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I just received a test CD with my British Hi-Fi+ magazine subscription. The CD reads, ISOTEK: The Ultimate System set-up Disc. Even though it is primarily a system set up recording it does have music sound tracks. Reasoning that the Cronus amplifier is now the center of my music system listening to it could be very informative. Part of the test recording contains a series of sound and imaging tracks both left and right, including depth and even a 360 degree sound sweep, all perfectly done. Happy to announce that my music evaluation machine with the Cronus in the system is all neat and tidy and properly set up. Unfortunately, the music tracks on this test CD are just mediocre and do not really test the ability of the Cronus Magnum III. However, I do have a CD that will reveal this amplifiers detailing ability.

Chances are a committed audiophile would own a copy of Nils Lofgren’s SACD Acoustic Live, and so let’s spin it up. Immediately there is a dimensional expansion of the sound scape. The scale of stereo imaging within the performance space, including those in front of the stage, are clear to hear. There are great aural hints of 3D space. Space is what you should expect, and that’s what would be a wonderful characteristic of this vacuum tube powered soundscape. Razor edged transient attack is what you might hear with a solid-state setup, yet Rogue Audio’s Cronus Magnum III integrated tube amplifier with phono stage reveals something far more satisfying. The sound is full of natural resonant harmonic overtones both odd and even. More than that, those overtones decay into silence much more gradually. My favorite Harry Pearson phrase is “Continuousness”, and here it fits nicely.”

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A high level of tonal and timbral accuracy also makes the INT-60 tough to ignore. Pianos, violins, and other acoustic instruments sound incredibly right, and with a pair of speakers in the 87-90db/1-watt sensitivity range, you will have to push the INT-60 very hard to get it to clip.

Rounding out the picture, the INT-60 paints a very engaging, three-dimensional musical landscape, with rock-solid pace. Listening to the Stones’ “Low Down” (from Bridges to Babylon), the INT-60 keeps Charlie Watts drumming solidly anchored through the melody, while Keith Richards and Ronnie Wood sneak up behind Jagger’s lead vocals, going “woo, woo” during the chorus, as if they were up on stage together. Pure acoustic performances delight, and the level that this amplifier unfolds densely packed music is truly world class.”

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“As mentioned above, the No 585.5 includes Mark Levinson’s trademarked Clari-Fi® circuitry that is used to reconstruct much of what is lost when audio files are compressed. I used this often and it has an intensity control that you can adjust. After trying out the different intensity settings, I wound up keeping it at the factory default.

As mentioned previously, the No 585.5 includes a very flexible phono stage. It’s great that it is all controlled via the front display. There is no need to open up the case and toggle dip switches. Nice. Besides all the available settings discussed above, the unit also had a balance offset for the phono stage. Typically one would ensure good channel balance by properly adjusting and calibrating their tonearm/cartridge but in some cases, certain phono rigs have a characteristic channel imbalance. This is where you can make a default setting that varies by up to +/- 3 dB in 0.1 dB steps.”

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Is Parasound’s Halo Hint 6 Integrated Amplifier a party amp? A hard-rock enabler? A suave, swinging jazz proselytizer? It’s all these things. The Hint 6 worked well with every speaker I threw at it, delivering an upfront, slightly cool, dynamic sound, LP after LP. Even at its higher price of $2995, the Halo Hint 6 offers good value in true Swiss Army knife fashion. I can’t think of another integrated amplifier that offers so many options and has such solid, generous sound. Recommended.

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“Actually, that’s unfair, because the preamp sounds ‘younger’ than the power amplifier, most of the Mills & Boon effects coming from the ATM-1. What both share sonically are ghostly silences by both valve and solid-state standards, phenomenally wide and open soundstages and absolute freedom from edginess. But while the preamplifier is detailed and precise enough to be regarded as modern, the power amp has a softness – however enticing – that might be too romantic for those weaned on transistor equipment or current era valve powerhouses such as the big EAR, Audio Research or Beard amplifiers. But I’ll be damned if I’m going to apologise for the Air Tight duo because I loved the lushness.

Playing both modern, glassy recordings and sonic masterpieces of the era of the Air Tight amps’ inspiration, I noted an unerring facility these products have for sweetening whatever sounds they are fed. Is it accurate? Hell, no. But neither is it offensive in the way that identifiable distortions or wild colorations are. The Air Tight combination doesn’t really add anything which would annoy, it merely shaves off the edges which could become nasty.

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Of course everyone is different and has their preferences. Having described some of the basic differences, I leave it up to you to decide. Of course every other thing comes into play, too. What size is your room, what kind of speakers do own, and most importantly what kind of music do you like. The performance of Rogue Audio’s Cronus Magnum III is very easy to listen to and satisfying in both modes. I could easily build a very rewarding system around this integrated amplifier with phono stage. Rogue Audio has my admiration for the overall build quality and sonic performance of their Cronus Magnum III musical instrument. My advice, you need to audition the Rogue Cronus Magnum III even if you only had but one motivation. And that motivation is your love of music.”

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Pushing the 390 a little more, “The Dark” from the latest Thrice album Palms, delivers thundering toms and brooding guitars with enough space to hear how well the 390 can unpack even the most complex modern recordings. There’s plenty of air, detail, as well as bass extension as the track manically swings between the quieter verses and heavy chorus. The overall sound that the 390 produces reminds me again why the previous 380D DAC that the 390 builds on was such an amazing value. (you can read the original 380D TONE review here for additional listening reference: http://www.tonepublications.com/review/simaudio-neo-380d-dac/) It’s clear that Simaudio has eclipsed the already excellent 380D with their latest release.”

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Perhaps the biggest surprise is just how well the Copland gets along with JBL L100 Classics. These retro-themed speakers may not seem an obvious partner but their combination of high sensitivity (90dB/W/m), vivid dynamics and sheer enthusiasm works brilliantly with the CTA408’s sophisticated style of sonic delivery. We stay with these for much of the test.

The sound of Copland’s products tend to buck the valve norm. They trade the stereotypical warm and softness of many such designs for a neutral, even-handed balance that’s far more typical of a good transistor circuit. Detail levels are impressive, though the CTA408 is never one to emphasise leading edges in a bid to make the music sound more exciting than it is. Instead you get a well-organised, insightful presentation that puts the musical message first.”

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“That depends on how loud you listen, the size of your room, the sensitivity of your speakers, and the music genres you enjoy. Big rooms soak up more power than small rooms, and high sensitivity speakers need less power to play at a given volume level than lower sensitivity speakers.

I split my Aegir listening sessions between two sets of speakers, the low sensitivity KEF LS50 and high sensitivity Klipsch Forte III speakers. Fueled by the Aegir, the LS50’s sound took on a burnished glow, with the tone richer and sweeter than I’m used to. Stereo imaging was superb, that’s what the LS50 is known for, but paired with the Aegir there’s more depth and body to the sound of vocalists and instruments on acoustic music.”