Audiophilepure

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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.”

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“I am firmly in the camp that believes that every component in the reproduction chain, has a ‘sound’ or distortion that it adds to the music source. In the recording studio, it includes the microphones, cables, mixing desk, software, and any number of additional processes before we even consume or playback the original performance. We can only attempt to get as close as possible to the musical truth.

The combination of components we choose will ultimately have a bearing on the final result, and that is what will dictate ‘synergy’ in your audio system. Why do I bring this up? Because initially, I felt I wasn’t quite able to obtain a level of synergy with the Nº585.5 and various loudspeakers that I was happy with at this level. I came close a couple of times but felt that since the amplifier was very likely voiced with fellow-Harman brands JBL and Revel speakers, which of course I didn’t have on hand, that I didn’t quite achieve the audio nirvana that I am personally looking for. This is not a criticism of Mark Levinson or the amplifier, but we are talking about a pairing of two critical components that have much to do with the tonal balance and overall enjoyment.”

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“Steve and I were of one mind about the gorgeous midrange that enriches mezzo-soprano Marianne Crebassa and pianist Fazil Say’s award-winning recording of Debussy’s Trois Chansons de Bilitis (24/96 WAV, Erato 564483). Turning to very different music, a recording of Xenakis’s Psappha on percussionist Kjell Tore Innervik’s superbly recorded Utopias (MQA 24/352.8, 2L 2L-141), I was thrilled by how masterfully the Monsalvat Amp-60 conveyed the contrasting colors of Innervik’s various instruments, and how well it handled the sustains and natural decays of their sounds. The complex overtones, undertones, and sonorous core of a single bell resounding in space were conveyed to perfection. Lows sounded a bit boomy and lazy, but everything else was of demonstration class.

Using the dCS Rossini SACD/CD transport, we listened to “Duke’s in Bed,” from a reissue of tenor saxophonist Ben Webster’s 1965 recording My Romance (SACD/CD, Top Music International UD-SACD8934.2). Beyond the hard-left/-right nature of the recording, we both felt the sound was too romantically warm, and the bass was mush.”

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“The highlight for me might be One For All’s rendition of “John Coltrane,” with its sweet ride cymbal ring, bass bloom, sonorous trumpet and brooding sax which really lit up the groove. The piano body was warm and well integrated with the other instruments. Taps on the center of a cymbal held a strong place in space.

Lastly, I spun the newly-pressed and recently received “No Filter” by Jerome Sabbagh and Greg Tuohey. This is the second of Jerome’s Kickstarters I’ve backed and I can say it’s always a thrill to spin a newly-minted pressing from a project one has so closely followed. The density of the music hits you first – it’s thick and meaty, like a nice sauce, with rich textures and overtones and replete with rewarding musicianship…. but all was not all roses – overall too dark and dense for my taste with this particular mix of components. The 845SE’s show warts and all, they give you what you give them.”

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“Of all the power amplifiers I’ve heard, whether in my own systems or at audio shows, the one whose midrange continues to linger in my mind is Verity Audio’s Monsalvat Amp-60. I’ve packed up a lot of great gear in my time, but next to my loaner dCS Vivaldi DAC, now on its way home to the UK after bringing me joy for well over a year, the sound I’ve most regretted saying goodbye to is the Amp-60’s.

At first, I thought I’d describe the Monsalvat Amp-60’s smooth, glowing, naturally warm sound as “dew-kissed”—but to some, that metaphor might imply a hyper-liquidity that I did not hear. Better to describe its midrange as velvet smooth. Imagine yourself blindfolded and led to a series of objects that you can identify only by touch. With each new texture your fingers encounter, your sense of wonder increases: the surface of a ceramic dinner plate, the warm chassis of an amplifier, a piece of cardboard, a cloak of finest velvet. As you luxuriate in the feel of those textures, you can begin to imagine how the Amp-60 sounds.