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“Once I got things tuned, the sound was great. On Monk’s own “Rhythm-a-ning”—one of the tracks with a more prominent rhythm section—soundstage depth was excellent, with Ware and Wilson eight or so feet back from the Monk-Mulligan plane. Every note of Ware’s bass had easily identifiable pitch—not the case on every vinyl system. Monk’s piano was suitably percussive. Wilson’s cymbals had energy but weren’t harsh. This recording, which I know very well, sounded like itself.

I encountered a small operational issue with the No.5805: Switching from one input to another could take a second or more. Todd Eichenbaum, Harman’s director of engineering for luxury audio, told me that such slow switching is necessary because of the Levinson’s direct-coupled design. “We need to allow extra time when changing inputs because the unit is direct coupled and DC needs time to settle. Speeding this up would result in pops when changing inputs. . . . [W]e’ve been tweaking software and our order of operations when changing inputs, and later software should be able to speed this up a bit.” This is another one of those how-much-does-it-matter issues. I found it annoying when trying to compare one input to another—the internal DAC to an external DAC, for example—but this matters far less when what you want to do is just listen to music.”

Read more at https://www.stereophile.com/content/mark-levinson-no5805-integrated-amplifier-page-2#ggzQhiJSL2vOQcJ7.99

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“The result derived from the LaScalas, Pure Audio Project Trios and the mighty Focals, though expressed differently, retain the core musicality that the DGH delivers. It has a level control for those wanting the ultimate simplicity, but I preferred the more fleshed out rendition when the Nagra Classic preamplifier (with outboard power supply) delivered.

The Whammer delivers pristine examples of all the audiophile descriptors that are so easily tossed about in reference to far lesser products. It’s reproduction of fine detail combined with such a clean distortion free and coloration free tonality will redefine what you think reproduced music is capable of. This amplifier reveals so much tonal contrast and saturation, hours will fly by as you track through your favorites. Where some of today’s best audio products can only offer a short amount of engagement, with fatigue or boredom creeping in after a few tracks, the Whammerdyne DGA is a cure for audiophile ADD.”

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“If you’re an Audio Research fan, and if you’re in the market for a tubed power amplifier, do yourself the favor of auditioning the VT80SE. In my opinion, its durability, performance, and resale value all contribute to its excellence.

As always, prior to purchasing a component of this price, be sure to audition the VT80SE amplifier with your speakers, and preferably in the room where you’ll be using the equipment. Both speakers and room make a bigger sonic difference than the amplifier itself, but if you’re satisfied with your sound as it is, then the Audio Research VT80SE may well take your system to the next level.”

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“What then do we have with McIntosh’s latest series of big-power amps? To me, these amplifiers demonstrate firstly that you can have high-output power in a musical sounding package. No matter what genre, source, vinyl or otherwise, I threw at these amps, the transformative nature of each cut – when called for – was heard clearly and undeniably. There are amps that make music sound more or less similar; there are amps that contour music emotionally; there are amps that reveal the last bit of detail, ambience and microscopic inflections of each note played. There are very few amps however, that manage to package all these attributes into one design that does it all generally equally well. That breed of amplifiers is rare indeed – yet, McIntosh somehow managed to do just that at a price point that in today’s terms is downright affordable. Add to that genuine high-end support, an honest Made in America badge, and knowledge that these amplifiers will sound as good in twenty year’s time as they do the day you bought them and you have yourself a winner. I was prepared to spend considerably more for a high output solidstate amp; that the MC611 won me over and left money in my pocket was a genuine surprise that I didn’t see coming. Well done and most definitely worth an audition. Highly recommended, A++++.”

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These non-harmonic, annoying, and aggravating distortions are vanishingly low in the Aegir. Class A operation, wide bandwidth frequency-response, and DC coupling combine to produce an exceptionally natural sonic picture, one both high-resolution and pure in its production of instrument tonality. Harshness glassiness, steeliness, and other un-natural sonic artifacts are simply gone. Soundstage depiction is literal and faithful to the recording: pan-potted, mono, studio-constructed stereo images are revealed as such; naturally recorded orchestra music that captures the hall ambience and size and depth of the venue is clearly depicted.

If one only considers the Aegir’s sonic performance per se, it would qualify as a stone bargain for those of High-End audiophile sensibilities. Add its music-making abilities – its boogie factor, “PRaT,” drive, dynamics, involvement, foot-tapping, ass-shaking, head-bopping, and “Air”-instrument-inspiring performance – (areas in which the UK school- Linn, Naim, Rega, et al., have long ago set the template) and you have a sonic/music-making ”

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“Up to this point, I’ve been deliberately holding off on the contentious, “Well, is the IS-1000 better than buying each function as a standalone product?” conversation. Product comparisons are fun, but there are endless product combinations, and achieving system synergy is always a challenge. The IS-1000 is designed for each function to align for the best possible sound. The IS-1000 is a true high end product in build and sonic quality. It’s convenient, yes, but it also certainly on par with separates or an integrated amp near or even substantially above its price point. For those who can relate to those sentiments, the IS-1000 is a beautifully styled, intelligently designed product that can satisfy the needs of all but the most critical listener. Gold Note continues to offer products that I have no problem recommending.”

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“To put the Qualiton A50i to the test in more of a brute-force way, I cued up “Back in Black” from AC/DC’s album of the same name. While some would argue that tube amps are for more refined music, my tastes are broad, and I never know what the mood brings, so any amplifier in my system needs to stand up to whatever the occasion brings.

Thankfully, the A50i delivered. The amp maintained the grit and energy of Brian Johnson’s raspy voice, and struggled not in the slightest with the song’s driving bass. There was no indication of distortion, but I did notice some loss of energy at the very bottom end, which had more to do with the QLN Signature 3’s 42Hz low frequency response, not the A50i’s 30Hz -3dB point.”