O exclusivo recurso Timbre Lock®, que foi pela primeira vez implementado no Model 88, ganhou o principal prêmio conferido pela mais conceituada publicação inglesa dedicada à audiofilia, a Hi-Fi News. O “Hi-Fi News Industry Award” foi entregue em Londres ao projetista Eduardo de Lima e o recurso foi descrito como “uma aplicação genial que funciona, pura e simplesmente".
[Hi-Fi News]

O 6Moons é hoje um dos mais conceituados sites de audiofilia do mundo e seu editor fez um longo e entusiasmado review do Model 88, concedendo-lhe o prêmio "Blue Moon Award - for Engineering Brilliance & Massively Musical Success" na categoria de amplificadores valvulados:
"In closing, in my ongoing career as audiophile and music fiend -- blundering would-be philosopher a tame third to curtail the excessive behavior of the first two maniacs -- I haven't come across another amplifier yet whose potent virtues speak to me with this particular brand of seduction, brains and sheer believability..."
[Srajan Ebaen, 6Moons]

O Model 88 esteve presente na lista de equipamentos recomendados da Stereophile como Classe A desde 2003, ficando nesta posição por todo o período em que a Audiopax manteve distribuição nos Estados Unidos (uma premissa desta publicação), ou seja, durante 7 anos. Isso é tão incomum que a Stereophile indica com uma estrela adicionada ao lado do nome quando um equipamento consegue o feito de permanecer por 3 edições consecutivas na listas.
[Stereophile]

"When I try to get a handle on the sound of a component, my approach at first is always holistic rather than an attempt to focus on any specific sonic attribute. Does the sound resemble live music? Does the component allow the music played through it to reach me at an emotional level? Can I listen for long periods without feeling like I want to do something else? In the case of the Audiopax Model 88, the answer to all these questions was a resounding "Yes." The music just seemed to be there, the amplifier (and the rest of the system) getting out of the way. The most striking aspect of the Model 88's contribution to the system's sound was that it seemed to reduce much of the harshness and edgy quality that I'd assumed was simply a characteristic of certain recordings. …but when I changed over to the Audiopax, Idina [Menzel] just seeme more in the room, and the recording sounded less like a recording and more live.To put this difference in context: The Audiopax does this better than any amplifier of my experience”.
[Robert Deutsch, Stereophile]

O Model 88 foi capa da HiFi+ inglesa, com destaque para o título "Bias: Brazilian all-star Audiopax Model 88 moves the tube goalposts":
[HiFi+]

"The Model 88s never put a foot wrong. No matter how deconstructed proceedings get, everything stays locked, perfectly in place. Musically it’s a technically demanding tour de force, and the fact that the amps reveal that so clearly and with so little apparent effort is testament to their musical integrity. In many respects, the Audiopax amps perfectly match my musical preferences and demands. As a long time Jadis JA30 user, it’s impossible to ignore the fact that the Model 88s so readily embrace the same musical strengths (and vices). There again, the very nature of the beast is its adaptability. Just how easily they might embrace your personal desires only trial can tell. Consider them as possessing the virtues of a low-powered, single-ended triode, yet absent the limitations at frequency extremes and incorporating a dial-a-focus facility and you’re beginning to get the picture."
[Roy Gregory, HiFi+] review do Model 88

O Model 88 ganhou a qualificação máxima da revista Clube do Áudio e Vídeo, sendo também indicado como um dos "Melhores do Ano" e recebendo o prêmio de "Produto do Ano": "...O Model 88 é magistral, como um "Midas": tudo que ele toca se transforma em ouro... a sensação que passa é que ele "refina" o invólucro harmônico de tal maneira que todo o acontecimento musical é revigorado e sua assinatura sônica totalmente resgatada. Mesmo que você não esteja entendo nada de minha desesperada tentativa de explicar o inexplicável, ouça-o...você terá uma encantadora e sólida leitura, tanto do silêncio como da música...Tornou-se impossível viver sem ele."
[Fernando Andrette, CAVI]

Além de um entusiasmado review do Model 88 a revista Hi-Fi News, a mais tradicional publicação britânica sobre áudio, concedeu seu mais importante prêmio ao Timbre Lock®: o "Industry Awards for Best Valve Amplifier Innovation": "... Audiopax o apresenta [Timbre Lock®] como o 'primeiro (e único) ajuste de otimização da interação entre amplificadores e caixas'. É sutil, mas audível o suficiente para provocar mudanças que alteram a performance para acomodar - no meu sistema - caixas tão diferentes como as Quad ESL-57s, BBC LS3/5As e Wilson WATT Puppy System 7...é uma aplicação genial, que funciona; pura e simplesmente."
[Srajan Ebaen, 6Moons]

