Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/0626/AGD_Productions_Allegro_Intergrated_Amplifier_Streamer_DAC_MM_MC_Phonostage_Review.htm

The second selection was “Space Oddity,” by David Bowie, from Space Oddity (2019 Mix). This turned out to be perhaps the most interesting selection of the entire review. The track played flawlessly. The amount of information that could be heard was so substantial that it seemed like hearing the selection for the first time, and truthfully, I know I have said that before. The part I have not said before is that there were underlying elements in the music that were not as notable before. For example, there were guitar notes that seemed almost out of place. Normally, they would’ve been either so muddy they would have blended in with the rest of the music, but although the rest of the music played, these were visible now. In the end, it turned out to be just this version, but it highlighted the detail and resolution, not to mention the sound quality the Allegro can produce in the right system.

The third selection used for the review was “Queen Mary” by Francine Thirteen. It is a great track to test just how well an amplifier can handle a genre or musical selection that demands large power fluctuations. The first thing that struck me about the AGD Allegro was just how controlled the soundstage was with this selection. The music was tight, the notes extremely fast, and the vocals were exceptionally lifelike. Regardless of the challenges the material placed on the amplifier, the Allegro was up to the task, even under significant changes and heavy demands.

https://www.hifinews.com/content/simaudio-moon-371-integrated-amplifier

Just as Melua’s vocals sounded floaty and smooth through the MOON 371, the cigarettes-’n’-whiskey growls of Johnny Van Zant across Lynyrd Skynyrd’s acoustic Endangered Species [Volcano 82876 55128 2] were roughly detailed, as appropriate. However, listening to ‘Devil In The Bottle’ it did feel as if the singer was spread a little too wide, not quite drawn sharply centre stage amid the instrumentation. This vaguely diffuse flavour was also noted with Ry Cooder’s ‘Theme From Southern Comfort’ [Ry Cooder Anthology: The UFO Has Landed; Warner/Rhino 8122-79891-9]. Yes, the snap and twang of his slide guitar was all there, but perhaps it was not so ruthlessly defined.

The Mathilde Storm ballad ‘Cries Like A Baby’ [Propeller Recordings download] has a sparkling vocal track that runs the risk of listener fatigue. The MOON 371 delivered it with no shortage of presence and detail, while avoiding the gritty treble that has one reaching for the volume control. The fulsome bass on this recording, both soft yet robust-feeling, was another standout element.