Audiophilepure

https://www.stereophile.com/content/gryphon-audio-designs-diablo-333-integrated-amplifier

It should be noted that Gryphon has opted for the path less taken with their PS3 Phono Stage; only a single pair of balanced Neutrik XLR inputs is included—there are no single-ended RCA inputs. Robert Harley states in his Complete Guide to High-End Audio: “Balanced phono inputs are rare on a preamplifier; virtually all phono cables are terminated with unbalanced RCA plugs, not balanced XLR connectors.” I have never owned a turntable set up with a balanced output. I checked with VPI President Mat Weisfeld, and indeed the tonearm of my VPI HW40 could be rewired—but then it would not work with my current reference preamp, which only accepts RCA inputs for the phono stage. To take full advantage of the PS3 Phono Stage module, in terms of signal/noise issues, customers would be advised to look into this possibility, depending on their own turntable design. For this review, I settled on a stereo cable terminated on one end with RCAs, and on the other with XLRs, figuring this would yield a better result than using cheap adapters.

https://www.analogplanet.com/content/reel-reel-revival-part-2-format%E2%80%99s-sonic-advantages-some-major-players-and-why-threading-tape

Ballfinger tape machines are made in Germany, and are known for their blend of traditional analog sound with modern design aesthetics. They are crafted with high-strength aluminum and focus on professional use while appealing to enthusiasts. The company designs and manufactures all components in-house, from drive motors to servo units, ensuring quality control and precision. The M 063 H6, in particular, has been highlighted for its advanced tape transport control, which prevents looping and tape deformation, and its high-quality audio electronics. These machines can handle 1/4in or 1/2in tape widths, with options for direct drive and various tape speeds.

https://www.soundstagehifi.com/index.php/equipment-reviews/1930-psb-imagine-t65-loudspeaker

I pitted the PSB T65s against my reference speakers, the Gold 300 5G towers ($9500/pair), from the British loudspeaker brand Monitor Audio. The Gold 300 is a three-way design employing a micro-pleated-diaphragm (MPD) tweeter, a 2.5″ midrange driver, and dual 8″ woofers. Aesthetically, there’s not much contest here, at least to my eyes. The T65s are good-looking speakers, but anyone viewing them side by side against the Gold 300s will doubtless notice the British speakers’ more luxurious fit and finish, which is entirely expected, being almost five times as expensive.

Sonically, the gap wasn’t nearly as wide. On “Glory Bound,” from Martin Sexton’s Black Sheep (16/44.1 ALAC, KOCH Records), the transparent PSBs provided a vivid and clear image of Sexton’s guitar, bringing out its warm resonance and accentuating Sexton’s playing dynamics. His voice had a lifelike quality, but it also had unusual weight in the lowest register that caught my attention. Switching over to the Monitor Audios, I heard no such emphasis in the lower range. I also found their presentation sharper and clearer than that of the PSBs, although they appeared to be trading some warmth for that crisper, more articulate sound.