Audiophilepure

https://www.hifichoice.com/content/vac-sigma-170i

This prowess, however, isn’t entirely dependent on the superior pressing at higher speed. With the 2014 reissue of Etta James’ sublime Tell Mama on Bear Family, (not exactly known as a label of the audiophile tendency), the otherwise average recording does nothing to hold back one iota of James’ peerless, powerful vocals on this milestone LP.

You want emotion? Here Etta James rips out your heart, and the Sigma 170i ensures that every dynamic moment is treated with the respect it so thoroughly deserves.

With performers like this, even when recordings are not necessarily of the highest merit, the Sigma 170i does the business beautifully. Damn, this is one fine integrated

In conclusion, the A40 is an excellent anchor for a sub-$20k hifi system without having to go used or DIY. While you can’t bridge them (again, there goes the magic), using a pair of these in a vertical biamp type system could be incredibly good for those craving more dynamic headroom.

The A40 delivers so much performance for the money the only reasonable comparison I could come up with was the PrimaLuna EVO 100. At about $2,600, this 38 wpc tube amp is equally robust but very different. Of course, the tube amp has even more tonal saturation, especially the midrange – but the tubes don’t control the bottom end as succinctly as the A40 does. Highs are different in presentation, with the A40 being more resolving and the EVO 100 being more silky smooth.

These two power amplifiers represent the best values going in a low powered tube or solid-state amplifier period, end of story. Some of you will have to have tubes, while others will insist on solid-state. If you’re on the fence, I suggest the A40 because you’ll never have to replace tubes.

https://www.hifinews.com/content/dagostino-relentless-800

For the obverse of these two clear-voiced warblers, I looked to Ozzy Osbourne, his masterful Under Cover [Epic 82876743142] showing exquisite taste in his versions of rock classics. Listening to ‘Mississippi Queen’, with its originator Leslie West providing a ferocious lead guitar break, Ozzy’s rasp demonstrated vividly that the ’800 was not even remotely saccharine, despite my ears telling me that it sounded as sweet as any massive solid-state amp I have ever heard – including the ‘original’ Relentless.

But there was more. Out came a vinyl copy of Led Zeppelin II [Atlantic SD 8236] with the famed Bob Ludwig cut. Within ten seconds of ‘Whole Lotta Love’, cranked up to 11, I experienced a rare audiophile epiphany. The mass, the slam, the scale, the presence: it was as close to real as it gets.

The characteristic of the central Voxativ field-coil driver in its exquisite response to the integrated amplifier alone spoke volumes. Even when playing famously “dry” sounding digital recordings, the delicacy of the driver as driven by the SW1X unveiled textures of the strings and woodwinds to such degrees as to be unprecedented. One could almost surmise from experiencing the AMP V Titan Special that those dry recordings are purer sounding. Here, perhaps even a mere four 300B or 2A3 watts would’ve sufficed, and the quality of every watt coming out of the SW1X AMP V Titan Special cannot be overstated

For all this quality and excitement, I have yet to cite Stravinsky’s Rite of Spring; Scherzo à là Russe for Two Pianos LP, featuring Michael Tilson Thomas and Ralph Grierson (Angel S-36024). I played it on the Helius set-up with Koetsu Gold MC cartridge. “Part I: The Adoration of the Earth” was absolutely thrilling with diverse tonalities, crystalline trillings, complex chordings, rapid arpeggios, bombastic and lyrical passages, and startling clusters of high-pitched notes of tremendous energy and stunning effect. There was the anticipation of suspense and dread intermingled through much of the movement, which was an aural feast in full frequencies and dynamic range, characterized by the speed and precision of each pianist. There were a plethora of pleasing dissonances and swift changes of eccentric tempi, and it seemed as though every note from each measure of the orchestral score was anticipated in this earlier score for pianos. Deep bass drum strikes, screeches from an overblown piccolo, the sautillé of double basses, timpani strikes, horn and trumpet parts were all rendered on the keyboards for the four hands of two pianos

https://www.hifinews.com/content/canor-asterion-v2

This turned out to be fortuitous, as the result was excellent as it stood, and PM’s Lab Report [opposite] indicated the single-ended/lower gain route would be the better choice with this cartridge anyway. And when a replacement Pro-Ject Connect it Phono DS cable was eventually delivered, I still preferred the single-ended connection for its more fluid sound and natural high-frequency detail.

Anyway, the tunes on …Cosmic Sofa were originally created for the milestone anime series Cowboy Bebop – not the derivative Netflix version – but Kanno re-recorded them last year for this vinyl release. ‘The Real Folk Blues’ made for especially satisfying listening, the Asterion V2 giving the carefully plucked guitar plenty of presence just as A-Sha Mai Yamane’s crooning was both gritty and packed with emotion. Yet what really stood out – and pardon the audiophile cliché – was the black background, testament to the vanishingly low noise of the Asterion V2 and to the Pick it MC9’s tracking prowess.

As with any traditional integrated amplifier, the Lògos MkII is ready to play after input and output connections are made. During the review, the Lògos MkII was used to drive my Revel Ultima Studio speakers. The sources used are primarily the Auralic Aries G1 streamer and PS Audio PerfectWave Transport, connected through the PS Audio DirectStream DAC. Both the balanced (XLR) and unbalanced (RCA) outputs of the DirectStream DAC were connected to the Lògos MkII. These two connection types yielded different output levels for the same volume setting, but I did not notice sonic fidelity differences between them. I would be happy to use either type of connection in my system.

After sufficient break-in, the Lògos MkII convincingly erased my concern about the possibility of getting let down by its performance starting with the first note I listened to. This beauty could sing! And I should add that it could sing pretty damn well, and in fact, better than most. I was quite amazed by the way it sang too. Yes, it sounded full and smooth with no sharp edges along the midrange and high-frequency notes as with most tube devices, but it also exhibited sheer textures in its presentation with impressive bass authority. The ability of the Lògos MkII to move the woofers made it overall sound more powerful than its amplifier specifications suggested. The sheer musicality of the Lògos MkII was nothing short of excellent.