Audiophilepure

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” When I popped the RE800 earbuds in for the first time I had a “show me” attitude. I used my iPhone 6S for most of these early auditions, and the RE800s’ transparency was readily apparent, even in the noisy NYC subway. That, and their seriously potent bass was so deep I thought for a second it was the subway train’s rumble! The headphones’ 9.2mm driver has a slightly higher-than-average impedance of 60 ohms; no worries, my iPhone didn’t have any trouble driving it.”

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” A recording I’ve recently rediscovered is Emmylou Harris’s Wrecking Ball: Deluxe Edition, a collaboration with influential producer, songwriter, and musician Daniel Lanois (16/44.1 FLAC, Nonesuch). This album is every bit as good as Lanois’s work on albums by U2, Robbie Robertson, Peter Gabriel, and Bob Dylan. The transparency of the 4B3 let me hear further into this recording than has any other amp I’ve had in my system — its retrieval of detail was astonishing. Although the amp was remarkably transparent, the sound was perfectly neutral and never harsh. The electric guitar and kick drum in Lanois’s “Where Will I Be” are recorded with reverb that can make them sound a little grungy. ”

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” 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.”

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“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.”

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“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.”

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” 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.”