Audiophilepure

https://www.stereophile.com/content/schiit-audio-tyr-monoblock-power-amplifier

While I described the audible differences I found between the Schiit Tyr and the two amplifiers with which I compared it, I must admit that these differences were relatively minor. I find it increasingly difficult to characterize the sounds of modern solid state amplifiers. Unlike many tube designs, which have a readily identifiable sonic character, solid state amplifiers are benefiting from a process of convergent evolution that pushes noise and distortion below audibility.

Schiit’s Tyr is a perfect example of such a thoroughly modern amplifier. It offers high power, is not fazed by low impedances, sounded superb with the three pairs of loudspeakers that I used for this review, and is competitively priced. Strongly recommended

Audio Analogue Bellini Anniversary and Donizetti Anniversary

The spectre of audio’s rose-tinted view of the past should be exorcised. We sometimes prize those classic big pre/power combinations from the 1980s, but if we listened to them today on a level playing field, I suspect a few of the Anointed Ones of audio wouldn’t hold a candle to this Audio Analogue pairing. It’s gentle, refined and sophisticated touch with music – that not only rolls with the punches but can also deliver a neat haymaker when required – is extremely alluring, especially for those who do not simply choose audiophile-approved recordings. The Audio Analogue Bellini Anniversary and Donizetti Anniversary is the pre/power combo that puts a smile on your face.

https://www.stereophile.com/content/primare-a358-8-channel-power-amplifier

The Primare A35.8 amplifier surprised me. Its performance in my system corroborated Primare’s claim that they can make a great amplifier from Ncore modules, one that can rival amplifiers based on the newer Purifi technology as well as amplifiers utilizing traditional, nonswitching technology. Its eight channels and bridged gain options endow it with tremendous versatility. To me, the Primare A35.8 is worthy of an audition in any multichannel setup. It is a pleasure to use and to listen to.

Gentle Ben is one of my most favorite albums in my entire high resolution jazz collection. The 866 DAC grabs this digital file and makes it something special. On the first track, “Ben’s Blues,” Ben Webster on saxophone and Tete Montoliu on piano provide the perfect balance of urgency and despair for this beautiful blues ballad. Again, we have the suddenness and dynamic contrast that only the very best components can bring to the table. These musicians and these instruments were now in the room! I also have the outstanding 45 RPM vinyl pressing from Analogue Productions. This was one of the few times that digital was able to really satisfy all that this recording can offer.

Final Thoughts

The Boulder 866 is a star performer and a true standard of excellence. With its superb industrial design and musical presentation, the 866 can easily be the center piece of the very best sound systems. The optional integrated DAC provides tremendous value and performance and competes well with DACs many times it price. Bottom line. The 866 indisputably pushes the envelope for what current integrated amplifiers can now provide—even for the most sophisticated Audiophiles. Highly recommended!

In general, the TA1’s performance is of the crowd-pleasing nature you’d expect from a feature-packed integrated at this price – it plays loud and low, has tangible driving ability, and snaps into detail. Depth of soundstage is also handled well, ensuring The Allman Brothers Band’s At Filmore East [Mercury 0600753270240] comes across like the live recording it is. But the amp doesn’t spread the sound particularly wide, meaning that, on the epic-length ‘Mountain Jam’, there’s a suggestion of the players fighting for the spotlight.

This, and the TA1’s lack of real richness and smoothness in mids and highs are where its sonic aspirations come face to face with its price tag. Yet I’ll end on a high, as the amplifier deserves it – Warren G’s hip-hop hit ‘Regulate’ [Violator Records 523 335-2] sounded as vibrant and bouncy as its producers intended, the TA1 digging up warm, room-filling bass and projecting the soul-inflected vocals right at me. That so much energy was coming from a slim, black box was an eye-opener.

The amp runs cool, and provides a sound not as romantic as a vintage Mcintosh, Marantz or Dynaco amp, yet still delivers plenty of tubey, midrange magic that you’d expect. And of course, with only three input tubes, you can roll em’ if you’ve got em’ to fine tune and experiment.

Thanks to careful design, this little jewel plays louder than you would expect a 25Wpc amp to play, even with less efficient speakers like a pair of Harbeths, or your favorite LS3/5a variation on the theme.

https://www.stereophile.com/content/hifi-rose-ra180-integrated-amplifier

Perhaps the GaN transistors’ decreased “dead time” helped music’s sense of smoothness and continuity. Maybe their speed aided quick and sharp transient attacks and overall dynamics. It’s hard to say, but I do know I enjoyed my time with HiFi Rose’s RA180 flagship. At times it felt hyper-responsive. Its heightened detail lent an exciting intensity to most material.

Except perhaps for this impression of heightened detail, the RA180 remained mostly neutral in its tonal balance. If anything, it ran slightly cool rather than warm. Once in a while, the RA180 verged on leaning a little too far to light, clean, and shiny, like a new penny. Yet, in any kind of music—delicate classical, hard funk, crystalline electronica, all the other stuff I played—the RA180 maintained its cool sense of control.

Audiophiles who appreciate a unique visual and functional design and fast, clear, detailed sound—especially those with biampable speakers (or, even more, who use supertweeters)—should give the HiFi Rose RA180 a long look and listen.

We’re truly spoiled at the cutting edge of digital audio, and CH Precision D1.5 is very much at that cutting edge. I feel that any review that fully covers what this player does would probably run longer than a Proust novel, so this barely scratches the surface of what the player does and how it does it. Regardless, the sound it produces is so ineffably musical I can’t help but be drawn into listening to the D1.5 every time I walk past it. I just wish we had the vocabulary that matches its sublime performance.

https://www.hifichoice.com/content/exposure-introduces-3510-mono-power-amplifiers

Key features of the new monos include what the company describes as: “a high-capacity power supply circuit designed around a large custom-made toroidal transformer and massive smoothing capacitors to ensure a high current reserve for the output stage with electronic smoothing for low noise on the supply rails to the gain stage”. It’s DC coupled throughout with balanced and unbalanced inputs, enabling compatibility with a wide variety of preamps. It also boasts bi-wire speaker outputs using high-quality shrouded sockets and an electronic, non-invasive overload protection circuit and thermal trip to ensure longevity.

https://www.hifinews.com/content/audio-research-i50-integrated-amplifier

Nothing had prepared me for what might be just another fine, mid-priced, 6550-powered all-tube integrated. ARC’s I/50, though, is so categorically musical, competent and complete

that I’m tempted to believe it signifies the ‘second coming’ of Audio Research, following a change of owners and the passing of its first half-century. This astounding amplifier heralds a golden age. Yes, it’s that good.