Audiophilepure

https://www.headfonia.com/es-lab-eht-7-review/

The signal switching in the input section is controlled by a set of 5 sealed silver-alloy contact relays, designed for a long lifespan and high current capacity. The EHT-7 offers adjustable impedance (8 0hm or 16 Ohm) for the primary windings of the transformers, ensuring optimal compatibility with your source amplifier.

The EHT-7 is very simple and easy to work with. You can do nothing wrong with this lay-out and it’s easy to plug the cables and flick the switches. From the faceplate to the switches, the inputs and the headphone output, everything feels sturdy and luxurious. Just make sure not to scratch the casing.

The only thing I don’t really like is the external PSU, which looks and feels a bit cheap. I recommend using the Ferrum Hypsos or something similar.

Each EHT-7 unit enjoys a 2-year warranty. Upon ordering the user can also customize the choice of transformers, output bias, connections and more.

https://www.soundstageultra.com/index.php/equipment-menu/1300-burmester-232-integrated-amplifier

The Burmester 232 is one fine integrated amp. It looks like a million dollars. I found it a joy to use, and it operated flawlessly throughout the review period. On the whole, I don’t think the DV2i‑232 combination was quite as revealing as the DV2i-Soulution 511 setup, nor did it have the same dynamic headroom for high volume levels or treacherous loads. However, the basic version of the 232 integrated is much more modestly priced than the Soulution 511 power amp.

Within its power limitations, the Burmester 232 rendered music marginally more beautifully than the Soulution 511. Its reflexes and dynamic range were excellent, with a full frequency response—including truly great bass performance, which is a rare commodity. Its imaging was first-class, although those images were not as wide and deep as those of the DV2i-Soulution 511 pairing. I could listen for long stretches, captivated by the 232’s musicality. There was no trace of amplifier noise, distortion, or compression to detract from its performance. It was a great partner for the reference-level components in my system.

https://www.headfonia.com/fiio-m33-r2r-review/

So, how does the FiiO M33 R2R perform once the music starts playing? Amazing, but we all expected no less, didn’t we?

Coming from the M23 or M21, the first thing that hits you isn’t a “wow” moment – it’s a shift. Where those delta-sigma players deliver a presentation that’s clean, detailed, and slightly analytical at times, the M33 R2R trades some of that razor-sharp definition for something rounder, smoother, and undeniably more organic. Notes don’t just start and stop – they bloom, breathe, and decay with a naturalness that immediately sets the R2R apart from its siblings.

What a great ensemble. Chris always has some of the most stellar musicians alive playing with him. Just as Sting brought Chris to mass attention by hiring him as his touring and recording trumpeter, Chris does the same with many young and upcoming players. This is a romantic, tongue-in-cheek song about hooking up over a bottle of wine on a Parisian night. The lyrics “quick before I wake up and don’t know who you are.” as an indicator. Upbeat with a strong vocal performance by John, who cites one of his big influences as Marvin Gaye. Slightly reminiscent of Michael Franks, with way more soul, his voice carries more weight and timbre than Franks. The delivery is perfectly matched by the backing musicians. I could talk about Botti’s trumpet sound and control, but the wonderful thing about Chris is he has no need to take the limelight on these collaborations, and so the balance is spot on. The rhythms are of a boss’s nova groove, and the backing musicians were exceptionally well presented across a broad sound stage with plenty of air in between each person and very focused, so you can close your eyes and see everyone in proper space. Drums slightly back and center, piano off to the right, bass slightly to the left of the drums and a bit forward, guitars on either side. When Botti takes a short solo, you can sense he steps up where John is standing at the mic. Splithoff’s vocals certainly channeled Marvin without being a copy. He has a very pleasing tenor to his voice that is presented creamy smooth by the Carnegies. This song makes you smile, and you can almost see the scene unfolding between the two passing casual lovers. What more can you ask of a speaker to deliver than something that not only lets you hear but also see everything unfolding during the performance?

In the last few decades there has been a sea-change of every step along the digital highway of recording. But can those old recordings be made to sound passable? Even good? Or, better yet, musical? Thank goodness the answer is a resounding yes. And that is the magic of the TSI-300. Specifically, the tube preamplifiers. What goes in are 40 year-old digital recordings that sound, well, like 40 year-old digital recordings. What comes out is music! Sweet, sweet music the way it was supposed to be heard. All of a sudden I’m getting that same effortless and freeing feeling that was simply lost in the race to go ‘all things digital.’ Make no mistake, what TLA is doing is both brilliant and stunning. It opened up a whole section of my library that I hadn’t touched for years.