Audiophilepure

https://pt.audio/2025/07/20/burmester-111-musiccenter-review/

What’s immediately noticeable is how The Man from Waco leans into a slightly more refined sound than his previous work. The horns, organs, and lush string arrangements bring a sense of grandeur to some of the tracks, reflecting a more expansive and cinematic feel. Crockett’s vocals, ever raw and emotive, soar over these intricate arrangements, blending classic country with a touch of gospel and blues that creates a soulful warmth throughout. The standout title track sets the stage for the entire album. With a slow, hypnotic groove, it features one of Crockett’s best vocal performances to date. With the Burmester 111 Musiccenter, his voice sounds grittier, more seasoned, and carries the weight of the narrative. The 111 was able to flawlessly transport me to a dusty trail, working as a shotgun rider on the San Jacinto Line (email me if you get this reference, we can be friends.) I really loved hearing the intro standup piano on this track through the 111; it made me instantly feel like I was drinking sasparillas in a dusty bar somewhere near Tombstone Arizona. It’s hard to overstate how much this component elevates almost everything I listened to in the six months I had it, and this Charlie Crockett classic album is no exception.

https://www.stereophile.com/content/pathos-inpol-legacy-integrated-amplifier

I found it hard to ignore the partial dropouts—split-second reductions in gain—that accompanied every 0.5dB-step adjustment, as if the amp were stuttering. At the same time, a faint, percussive thwup emerges from the speakers with every stepped change. Harmonia’s Jesse Luna relayed my experience to Pathos HQ in Italy and got the following response: “The volume control is a laddered resistor network that uses premium Vishay Dale metal-film resistors and individual relays, so the signal goes through one resistor per channel and comes out 100% pure. Because they’re a mechanical device with a switching speed, there can be a very short delay between the devices responding.” For maximum sonic purity, Pathos’s engineers rejected the idea of inserting a mute circuit, transistors, or ICs into the signal path, at the expense of the tiny serial dropouts I mentioned. “These kinds of solutions would most definitely impact the overall sound quality in a negative way,” team Pathos asserted. I can easily live with that decision.What I couldn’t brook was the Legacy’s remote control. Even with a fresh battery, turning off the amplifier often required as many as a dozen power-button pushes. Curiously, that same button performed better—but still not reliably—when powering the Legacy on. The remote has gray icons printed on a mottled silver finish. Until you become familiar with the buttons and can operate them by feel, prepare to do a lot of squinting, if you are of a certain age. I eventually just kept the master volume at 60 and adjusted from there within the Roon app running on my MacBook A

Connecting the NAD M66 was similar to the experience of connecting my usual home theater setup, just with fewer output channels and HDMI connections. The NAD M66 can be configured via the touch screen on the front panel, but I opted for configuration via the BluOS iPad app. For viewing, I connected my LG smart TV via the HDMI eARC connection and used the internal LG apps for YouTube TV, Apple TV, Apple Music, and other video streaming services. I selected Roon for the second input, a local radio station for input 3, and my turntable connected via the balanced analog inputs for input #4. Because my turntable is about ten feet away from the rest of my system, I did not use the M66’s phono inputs, instead using the balanced outputs of my Musical Fidelity M1ViNL due to the somewhat long cable run.

While the FX-Audio L07 and DS07 both appeared to me to be designed predominantly for desktop installations, I don’t really have a dedicated desktop setup in my home that receives any consistent use. So I took the acid-test approach and inserted them both into my usual digital source system that features a pair of KLH Model Five loudspeakers that are occasionally interchanged with the  Magneplanar LRS panels, a pair of Vera-Fi Audio Caldera 10 subwoofers, a Naiu Labs Ella power amplifier, PS Audio’s Gain Cell preamplifier, an Aurender A1000 music server/DAC/streamer, and an S.M.S.L VMV D2R DAC. With cables and power conditioning, the system tops out at over $30k; you can click on my name in the header above to see the full contents of both audio systems in my suite of dedicated upstairs rooms. With the combined MSRP of $398 for the FX-Audio equipment, the L07 and DS07 inserted in that setup accounted for one one-hundredth of one percent of the total system value. If this equipment came from anyone other than Mark Schifter, I’d think my approach to this evaluation was completely nuts!

https://www.hifichoice.com/content/cambridge-audio-exa100

Taken across their prodigious functionality, superb sound quality and utterly hassle-free interfaces, there really isn’t very much at the price that can do as much as the EX units or as well as they can and, if you feel that they might be overkill as a pair, the good news is that they are no less effective individually. Cambridge Audio’s exceptional run of form continues unabated and these EX models might just be its strongest showing yet