Audiophilepure

https://www.enjoythemusic.com/magazine/equipment/0326/Audio_Research_I70_DAC_MM_MC_Phono_Integrated_Vacuum_Tube_Amplifier_Review.htm

Finally, we get to the thing I am most curious about. And that is the sound of vinyl LP discs, since the I/70 has an optional MM/MC phono stage.  For continuity, I was able to employ the Acoustic Live performance from both a DSD / CD and from a super quality two-disc vinyl album [Analogue Productions APP 090 ], both made from the same master tape. My favorite song on this record is “Some Must Dream”. Now, as you listen, you can hear the subtly present live sounds of the surrounding venue. That space is, in fact, a complex mix of many small whispers of sound.

For me, and what may interest those reading Enjoy the Music.com, is a large portion of this quality is described by the word “continuousness,” which is a term coined by the late Harry Pearson. It is used in part to describe an organic live presence that exists as you listen to a complex chord that slowly decays into silence. I would like to remind you of a problem inherent in Red Book lossy CD digital recordings. As the intensity / volume of a sound fades, it is treated as a least significant bit and dropped. The major difference between this vinyl recording and the same DSD / CD version is that the entire body of sound is retained as natural. It contains a complete range of frequencies, both odd and even.

With an analog recording, those overtones decay into silence naturally, just as they do in life. I wired an RCA connection from my Denon DL-301/2 cartridge to the Audio Research I/70 adjustable moving coil (MC) input. On every track, Nils Lofgren’s presence appeared deeper in the center mix, surrounded by a halo of space, texture, and tonal depth. I have tried a hundred or more little tweaks spread out over decades. A hundred micro steps closer to a tangible reality, all of them hinting at what might be possible. I believe there exists a natural synergy between a vinyl recording and a vacuum tube amplifier that has never been adequately described. I believe even now, with all the advances made by digital technology, there is still something missing. I believe stop and start waveforms just do not let instrumental overtones have enough time to decay naturally.

The Arne Mk2’s effect on my system’s spatial performance was impressive.  Listening to Anne Sophie Mutter on Pable De Sarasate’s Zigeunerweisen, Op. 20 (Tidal MAX), maestro James Levine conducting the Weiner Philharmoniker, was moving and powerful. The Arne Mk2 captures the full sweetness, warmth, and complexity of the orchestra’s dynamic range. The soundstage was stunningly lifelike; it produced a three-dimensional and picturesque staging. It was big, wide and deep, an enormous size stretching beyond my loudspeakers which gave me a sense that my listening space was bigger than it actually is. The Arne Mk2 drove the Lorenzo Audio LM1s with power and authority without losing any of the integrity of the music and it was able to scale with realistic dynamic swings. From pianissimo to fortissimo, the system handled it all with exceptional realism. However, I noticed when I used the Canary Audio M3000 (at 120-watts per side) on symphonies, it did control the Lorenzo Audio LM1 a touch better in bass and scale the orchestra dynamic range. But the Arne Mk2 performed very impressively for a tubed integrated amplifier with 30-watts. 

The Arne Mk2 performed flawlessly for the six months that I had it. It is a super quiet integrated amplifier. There is no hum or hiss or any tube noise to speak of without any hiccups. I really enjoyed my time with the Arne Mk2. It was simple to use with auto biasing and a volume remote control; it made it easier for me to enjoy the music. As I have said, the Arne Mk2 sounded as if I were listening to separates. When one box integrated amplifier sounds this good, you say to yourself “do I really need the separates?” If you’re in the market for separates, you should give a listen to the Engstrom Arne Mk2 integrated amplifier. Its’ that good.

https://www.enjoythemusic.com/superioraudio/equipment/0226/Gryphon_Antileon_Revelation_Amplifier_Review.htm

New Beginnings was recorded at A&R Studios rather than the usual Rudy Van Gelder studio. I was listening to this jazz trio, especially Pullen’s piano on this all-analog Blue Note LP, which was remarkable. The A&R mix also avoided the hard-right and hard-left panning RVG often used. This recording gives Don Pullen the sound quality his music deserves.

Listening to this jazz trio, especially Pullen’s piano on this all-analog Blue Note LP, was remarkable. The Gryphon Antileon Revelation’s transparency created both musical and audiophile rapture, transmitting an unfiltered signal to my speakers.

As a reviewer, I sometimes listen to my system’s sound, independent of the music played. This may sound a bit clichéd, but while assessing the Antileon Revelation, I found myself distracted by the music as I took notes. The Gryphon amplifier—and Don Pullen’s music—demanded attention beyond typical product evaluation.

Don Pullen’s album includes modern jazz, avant-garde elements, and classic bop influences—he was in Charles Mingus’ band for years—but his music extends beyond these genres. Pullen also structured his compositions to highlight bassist Gary Peacock and drummer Anthony Williams. The Gryphon Antileon Revelation’s transparency and alignment with audiophile standards enhanced the listening experience.

https://www.hifinews.com/content/primaluna-evo-300-hybrid-power-amplifier

For all the satisfaction the EVO 300 Hybrid provided for this pro-valve listener, I could imagine those diametrically-opposed purist audiophile species – tubes vs trannies – finding grounds for criticism because the two have been weighed equally, exactly as the mission statement required. But perhaps this is an academic debate, for purists of either discipline might not contemplate a hybrid design. For those undecided or who like both, the EVO 300 Hybrid ‘poweramplifier’ is one of the best examples of cross pollination I’ve heard.

If choosing an amp is a matter of tubes-only-vs-solid-state-only-vs-I’m-not-bothered, then your own predisposition will influence your reaction to this remarkable amplifier. Via the RCA input it sounds just like the EVO 300 Hybrid Integrated, but via the XLR – even if you resort to an RCA-to-XLR adapter – the EVO 300 Hybrid ‘poweramplifier’ embraces the hybrid concept, perfectly blending tube colour with solid-state grip. For the undecided, this may well be the best of both worlds.

https://www.stereophile.com/content/audio-research-reference-330m-monoblock-power-amplifier

Regardless, I can honestly state that in all my time as an audiophile and reviewer, no amplifier has seduced me quite like the Audio Research 330M. Its sound is about far more than a list of outstanding attributes. On every level, including some that transcend the physical, it delivered the greatest musical and spiritual satisfaction I’ve ever experienced from recorded music.There’s a beauty to the 330M’s sound that transformed sitting in the sweet spot into an act of joy. No emotion, no color, no pitch—no musical truth, including those that are heart-wrenchingly painful and filled with despair—seems beyond its reach. During the first of what I hope will be many more extended periods of listening with the 330M, I felt blessed to be able to immerse myself in musical bliss and to share that experience with friends.My deepest gratitude to everyone at Audio Research. You’ve done Bill Johnson’s legacy proud. The Audio Research 330M is a great amplifier, more than worthy of Stereophile‘s Amplifier of the Year award when award time next comes ’round in 2026