Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/0925/Audionet_Mach_Linestage_Schrodinger_Monoblock_Amplifier_Review.htm

Here, the floating panel chassis design allows for maximum air flow, offering abundant cooling for the circuit boards and establishing stable air currents throughout. It also employs magnetically and capacitively optimized circuitry, using no ferro-magnetic materials, and implements galvanic isolation by using optical coupling.

The Schrödinger uses the Audionet Ultra Linear Amplifier technology to manage real-time linearization of distortions, is DC coupled, and its massive, gold-plated copper rails deliver the signal to the speaker terminals without loss. It uses two separate power supplies, one for device control and detection, and a second to monitor zero-crossing of mains power, the crucial point where the mains power alternating current signal transitions through the zero voltage level, from positive to negative or vice versa.

I was forewarned that my review sample was brand new and would need some running in, but that it would get on song relatively quickly. Before listening, I just switched it on and left it idling for several days.

For my initial listening impressions, I positioned the U-588 on an Artesania Organic Line Modular Floor Platform and connected it using a long Belden 19364 power cable. The Antipodes Oladra music server was used as a source, connected directly to the U-588 via Belden RG59 coax and simultaneously also via I2S to the LAiV uDDC and Harmony DAC. This way, I could test the Aavik’s analog preamp section and perform comparisons with its built-in DAC. Finally, to enable UPnP streaming via the network, I connected the U-588 via an Ethernet cable 

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https://pt.audio/2025/08/03/mola-mola-perca-amplifier-review/

The Mola Mola stack is much like milk and cookies – no one notices how good the milk is if the cookies suck. The Makua is definitely the cookies and it’s a great cookie. The Perca is the milk and matches it perfectly, elevating the combination. The Mola Mola gear seems to be tailored to work best together as a system and not as separates. You could match the Makua with other gear as I did and have success with that, but I didn’t feel that the other gear I had on hand brought out the best in the Mola Mola Perca. I think the Perca showcased the other flaws in the system, being a “garbage in, garbage out” endeavor in some ways. If you are amplifying an altered signal it’s going to be louder, but still altered and perhaps even worse than you realized. So this is a bit unfair for the Perca, but I think it showcases how critical it is to have a quality upstream signal. It also shows that the Mola Mola Perca is honest and not going to fix system problems for you. I think you can find other gear that would be a good match for the Perca, but you’d have to do some hunting finding gear that is clean and clear. So why would you when there’s already an option that was designed from the beginning to be this good?

https://www.hifinews.com/content/d%E2%80%99agostino-pendulum-amplifier

I still can’t get over another revelation to attribute to the Pendulum. It extracted detail from Shirley Bassey’s ‘Goldfinger’ from Dame Shirley Bassey – The Singles [Strawberry QCR3JAM31] which had eluded me despite hearing it countless times in 60-plus years. The stereo spread was wall-to-wall, the lower register slam as impressive as Bassey’s soaring vocals. ‘Majestic’ doesn’t begin to cover it.

If, as I asked before, you’ve been dreaming about owning one of Dan D’Agostino’s products since the days of Krell, but nowadays can stretch to £18,000, this is the entry-level integrated amp for which you have been waiting. It’s like the Swiss Army Knife of amplifiers: unbelievably affordable and versatile. So don’t resist. Instead, just relent.

https://www.enjoythemusic.com/superioraudio/equipment/0815/Ayon_Audio_Crossfire_EVO_Monoblock_Power_Amplifier_Review.htm

This was also supported by fantastic sounds of high definition. When talking about details and nuances, one describes what one knows from a hi-fi world. These are important elements of the sound, important components of a greater whole. But when it comes to high-end, top-high-end in particular, mentioning details or nuances – that may be in a very poor taste. Details and nuances simply are there, as they should be, what is very important is a level up, which is based on these elements. In Ayon’s Crossfire EVO they build up in interesting, nicely differentiated sound depending on the quality of recording, with a listener-friendly presentation. I did not find a single recording that would have sounded unpleasant played by these amps. Having said that, I need also to clarify, that if there is some issue, like an emphasis on vocal’s attack phase, or just vocal that is bright sounding – like Leonard Cohen’s on his last album – these amplifiers won’t hide that. If you want an amplifier that can sugarcoat such recordings, Phasemation or Triode might be a better choice.

Ayon, just like Kondo and Ancient Audio, play such pieces differently as they deliver what’s there in the recording. Hats off for Ayon Audio! Hats off because despite the fact that these amplifier clearly show the weakness of certain recordings, their performance is nearly always enjoyable as within a properly mastered album. We always accept it as it is. I loved every album played despite the fact that some were recorded with boomy bass, some with bright vocals, and others that lacked ‘air’. Ayon clearly pointed out problems with trumpet timbre on certain jazz recordings, but it was me, the listener, who could decide whether this issue bothered me or not. The decision was mine alone, yet was not forced upon me.