Audiophilepure

https://www.hifinews.com/content/jadis-jps8-and-ja50

Logic suggests that, should you be so enamoured of bass that you need something ‘more’, you look either to transistors, or to the JA50’s bigger brothers. But then there’s the treble, that zone where aggravation can be an issue, where softness can lead to disappointment. It’s here that we start talking tubeware, an area where solid-state doesn’t get a look-in, and it’s why valves continue to exist in the 21st century.

The extreme treble is silky or diaphanous as required, yet pin-sharp and precise, too. I’m currently undergoing a Clapton jag and the Jadis amps handled both his liquid electric guitar playing and his gutbucket acoustic blues with finesse and grace, such that I sat through three discs in a row.

The JPS8 and JA50 combination is one of the most musical and satisfying pairings I’ve ever heard, vying with the all-Nagra package, mint Radfords, Marantz’s Project T-1 and original Futtermans. Heady company, which almost makes the prices – £5900 for the JPS8 and £5890 for a pair of JA50s – sensible. But I’d feel a helluva lot better if they were made in the UK or USA.

https://www.hifinews.com/content/musical-fidelity-m6x-2507-multichannel-power-amp

The amp responded well to the shifting dynamics, showcasing a welcome nimbleness that belied its bulky appearance, something it did again with The Rolling Stones’ ‘Midnight Rambler’, recorded live in New York City in 2003 [Licked Live In NYC; Rolling Stones Records MSDD553838]. This gains an intro section that helps drag the tune out to around 13 minutes, the band members improvising bluesy licks, and it thrilled via the M6x 250.7, with rich piano playing off against honking harmonica and astonishingly weighty drum rolls.

When Keith laid down his riff and the song proper began, it was ramshackle and chaotic, but also joyous to listen to. This extended take on the Let It Bleed classic sounds little like the original, but the amp’s performance guaranteed I listened in rapt attention to the whole piece. Above all, it sounded live; detailed but gritty, with a sharp edge to Jagger’s screams and the gut-punching dynamics.

https://www.hifinews.com/content/icon-audio-st40-mkiv-6l6-integrated-amplifier

As the latter of the two titles proudly proclaims ‘Plus Trumpet’, it was an ideal test for the Stereo 40 MkIV 6L6. Would the strings stay sweet or turn steely? Would the brass have attack, punch and staccato transients?

It was almost a master class in why tape is the superior source, Icon Audio’s ‘austerity amp’ defying the removal of a few (admittedly non-sound-related) functions and a small reduction in power. Still the strings soared, with no edges to set teeth a’grinding, while the vivacious brass bursting from the speakers was enough to impress Al Hirt. This amp may have limitations in power, but used judiciously? It’s only January, but it could be Bargain of the Year.

At the other end of the spectrum, in the realm of microdynamics, I find them to be just a bit more reticent in their degree of nuance and expressiveness by way of comparison to the very best performers I’ve heard in this regard. And while they do sacrifice that final gradation of resolution and articulation as we descend closer to the noise floor, I would be remiss to not point out that those amplifiers that are more adroit here are typically considerably pricier. One interesting exception here comes from the nearly identically priced Parasound Halo JC 1+ monos that offer a slight edge in performance over the Grand Vivace in this specific sonic category.

Along with their remarkable power and control, they also excel at conveying the speed of instrumental attack, especially notable with stringed instruments from violins and cellos to pianos and harps. This uninhibited sense of rise speed carries over, exhibiting an equally impressive ability to render decay and trail. Listening to the attack and decay of ride cymbals from intimate jazz performances, or struck triangles buried deep within classical, or even some classic rock or pop, compositions, is a treat with the Gran Vivace.

https://www.hifinews.com/content/simaudio-moon-250i-integrated-amplifier

I also marvelled at this amp’s ability to serve even the most rough production with a spoonful of honey – for example, the ‘buzzsaw’ guitars of Entombed’s Left Hand Path album [Earache Records MOSH 21] have never sounded so inviting. But the best indication of the MOON 250i’s listenability I can give is that it pushed me to find more tracks to play, to the point I was dipping into artists I’d never heard before.

I wasn’t sure what to expect when Amaia Montero surfaced via my Tidal algorithm… It turns out she’s an unapologetically poppy Spanish singer, and the track ‘Ni Puedo Ni Quiero’ from her self-titled album [Sony Music; Tidal Master] is three minutes of strummed guitar, trombone notes, sweet-sounding vocals pushed far forward, and plenty of Latin flair. Simaudio’s amplifier was right up for it. And I was right up for it too.

An interesting side note. Roksan was founded in 1985 and acquired by British loudspeaker manufacturer Monitor Audio Ltd in 2016. The Attessa Series components are post-acquisition developments, and Roksan has stated that it will be revising and refining current products and developing new products. These developments, along with Monitor Audio’s fine reputation in loudspeakers, should augur well for forthcoming system-wide synergy that audiophiles can truly look forward to. Indeed, the Roksan Attessa turned out to be a real sleeper. Looks, ergonomics, and performance—a lot of pieces must fall into place to successfully bring together digital and analog sections, sophisticated software, plus Wi-Fi and network capability. It’s no small task, but with Attessa Roksan has fully met the challenge and then some. At $3199 all-in, the Attessa is likely the one to beat in a hotly competitive division. Highly recommended.