Audiophilepure

The phase tells the same story of agreement. It holds at zero through the bass and lower midband, the region where the magnitude is flat, and turns upward only as the roll-off engages through the treble, the two captures advancing along the same trajectory to the edge of the plotted band.

Two points deserve to be drawn out. First, the phase of the 192 kHz and 384 kHz measurements coincides as independent confirmation of the magnitude result: not merely the amplitude but the full audio-band transfer function is the same at both rates. Second, a word of caution about how to read the steep phase rise toward the top of the band. It is tempting to treat that large rotation as the converter’s own behavior, but it is not: where the magnitude is still flat, a well-behaved reconstruction filter contributes almost no phase, so the bulk of what climbs here is the residual time reference of the impulse-response measurement rather than a property of the DAC. The filter’s genuine in-band phase is small, and it tracks the magnitude roll-off as it should.

https://www.hifichoice.com/content/pmc-twenty523i-active

Interestingly, something I’ve long regarded as a slight shortcoming of the 23i might also have been dealt with too. Pushing the speaker at high levels with bass-heavy music can result in the bass taking on a quality that isn’t so much the port becoming audible, but there being a sense of air moving to help achieve it. I had felt that this was a baked-in element of the performance and something that’s an acceptable trade-off for the sheer heft that the 23i delivers. The presence of the Bluesound NODE ICON on test at the same time – able to function as a preamp with Dirac room optimisation – demonstrates that this need not be the case. It tightens up the low-end of the PMC considerably, keeping the impact but tightening up everything to be even cleaner and more potent. I suspect that the same can also be achieved with a little room treatment if you’re invested in extracting the most from the PMC.

I reckon quite a few people will want to put that effort in too. This is in its own way every bit as clever and modern a solution as the self-contained wireless active speakers because the nature of its control point – be it classic analogue preamplifier or modern streaming preamp – can be chosen in the context of what you need in your home.

https://www.audiophilia.com/reviews/2026/7/30/allnic-hpa-300b-headphone-integrated-amplifier

Reflecting on my listening impressions, my notes appear focused on discovering nuances of the music as opposed to broad generalizations. The baseline performance expectations of high-end audio equipment hardly registered because the HPA-300B clearly exceeded them all before it was broken in. Wide frequency response, broad soundstage, distinct imaging and convincing timbre are table stakes in this price bracket. For audiophiles prepared to orient their system around the glorious but power-limited 300B tube, the Allnic HPA-300B offers a path beyond achieving a ‘high-end’ sound toward deeper musical insight and appreciation. Bringing the HPA-300B into a system is beyond an achievement or destination; it is the start of a musical journey.

The bass is produced with a good amount of natural texture, with a fairly fast attack and decay.

There’s enough bass effectiveness with a low bass response above 25Hz, and below that point it quickly dips to where it’s almost inaudible at 22Hz or below.

The bass is not shy at all and presents itself with lots of authority, but the bass response is more mid-bass-centric than anything, with a small elevation in that area, and positively, it doesn’t leak into the midrange area at all.

The midrange is rather flat, but slightly on the lean side with a small touch of warmth and crisp tones.

Both male and female vocals sound natural, with a small tendency to sound too relaxed, with a lack of bite. Male vocals, in particular, flow more cordially, while female vocals tend to come across more eagerly.

The benefit is that instruments sound rather natural and believable. The intensity aspect, however, is lax, but the signature lets you listen for long periods with no apparent fatigue.

https://www.theabsolutesound.com/articles/constellation-audio-statement-monoblock-power-amplifier

The appropriately named Constellation Audio Statement makes a stunning visual, technical, and musical statement that is a significant departure from the company’s previous offerings. In my experience, the Statement sets a new standard of amplifier performance in speed, transient fidelity (micro and macro), clarity, transparency, resolution, and bass muscularity and dynamic impact. The Statement is a highly exciting, upbeat, and immensely involving amplifier. Moreover, its massive power output means it will drive even the most difficult loudspeaker loads to any listening level without a sense of strain. And then there’s the stunning casework, which is unlike anything else in high-end audio.

Yet despite the Statement’s grandeur on dynamic and large-scale music, it has a delicacy and subtlety of expression with intimate music. The amplifier’s speed, transparency, and resolution are just as salubrious with quiet music played at a low level as with symphonic bombast. This is the Statement’s great achievement; it is truly an amplifier that can do it all at an unprecedented level of performance. In short, the Statement is, by not a small margin, the best-sounding, most realistic, and most musically thrilling solid-state amplifier I’ve heard.