Audiophilepure

https://pt.audio/2024/09/27/tom-evans-the-mastervibe-preamplifier-the-linear-b-monoblocks-review/

On Acute Inflections’ brilliant album, Electric Psychology, the Tom Evans gear was able to highlight the stripped-down and focused pop structure delivered from just a singer (Elasea Douglas) and a stand-up bassist (Sadiki Pierre), covering everyone from Nina Simone to Childish Gambino. While Douglas’ voice is beautiful and angelic, I love this album because Pierre’s fingers and hands are capable of delivering as much music as the tones coming off the strings. I could easily imagine how he was standing and perhaps weaving rhythmically behind his instrument, and even leaning back when it’s time to let Douglas carry the weight for a bit. That’s audio realism in a nutshell, when you think you see things you’re only hearing.

The Auditorium Plus speakers play well with a 60 wpc amplifier. Still, their lovely, spatial nature shrinks a bit, and the lowest of low frequencies lack the authority and control that a big amplifier delivers. Again, the Double Shot makes these $150k speakers come alive. Because of their wide range, Electronica, Hip Hop, and a lot of current music really comes alive because so much of it has a strong bass groove. No Taylor Swift for me, but Charli xcx’s “Talk Talk” suits the power this amplifier delivers. That bass groove is killer, and the louder, the better.

Ditto for the drums in Beth Gibbons’ “Burden of Life.” Again, at moderate to high listening levels, Gibbons’ voice isn’t clobbered by the drums, losing its way. These types of musical excursions don’t feel the same without big power, but the clarity, pace, and texture the Double Shot has is equally important. It’s not a double shot of crap coffee; it’s a double shot of fantastic coffee!

Moving on to the Mon Acoustics standmount speakers we reviewed earlier this year, a pair of MartinLogan ESL 9s, and the new Magnepan 2.7x speakers all make for an excellent match with the Double Shot. The same characteristics that are easily discernable in the more refined speakers are available here. Nothing makes even a speaker like the compact MONs come alive like plenty of reserve power. If you’re a Magnepan lover, you know that extra power helps these speakers deliver their all. I’ll be discussing the Java amps more in an upcoming review of the Magnepan 2.7x’s, and this double shot is one of the most exciting pairings I’ve ever heard with a Magneplanar speaker at any price. The synergy with MartinLogan speakers is equally thrilling.

https://www.enjoythemusic.com/superioraudio/equipment/1024/Jadis_DA88S_MkII_Vacuum_Tube_Integrated_Stereo_Amplifier_Review.htm

Here’s an interesting bit of information about Jadis electronics. They stay in circulation for very long periods of time. Favorite Jadis amps, like the long out-of-production Defy 7, are always in demand. Another bit of interesting info. There have been many reviews of the DA88S MkII integrated over the years. But it seems that reviewers are always keen to get their hands on one to listen to for themselves. Rarely have I heard of a component that is consistently praised by so many reviewers of very different tastes. And now I know why.

https://www.hifinews.com/content/emm-labs-premtrs

When there’s less of a need for the MTRS to dig deep, this system still lives up to its premium positioning thanks to that sense of transparency and balance across the frequency band. Given cellist Redi Hasa’s ‘Little Street Football Made Of Socks’ [The Stolen Cello; Decca 44.1kHz/24-bit], EMM Labs’ pairing sounded biting and sweet at the same time, highlighting the physicality of his playing alongside well-resolved treble. And as the piece builds, layer upon layer, it was hard not to be swept up by its lush detail and lilting rhythm.

With Johan Johansson’s brooding electro-orchestral ‘The Beast’, recorded for 2015 film Sicario [Cutting Edge 302 067 369 8], the PRE and MTRS sounded as confident as they did with Elton John’s more conventional ‘Rocket Man’ [Honky Chateau; Mercury 528 162-2] with its rich piano and crystalline percussion. As for the dance single ‘Ratchets’, from quality-conscious Danish producer Hedegaard [Spinnin Records, 44.1kHz/16-bit], this absolutely banged, as the younger generation might say. Impossibly heavy synth and bass, playing in unison, loaded the room, and ramping up the level rewarded me with simply more weight, more scale and more drama.