Audiophilepure

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“When I paired this model with the Focal Elear ($999) and my Cowon Plenue M used as a DAC ($899) I’d experienced one of those “Hifi Moments” we audiophiles hunt for years to find. In the track titled In my Fathers House, by an artist called Eric Bibb, album titled Spirit & The Blues…I remembered why I was an audiophile for the first time all year. Of course, after using the Burson, I had swapped to a much more expensive amp to re-experience it, but what is important here is that it started on the Soloist MK2 first. There is a specific point in this track where a new, secondary artist sings into only the stereo-left channel, which caused me to literally jerk my head to the side to see if someone was standing beside me trying to speak to me suddenly.

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“With the Audible Illusions 3A preamp and Acoustic Zen Absolute Silver interconnect, the amp became a little more supple, tracking the music more closely. With the Convergent Renaissance line stage, I heard a substantial improvement in transparency – at the cost of an additional $10,000, another set of interconnects, another power cord, a crowded equipment rack, and loss of the remote control. ”

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” Gryphon Audio, like many top-level high-end audio manufacturers, seems to have a ‘family sound’. The Diablo 300 is no different and it is a sound I truly adore. During my review of this impressive integrated amplifier with DAC I enjoyed many styles of music. This includes classical, jazz, vocal, pop, EMD and of course rock n’ roll. On the big 6′ high modded Dunlavy SC-IV Signature mastering studio speakers, the Diablo 300 easily took control and there was never a moment where I felt more power would have been beneficial”

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” In 1985, Men at Work released their third album, the largely ignored Two Hearts. I think it’s well recorded, and through the Wadia a315 it sounded mostly devoid of the early-digital harshness of so many CDs of that era. In “Maria,” Colin Hay’s voice jumped confidently onto the soundstage after a brief intro of maracas and effects-laden guitar, then lingered clearly in its own space with just a bit of reverb. Hay’s voice is not bass heavy, but his slightly raspy sound as he strains for the higher pitches was presented clearly in a nice contrast to Renée Geyer’s silky-smooth voice blooming atop the sounds from the rest of the band. ”