” The Powerblocs’ pricing places them smack in the middle range of new Class D amps—not exactly cheap, but far from expensive in this context. At day’s end, about the only complaint I can summon against Legacy’s amps is their configurations. With only two- and four-channel options, supplying a five- or seven-point-whatever system means a single channel is doomed to idleness. I think I see Legacy’s problem, however. A single-module, one-channel ICEpower design would necessarily be almost as expensive as a two-channel one. A three-channel job would be too specialized, and five- or seven-channel models would mean mixing mono and stereo modules.”
“Sonically however, I found that there are more similarities than not, with both offering up a clean, wide soundstage.
I dare say for digital sources, the NAD wins for ultimate transparency, however, the M2 has very limited connectivity for analog sources and unlike the AVM, cannot be upgraded with modules.”
“The Fudou attained superb definition reminiscent of the Gaincard S in driving the TAD and displayed a tonal affinity towards the likes of Electrocompaniet, slightly soft and impressively spacious. Pushing the Fudou to beyond 90dB peak sound pressure twelve feet away in my listening chair induced subversive compressions. Asking the Fudou to drive the TAD-E1 into party-level ruckus will be improper.”
“The very first impression I had of the Peachtree nova300’s sound, fresh out of the box, came while listening to the Brahms Violin Concerto with soloist Hillary Hahn and the Academy of St Martin-in-the-Fields, conducted by Sir Neville Marriner—whose passing last year went largely unnoticed by the media (SACD/CD, Sony Classical SS 89649). The sound was slightly dry and grainy, but not without color, and certainly not without dynamic nuance, of which there already was an abundance. Clearly, some running-in was in order; before doing any further critical listening, I subjected the nova300 to a little over a week’s worth of steady use as a background-music workhorse.”
“The stage is wide, and layering of instruments and voices is excellent. Images have body and weight and are correctly sized. The Pass manages to throw that body and weight around the room with a feathery touch, and because the amp is so quiet, musical images flood and light up the stage”
” In the centre of it all were the pure saxophone tones of the master, Grover Washington Jr. It was a clinic on musicality and a joy to experience. While I was enjoying the rest of the SACD, I came over all alpha-nerd and perused the parts list of the BHK 250. PRP Resistors matched up with film and foil Rel Caps all hand soldered through the circuit board without surface mount components. An approach found primarily on gear running well beyond £10,000. Sonic quality with sound (no pun intended) value. The BHK 250 was ticking many of my ‘need to have’ audio boxes.”
“The fact that Cyrus updated the firmware several months after the One’s late summer launch implies that the company plans ongoing improvement, which is great. But more significantly, few brands have succeeded with Class D amplification as Cyrus has in making the One such an entertaining and well equipped amplifier at a reasonable price. The remote may be small enough to lose in minutes, but the app is a free upgrade that makes the One much more ergonomic. Add this to scorching sound and you have a product that should put this brand back at the top of the value for money tree