Audiophilepure

https://www.stereophile.com/content/plinius-reference-150-power-amplifier

The right button, labeled “Class A,” is for choosing between class-A and class-AB operation. In class-A, the LED lights. If I forgot to switch to class-AB after a listening session, the amp’s “Ecologic Control” reverted to class-AB a half-hour after I departed. The rear panel includes two pairs of speaker binding posts to facilitate biwiring (footnote 5), and one set each of RCA and XLR input jacks. Between them lies the previously discussed “amplifier configuration selector.” A power toggle switch, 15A IEC connector, remote trigger socket (for integration into a home theater/multimedia system; I didn’t use it), and a ground-lift toggle switch complete the back-panel layout.

The ground-lift toggle switch has two positions: ground lift and chassis ground. States the manual, “In some installations a hum loop may exist due to duplicate ground paths from different equipment. Use this switch to remove the connection from 0V to ground thus allowing some flexibility in your particular set-up, although when using Balanced XLR inputs, the ground lift switch should always be set to ‘chassis.'” Through experimentation, I learned that if you don’t switch to “chassis” when using XLR cables, hum is present at levels impossible to ignore.

https://www.stereophile.com/content/musical-fidelity-nu-vista-8002-integrated-amplifier

This was a difficult review to write given that, like other 21st century solid state amplifiers that offer superbly low distortion and noise, the Musical Fidelity Nu-Vista 800.2 didn’t have a readily discernible sonic character. Yes, Michael Fremer did write in his review of the original 800 amplifier that “There’s no mistaking the velvety, delicate sound of a nuvistor front end,” and I did indeed find the 800.2 easy on the ears. But Michael also wrote that while “CDs with a touch of hard edge and brightness were suitably softened and corrected, those that were hopelessly hard and bright remained so.”

I found that to be the case with the Musical Fidelity amplifier. It is exceptionally revealing of what was on the recordings I played or, with the loudspeakers I used for my auditioning, their intrinsic characters. But with its tight grip on the speakers’ woofers, its sense of almost unlimited power, its superb soundstage definition, and—again—that sense of ease to its presentation, the Nu-Vista 800.2 gets an unreserved recommendation from this audio critic.

https://www.stereophile.com/content/burmester-216-power-amplifier

The Burmester website lists basic specifications, like power output; some others appear in the owner’s manual. I’ve placed these in the Specifications sidebar. Here are some of the important ones. In stereo, the 216’s maximum output power is 100Wpc continuous into 8 ohms, 165Wpc into 4 ohms, and 245Wpc into 2 ohms. Continuous power when bridged to mono is quoted only as a maximum: a formidable 490W—no load impedance mentioned. In response to a query, Pope told me it was safe to report that when bridged, the 216 is capable of doubling the stereo output. For more on the 216’s technical performance, see the Measurements section.

https://www.whathifi.com/reviews/mission-778x

It should be clear by now that the 778X is a fine all-rounder. It even sounds good through the headphone output and that isn’t always the case with amplifiers at this level. This Mission is up against some tough competition, and maybe its slightly understated sonic manner won’t draw the attention as strongly as its rivals, but make no mistake, this is a well-rounded product that deserves plenty of success. Retro appeal or not, the Mission 778X convinces.

https://www.stereophile.com/content/accuphase-300-monoblock-power-amplifier

Several features made the A-300 one of the easiest big amplifiers to install and repack to visit my music room. The large handles on its front and rear are a reviewer’s dream, and the very large, easily adjusted speaker terminals make connection a cinch. The packaging is equally well thought out; it includes an inner cardboard amplifier holder with thoughtfully positioned indentations that allow for easy lifting, Styrofoam protectors labeled by position (eg, bottom front), and a removable cloth cover that is light years ahead of the slippery, tight plastic component protectors—I call them condoms—that ironically make lifting and repacking heavy equipment a disaster waiting to happen. You will not pinch your fingers as you and a helper remove this amp from its heavy cardboard packaging or when you repack it.