps and convertors because they meet our criteria of transparency and resolution, and since I’ve been asking John and Joel to develop 500 series modules for years, I’m extremely pleased by the release of both the AD-596 and HV-35.”
– Jack Vad, award winning producer/engineer for the San Francisco Symphony

“I put 48 channels of HV-3D into Sting’s tour rig and I wanted access to that super clean pure sound in my portable 500 series rack.”
– Donal Hodgson,  producer/engineer for Sting and many others