Audiophilepure

https://www.hifinews.com/content/dcs-var%C3%A8se-transport-cdsacd-transport

This performance was matched by the better streaming services, as was the sound of the all-star AngelHeaded Hipster tribute to Marc Bolan [BMG 538605850]. Joan Jett’s ‘Jeepster’ lacked the impetus of the original but had a brief, killer, guitar stab, while Lucinda Williams’ take on ‘Life’s A Gas’ was bonkers, but superbly focused. One possible advantage of the disc? Streaming services don’t have the set’s overblown version of ‘Get It On’ by U2 and Elton John – although on reflection that’s perhaps a mercy.

The Transport fought back with its rendition of Vivaldi’s ‘Violin Concerto in A major’ [The Trondheim Concertos; 2L 2L-172-SABD]. The stream via Tidal matched the CD playback, but the SACD layer opened up the sound, making even more of the reverberant church acoustic in this exemplary recording by label founder Morten Lindberg

I did my standard 24-hour burn-in for review units by leaving the MP145 PRO playing at a moderate volume continuously, using a DAP I don’t use often.

For the sources, I used my iBasso DC-Elite and MUSE HiFi M6 Double DAC amplifiers, with my OnePlus 13 Android phone and Sony DAP as the music source, and the FiiO M15s DAP, using either UAPP or PowerAmp music player Apps. No EQ or any sound enhancement programs were used.

There are noticeable differences in sound among the three included nozzles; the red nozzle is the darkest-sounding, while the silver nozzle is the most forward-sounding. The rose gold nozzle sits in between.

https://www.stereophile.com/content/doshi-audio-evolution-stereo-power-amplifier

Doshi described the biasing process. “The front panel has four buttons around the display: Top left, power; top right, mute; bottom left, display on/off; bottom right, function. To activate the display, press the bottom left button. Now the display will stay on until the button is pressed again. Use the function button to step through the five functions: 1—hours elapsed, 2—bias for tube pair V1 (first LED below the window is lit), 3—bias for tube pair V2 (second LED under the window is lit), and so on until the V4 bias. Pressing the button for the sixth time will bring it back to elapsed hours and no LEDs lit up.”The bias settings for the amplifier can be adjusted for a slightly different sound to match system and personal taste. Typically, settings from 170 to 200 on the display are safe to use, with 180–185 being the norm. Lower settings will lean out the sound, and higher settings will fatten it up for a more ‘tubey’ presentation.”I biased the tubes near 200, which sounded best to my ears. The rest of the system was the J.Sikora Standard Max Supreme turntable, Allnic-H-5500 phono stage, Ampsandsound Yosemite preamplifier—which according to the manufacturer has a modest (for a tubed pre) output impedance in the 300–600 ohm range, depending on what tube is used in the last position—and DeVore Fidelity Super Nine loudspeakers.

Both the upper and lower PentaMag midrange modules are independently adjustable via the module alignment sled system. Each alignment indicator, all of the sled gears, and reference alignment scales are calibrated and easy to read by simply adjusting the rotating cam grip. The MTM crescent frame is similarly equipped. This innovative alignment hardware enables time domain precision that exceeds both the Wilson Audio WAMM Master Chronosonic and the Chronosonic XVX.

https://www.hifinews.com/content/canor-virtus-a3-integrated-amp-dac

To assess the amp’s internal DAC, an Eversolo DMP-A8 [HFN May ’24] was employed as a digital transport, feeding the Virtus A3 via USB and streaming mainly from Roon. (As most amplifiers and DACs feature a USB-B port, the USB-C connection here required a moment of mental recalibration – and a hunt for a different cable.) Playing Riceboy Sleeps [Parlophone 50999 963002; 44.1kHz/24-bit], the 2009 collaboration between Alex Somers and Sigur Rós stalwart Jonsí, the amp gave a natural and lifelike portrayal of the album’s calming, ambient soundscapes. Through the Monitor Audio speakers, ‘Atlas Song’ encircled me with layers of Icelandic-style singing, and instruments (including piano and strings) retaining a discrete character.

The Virtus A3’s DAC stage also deftly handled the delicate detail throughout Chopin’s ‘Nocturne in B Minor, Lento Con Gran Espressione’, arranged by Mischa Maisky and played by cellist Camille Thomas [The Chopin Project: Trilogy, Deutsche Grammophon DG4858451; CD resolution]. A slight touch of warmth made the piano from Julien Brocal less direct, but overall, there wasn’t any sense that resolution had suffered.