Antes de fundar o 6Moons Srajan Ebaen fez o review do Model 88 para o site "Enjoy the Music". Vemos aqui, pela primeira vez, uma referência ao termo “once in a blue moon", que hoje dá nome ao principal prêmio da 6Moons (uma inspiração?...): "With the speakers I had on hand adjusting the Timbre Lock acted like dialing a high-resolution lens for bull’s eye focus on a gnat's ass. Depending on how copacetic the starting-out setting was, the sound morphed from good or great to truly special in every single instance. If my experience and exposure level are to be trusted for a semi-cloudy crystal ball prediction, the Audiopax Model 88s should turn out to be one of those once-in-a-blue-moon component occurrences that reviewers live for to discover."
[Srajan Ebaen, 6Moons]

"...O que é mais intrigante é a afirmação de que esses amplificadores podem reduzir a distorção total do sistema. Uma daquelas pomadas miraculosas? Na verdade não. Em termos numéricos a distorção do sistema é normalmente dominada pela distorção das caixas, que pode ser minimizada com o uso de amplificadores de altíssima impedância de saída. A impedância da maioria dos amplificadores “Single Ended” não é alta o bastante para garantir esse efeito (resultando também em uma resposta de frequência fora de controle). A proposta alternativa da Audiopax indica que essa distorção pode ser “ajustada” para um ponto resultante mínimo menor do que o das próprias caixas sozinhas…”
[Jonathan Black, HiFi Choice]

“Starting in the bottom octaves, the Stereo 88 combines excellent linearity with a surprising amount of control. I'd liken this aspect of performance to a cut of fine aged Filet Mignon… Like a good Crème Brûlée, the Stereo 88 produces a treble that has just the right amount of sweetness on the pallet complimented with the occasional bite of reality -never in excess and always in proper balance. Well, if the early octaves produced by the Stereo 88 are aged Filet Mignon, then the midrange that follows would best be described as a Maitre d'Hotel butter: Rich and flavorful but with not so much as a hint of personality to be anything but the perfect extension of theme. It has one of the cleanest, most transparent and musically accurate midranges I've ever used."
[John Potis, 6Moons] review do Stereo 88

"...Começarei pela conclusão: o Stereo 88 mantém toda a magia e musicalidade dos monoblocos Model 88 que são um dos amplificadores mais emocionalmente envolventes que já ouvi em toda a minha vida. Estavam presentes os mesmos silêncios absolutos que me deixaram transtornado com os monoblocos. Também estava presente a espantosamente real reconstrução do envelope harmônico. Os agudos claros e extensos pairando no ar como nuvens na manhã de um lindo dia primaveril. Os médios - ah, os médios. Não é justo!! Esse aspecto é suficiente para mandar o projetista para a cadeia. Mas, talvez não... ele poderia ter muito tempo livre e poderia aparecer com algo mais. Os médios eram tão reais e orgânicos que eu podeia perceber sem nenhum esforço cada intenção dos músicos, não importando o quão sutil elas fossem. Isso é tão difícil de expressar…"
[Fernando Andrette, CAVI] review do Stereo 88

"The first thing you hear when you turn on the Stereo Eighty Eight is, well, nothing. It’s as silent as a tomb! When the music starts, it’s immediately obvious the Stereo Eighty Eight is blessed with a sweet tonal palette. Instrumental and vocal harmonics are rich and textured. Strings, in particular, are lush and full-bodied. Was this is a euphonic effect, or just a very accurate depiction of string tone? Whichever the case, it’s gorgeous. I urge you to take a listen to this beautiful -- and beautiful-sounding -- amplifier."
[Vade Forrester, Soundstage]

"I spent a long time listening to music in the Audiopax room, where Eduardo de Lima explained the various and extensive changes made to his range of high end electronics... The sound was amongst the very best at the show, and it is clear music comes first in this Brazilian company.”
[Phil Gold, Enjoy the Music]

Of all the rooms I visited, I can't remember one that was more musical. The Audiopax Model 88 single-ended tube amps were driving a pair of Audiopax Ref 100 speakers. Also in attendance was the new Zanden CD transport. The music drew me in with its effortless quality. The midband was palpable and the highs extended. The bass was solid. The speakers threw an immense soundstage and imaged as well as any minimonitors.
[Bill Brooks, Soundstage]

"The room that epitomized my central quality of spiritual energetics to utmost perfection was the Audiopax/Zanden/Grand Prix Audio/Z-Cable/Lindsay Cable/BPT system. It gets my vote for personal favorite of CES 2004 and thus takes pride of place on this opening page. Two notable speaker design houses, one by way of a technical engineer from a veritable conglomerate, congratulated Eduardo in no uncertain terms on his new speaker. The engineer was ready to place an order for the novel midrange driver, something its Brazilian inventor politely but resolutely declined. To get the low-down on this tube-optimized speaker design with its 11-ohm nominal impedance, our own Jules Coleman will do the honors with an in-depth review. Meanwhile, David Chesky returned to this room multiple times, spending more than an hour during one visit which is a very rare, blue-moon-kind of occurrence indeed. Why? I saw David barely last through one of his self-mastered Chesky tracks in multiple other rooms. Plus, I have myself been subject to his intense on-the-spot evaluation while still manning active exhibits for manufacturers in the past. David knows his recordings and only needs seconds to determine how closely playback mimics the live studio experience."
[Srajan Ebaen, 6Moons]

