Audiophilepure

When called for by the track, the bass performs quite well. It does not bleed into the higher-frequency regions, keeping the overall sound very clean. The bass itself is tight and controlled and never goes overboard, even with genres such as hip-hop.

There is also a good level of detail, as it captures nuances and textures really well. It has a strong engagement factor, and during longer listening sessions, I never find the bass fatiguing.

If you prioritize a stronger fun factor and a heavier dose of low end, this bass will certainly get your feet tapping, but it may still fall a little short.

Considering how the tuning is intended to remain balanced across the entire frequency spectrum, the bass quantity is more than sufficient.

I would have liked slightly greater sub-bass depth and some extra mid-bass impact, but that would likely have pushed it closer to bass-head territory and eaten up the midrange or treble details.

If you want bass that truly gets your eardrums shaking, Noble’s own Van Gogh does that quite well.

https://www.stereophile.com/content/m%C3%A9tronome-dsas-streamer-server

You’ve surely used USB with a computer, for example, to connect to external storage. If you have, your experience has almost certainly been error free. It is natural to assume that the same holds true for USB Audio. However, in contrast to the USB protocols used for storage, the USB Audio protocol is not error-correcting. The protocol can detect and mute packets with errors, but there is no mechanism to request retransmission. What the protocol does include is flow control: two-way communication between the “host” (the DSAS) and the “device” (the DAC) to negotiate the transmission speed so that the buffer on the DAC side never empties or overflows. The net result of this and other factors, as many have found out through trial and error, is that high-quality USB cables really do make a difference in the sound such devices produce. This is true for any device that connects to a DAC using USB Audio.

https://www.enjoythemusic.com/superioraudio/equipment/0926/AGD_Forte_Dual_Mono_GaN_Amplifier_Review.htm

The first album, Our Great National Parks, is a soundtrack with music written by David Schweitzer for Netflix’s series with the same name. It is a study in beauty and majesty not dissimilar from our nation’s parks themselves. It is also full of the same mind-boggling experiences they contain, as the tracks are appropriately named. So, it felt right to use.

Firstly, this amplifier is powerful. It lacks for nothing. The most difficult of passages are child’s play for this amplifier, and it doesn’t even get warm. The more complex the passage, the more it seems to excel. In fact, while this album is somewhat newer to my repertoire, it drew me further into its depths the more complex things became. This is usually the opposite of the way complex music works on playback systems. The reason is that, without the fatigue normally associated with trying to fill in the blanks, it was simply easier to relax and enjoy the material.

Secondly, the amplifier accurately reproduced bass without struggle or coloration. This made things very lifelike and enjoyable again. The simple fact is that without enough bass, everything sounds too thin; with too much, it is overpowering and overwhelming. The Forte did everything correctly. There was plenty of extension and depth. There was no omission or commission; it was simply perfect. It also did not roll off at low frequencies, so the full-range Gershman Acoustics Symphonia loudspeakers were able to achieve their full potential as well. It was an impressive showing for the amplifier.

Lastly, the dynamics were spectacular. There was such a difference between highs and lows that it was a callout on its own. Typically, I don’t call attention to it in a review, but this was different. Here, the symphony was more alive and fuller of life than I’d heard before. There was less compression, and it seemed to breathe better. This again aligned with the theme of the album and lent itself to its use in the review.

The second album for this review was Frank Sinatra’s Platinum. Ok, even if you don’t love Frank Sinatra. You must admit that his voice has a certain vim and vigor. This is exactly what made it my choice for this review. It might be easy to reproduce, but it’s hard to get right. The first album showed the power, but this one, well.

https://www.whathifi.com/hi-fi/best-acoustic-tracks-to-test-your-hi-fi-system

It can be nice, sometimes, to sit back and simply let the full production of a track wash over you, to be immersed in a wide soundstage that’s packed with instruments and information for you to soak up. However, there is also nothing quite like hearing a great acoustic track.

Strip away all the bells and whistles, and music immediately sounds more intimate, encouraging a greater connection between listener and artist. Great acoustic tracks allow you and your system to peer in and dig out the subtlest and finest of details and deliver tone and texture the like of which you haven’t heard before.

https://www.whathifi.com/hi-fi/turntables/pro-ject-debut-reference-10

In a pitched battle against the Debut Reference 10, the Rega outguns its Pro-Ject rival, bringing so much snap and verve to Jackson’s Dirty Diana that the Reference 10 can’t quite keep up. For making you want to don your white suit and bust out your best Moonwalk, the Rega remains the king of this particular castle.

That doesn’t, by any means, render the Pro-Ject obsolete or unworthy of praise. This is still a terrifically talented turntable, and with the Rega’s recent price hike taking it from £999 to £1099 in the UK, one that costs a not-inconsiderable chunk of money less.

Drop back to something a little slower-paced, such as Tom Jones’ Did Trouble Me, and the Pro-Ject is back in its element. Jones’ voice is as rich and smooth as a cigar soaked in malt whisky, and the Debut Reference 10 has the requisite weight and warmth to give the gospel tune that lovely feeling of soulful sincerity.