Audiophilepure

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The SET amplifier circuit dates back to the beginning of the electronic age and has generally been discarded in favor of the higher-power push-pull circuit. But Ayon has proven that, if you devote sufficient resources, it’s possible to build an SET amplifier that can overcome most of the shortcomings of the genre and that can drive a much wider range of speakers. The Crossfire still needs thoughtful loudspeaker-matching, but the amp is much more flexible than most SETs. It handily exceeded all my expectations.

Normally, I try to avoid listening to really expensive gear because I’m afraid I’ll like it enough to wreak havoc on my budget. But sometimes I let an expensive item like the Crossfire III PA slip past my guard. And as I said earlier, there are a lot of amps way more expensive than $12k. Few, if any, of those are as attractive as the Crossfire III PA. Even more important than how it looks, in my system the Ayon Crossfire III PA power amp is easily the best amplifier I’ve ever heard. It effortlessly jumped through all the usual audiophile hoops, but, most significantly, it genuinely enhanced my music-listening experience. Frankly, listening to hi-fi had been getting a bit stale and boring lately, but the Ayon Crossfire III PA made it fun again—and I truly needed that. If it fits your budget and your speakers, I urge you to audition it. It’s a great amplifier.”

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“Vitus has packed so much musicality into this single box, you might be tempted to stop your Vitus journey right here. The toughest part of the journey with this amplifier is that it is their entry level product. Should you go further up the line you will, of course, get more power, bigger dynamic swing, and even more resolution and delicacy, but this is the perfect introduction to the brand.

The top Vitus amplifiers are all class-A, so they take on a slightly warmer, more full bodied sound, but the class-AB RI 101 captures much of the flagship amplifiers’ character. Vitus calls this design a “high bias AB amp,” so the first 12 watts per channel are in full Class -A mode. At normal listening levels with moderately sensitive speakers, you’ll probably be listening in Class A on all but the most broad musical peaks. Just like the bigger siblings, the RI-101 is incredibly quiet, with well defined, powerful bass and a grain free high end to match. Vitus is one of the few solid state amplifier manufacturers that will not have you wishing for vacuum tubes.”

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“The high-ender’s lament – that there are few good preamplifiers – should be extended to include power amplifiers too. Really good ones are thin on the ground. But as soon as you hear a really good one, like the Merrill Element 118, you know what you’re missing! Most seem to either accent something at the expense of other things, or colour the sound, or in the case of very big amplifiers, slug the sound. The Element 118 shows this is, in fact, a false dichotomy, because you can have big and powerful, and have it with good imagery, and have it with excellent pace, rhythm, and timing. You just need to know what you’re doing! Merrill and the Element 118 show they clearly know what they are doing when it comes to making power amplifiers!”

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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++++.”