When my soul needed nourishment, I found myself returning to three rooms at the CES. There was a magic in these rooms, a naturalness of sound, an ease of presentation in which barriers between sound and music, between hearing and feeling, between passively listening and actively experiencing were largely -- and occasionally entirely -- removed. In no particular order (and referring to the rooms by the names of the speakers for simplicity) I touched and was touched by the soul of music in the Audiopax, Duevel and FJ rooms. Music in the Audiopax room was more detailed, subtle, nuanced and enthralling than anywhere else in Las Vegas. In the four times I returned to this room, I never once saw someone stand up and leave in the middle of a song. I never once heard distracting conversations. People listened, deeply drawn into the music. On the one hand, the sound was subtle and seductive; on the other hand, it was powerful and musically right. The Audiopax speaker was the most outstanding new product I heard at the show."
[Srajan Ebaen, 6Moons]

"My favorite room of the show was without a doubt was Audiopax room. The highlight of the room was the Audiopax Ref 100 speaker. This listening session provided the best audition of a full-range loudspeaker I can recall. The musical detail, the subtlety and the micro dynamics were astonishing. The tone and timbre of instruments was very close to live. It is hard to imagine being more a part of the performance than I felt in this room. At $13k for the pair I would try to find a way to purchase these if someone would assure me that they would sound this good in my room. Accompanying electronics played their part I am sure. Audiopax Model 5 preamp, Audiopax Model 88 mono block amps went a long way toward providing this very seamless system and the attendant sound."
[XXX, Sensible Sound]

”The sound in this room? Elegant, refined, married to the very essence of music. Positive Feedback's Clark Johnson raved about it in the elevator as a must-hear attraction. He was somewhat disappointed that not only had I already been to it but actually "discovered" Audiopax many years ago.”
[Srajan Ebaen, 6Moons]

"My favorite high-end audio exhibit demonstrated just how intimate and expressive properly matched SET amplifiers and horn loudspeakers can be. Avantgarde USA, the US distributor of the famous German horn loudspeakers, now handles an excellent line of vacuum tube amplifiers and preamps designed by Dr. Eduardo de Lima and manufactured by Audiopax of Brazil. The demonstration combined a pair of Audiopax Model 88, SET monoblocs with a pair of Avantgarde Duos. The combination was stunning, not just by reproducing music in a convincing manner, but by allowing the listener to experience every nuance, to feel completely involved, and to be totally enveloped in the music. Becoming entranced by the sound of this system was easy. Prying oneself away and escaping to see more of the show was not. "
[Richard & Deborah George, TNT-Audio]

"Audiopax surprised many people this year by introducing a new single-ended solid state monoblock amplifier. Yes, you read it right – solid state! Rated at 30 watts per channel in pure Class A, the new Model 55 still has Audiopax patented “Timbre Lock” controls and come finished in classy chrome with lacquered wood sides. The look reminds me of their flagship Model 88s and the sound was eerily similar too! Partnered with their own Model 5 preamp and driving the new Ref 150 speakers – a design that incorporates an adjustable tweeter module for time alignment, the combination produced one of the sweetest-sounding and most musically satisfying sounds of the show. Eduardo de Lima, Audiopax's' chief designer, explained to me that the Model 55 was produced to suit those who love the Audiopax sound but for one reason or other, cannot (or will not) own tube amps in their system. I personally think it is an excellent idea, as the sound quality is what actually matters, not whether the technology is solid state or tube, push-pull or single-ended.
[Cecil Tan, HiFi.com.sg]

"...Eu tive recentemente um desses momentos mágicos...No último CES Show eu escutei muitas demonstrações, algumas boas, outras interessantes. Quase ao final, David Chesky puxou-me para ouvir algumas salas que eu tinha perdido...entre elas a da Audiopax. Segundos após o início eu estava totalmente imerso na música...David então me pediu para prestar atenção a um determinado detalhe da gravação e me lembro da sensação de ser arrancado de algum lugar a quilômetros de distância para tal. Assim que eu o atendi, relaxei e fui transportado novamente. O sistema exibia uma enorme resposta, palco sonoro, agudos de seda, timbres naturais, resolução estonteante, etc.? Eu realmente não sei dizer. Naquele momento, naquela sala, eu estava impossibilitado de ouvir analiticamente, eu apenas poderia responder musicalmente. A questão é: como criar essa "habilidade para transportar" em nossos equipamentos e gravações?"
[Paul Stubblebine] (um dos mais conceituados engenheiros de gravação do mundo)