Audiophilepure

I can be brief, as it simply matches or even “eclipses” most of the competition in very nearly all the usual parameters. Neutrality, linearity, low-level resolution, transparency, focus, refinement, air, spaciousness, and the list goes on. In all of these parameters, the Eclipse equals or betters any other amplifier I heard so far, including the CH. But this is where it gets really interesting as the amp takes all these qualities and adds unbelievable flow and what seems like eternal sustain. With typical transistor amplifiers, especially those with many parallel output devices, intermodulation distortion spoils the party by adding smear and making successive notes blur into one another. The opposite can also happen, with a distinct black hole between successive notes, which can be interpreted as a lack of self-noise but, in reality, could potentially be a result of limitations in the design. In real life, there is no intermodulation distortion, and there is never 100% silence between any two sounds. Rather, the sounds tend to linger on and decay naturally. This is where the Eclipse truly shines: instead of the aforementioned blurring on the one hand or black-hole choppiness on the other, it sounds utterly natural and gloriously non-transistor-like. The Eclipse has absolutely astounding low-level resolution but presents it in a natural, decidedly non-electronic, fully organic manner: fluidly and continuously and never etched.

https://www.stereophile.com/content/linn-klimax-solo-800-monoblock-power-amplifier

Linn monitors the current flowing in the output transistors and uses a digital algorithm to extract the bias signal from the music signal. “That allows us to control that parameter on its own,” Smith explained. “It’s something that you can only achieve by having good knowledge of traditional analog amplifier design, digital electronics, and digital signal processing. It’s a kind of marriage of two different worlds. Digital signal processing is my specialty, so that’s the part of the design I was involved in.”

He emphasized, though, that the audio signal is not digitized. “The signal path remains completely analog. But we have digital assistance to ensure the amplifier performs consistently and runs at its best. It’s almost like the engine-management system in a car. … We have a completely linear transistor amplifier with a digital engine-management system that is keeping operating conditions constant and ensuring that performance is always optimal.

Because the minimum load impedance specified for the RB-1582 MkII is 4Ω and the maximum power consumption is rated at 550W (it would need to be >1600W for full power into a 2Ω load), I didn’t test with lower impedances. Within its stated design parameters, the RB-1582 MkII’s results are excellent with a doubling of power into a halved impedance on a single channel. It would be interesting to see what this amplifier could do with a larger power transformer as its ten transistors per channel are clearly capable of delivering 400 watts per channel (800 watts total) into four ohms and probably even more into lower impedances.

I’ll also mention that the protection circuitry on the RB-1582 MkII kicked in momentarily during disconnecting and reconnecting the unbalanced cables and at one point during high-frequency, high-power testing. This gives peace of mind that the amplifier knows its limits and will intervene if it sees something wrong. The protection circuitry was never activated during normal listening.

https://www.hifinews.com/content/canor-audio-virtus-i2-integrated-amplifier

This song feels like a nod to the trip-hop genre of Massive Attack and Tricky, with a spacious production and weighty, sluggish beats. It has a meditative aspect that suited the Virtus I2, as the amp’s warm but also slightly forward character created an encircling listen and delivered the synth notes with plenty of texture. This sonic signature was even more apparent during ‘Burning (For A New Start)’, where the reverb-heavy soundscape was perfectly matched to the Virtus I2’s rich balance

The Frequency Response is 7Hz – 90kHz within -1dB and 3Hz – 215kHz within -3db. The maximum slew rate for both small signal and the maximum output voltage is 100V/μs, which is equivalent to a maximum output voltage at approximately 250 kHz.

To ensure trouble-free operation under any circumstances, the Eclipse amplifier is exceptionally well-protected. The power supply is protected against most mains transients. It will cut out if common faults are detected, such as over-voltage, master clock at incorrect frequency, or excessive temperatures. The power amplifier section is short-circuit proof and protected against most input overloads. It has over-current limiting and protection against overheating. It will cut out if a continuous DC offset appears on output or if the output current continuously exceeds 12 A average over a period of a few minutes. The latter may seem like a compromise, but Halcro has rigorously tested this and confirmed that this condition never occurs in normal music reproduction. Hence, it poses no limitations.

https://www.whathifi.com/news/chord-teases-suzi-prepower-amplifier-concept-thats-like-lego-for-your-hi-fi

The pictures above give an idea of what the Suzi pre/power will look like, but it’s hard to gauge more details or dimensions without seeing them in person. However, we know the Hugo 2 and 2go combo is about the size of a paperback novel, which gives an idea of just how compact the Suzi combo is. 

The Suzi preamp and Suzi power amplifier will be launching formally this autumn, at which time we’ll have full details, specifications and pricing to keep you up to speed.

Before that, however, we’ll be on the ground at the High End Munich show to bring you as many details and hands-on images as we can when we see Chord’s new Suzi products on display. Chord has one more product – this time a digital one designed by Rob Watts – to still reveal, so stay tuned for all our Munich show news and coverage as the event starts on 9th May

https://www.stereophile.com/content/octave-audio-v70-class-integrated-amplifier

I started my vinyl listening with Bell Orchestre’s House Music (LP, Erased Tapes Records ERATP141LP-CA), a rock-classical hybrid instrumental work that includes several string instruments, group chanting, and a menagerie of seamlessly integrated studio sound effects. Via the Octave’s phono stage, the band sounded bigger than six members—more vaulted and sonically varied with a richer, more reverberant consistency. The V 70’s characteristic transparency, big-picture boldness, and the detail retrieval I’d heard with digital came through, if not quite to the same level. (That limitation could be a reflection more of the sources I was using than of the phono itself.)

Texture and transient tactility were conspicuous. On the first track, “Opening,” violin and double bass produced vibrant, rich-brown tone and vibrational texture that seemed serrated. The drums were focused, dynamically spry, and, judging by the arc of the drum hits, compact. The group chanting was almost Star Trek–y, with its extended-vowel, dashing-through–outer-space aura, vocally layered and luxuriantly toned. The phono stage emphasized the music’s coherency, both in the sense of a band playing together in the same room and in their creative complicity, the feeding-off-each-other group dynamic.