Audiophilepure

Turning to analog, I used the Goldring turntable with the Talisman low output moving coil cartridge in this system. I set the iFi ZEN phono stage to the high output moving coil setting due to the high gain of the Antique Sound Lab line stage. I started with my Los Angeles Orange County Audio Society 25^th Anniversary album and the Shoji Yokouchi Trio. I also played some Steely Dan. Playing these records gave me a similar sound to my Quicksilvers. I have to admit I do enjoy “tube rolling” with the Quicksilvers, which allows me to alter the sound with a variety of different tubes.

The Parasound NewClassic 275 v.2 power amplifier with 90 watts per channel into 8 ohms and 150 watts per channel into 4 ohms should be enough to drive most speakers unless you have some really low-efficiency or otherwise difficult-to-drive speakers. This power amplifier is so well designed that it worked well with any speaker that I threw at it. You could also consider Parasound NewClassic’s other power amplifiers if you want more power. This includes both the 2125 v.2 (150 watts 8 ohms/ 225 watts 4 ohms, $1,099) and the really powerful 2250 v.2 (275 watts 8 ohm/ 400 watts ohms, $1,799) power amplifier.

In all honesty, I have never heard a bad ampsandsound product. Some of their products did not match my needs, but all were excellent, and at their price points provided a level of value rarely found in high end audio. The Zions are no exception to that rule even at their $24,000 retail price. Most people who have purchased the Zions did so because they had never heard a better amplifier. I have spoken to several of them to confirm. I count myself in the group and I am very happy about it. It has become my reference and every amplifier that comes into my listening room is now measured against the Zions. The fact that they are based on one of audio’s most famous and fabled amplifiers is just icing on my listening cake.

If you want the equivalent of a 911 GT3 in your audio rack, the Zions should be on your short list. They are exceptional in every way. I wish they were easier to work with, but if that is the cost for the performance, then it’s a cost I will happily pay. As I said earlier in the review, I own the Zions, I believe more people should. They have my highest recommendation.

https://www.stereophile.com/content/bluesound-powernode-streaming-integrated-amplifier

Roon spoils us with its detailed playback path and file resolution information, something we audiophiles care a lot about but apparently most others don’t. In contrast, BluOS provided only basic information: “CD,” which I assume means the file or stream being played is 16/44.1, or a squiggly sign for MQA, next to the song’s countdown ticker.

BluOS, though, was easy to navigate, and I never saw an error message or experienced a glitch that left me music-less or frustrated. It simply worked, and worked simply, every time. The app let me traverse decades, genres, and musicians, making the transition between choices almost as quick as my thoughts.

https://www.whathifi.com/us/reviews/audio-analogue-aadac

Our next step is to use the Audio Analogue as a preamp, and it does its job superbly. Usually, when we do this with products the result is a bit of a disappointment. While the removal of a dedicated preamp such as our Burmester 088 should on paper result in a better sound due to the simpler signal path it rarely works that way. We normally get a small increase in detail but also significant losses in drive, dynamics and overall authority. That doesn’t happen here, with the AAdac delivering a lovely, rounded and entertaining sound. While a preamp of the quality of the Burmester – almost five times the price of the AAdac – still produces a better overall sound when included in our system, we think the Audio Analogue’s preamp section will more than hold its own in more price compatible set-ups.

Have you noticed that we haven’t mentioned the difference in performance between the various digital inputs or the way the various sampling rates and formats sound? We haven’t had to, as the AAdac is reassuringly consistent regardless of how it is connected. This speaks to careful and consistent engineering on Audio Analogue’s part.

Also of interest is the headphone socket, which I believe utilises the output section of the power amplifier. So with my Sennheiser HD 800’s in hand, and listening to the same tracks as before, I notice a very high quality headphone amplifier, with the all the liquidity of the best tube headphone amplifiers, spacial control and sweetness, almost as a throw-in. I’ve heard headphone amplifiers selling for the price of this integrated fail to reach this quality of sound. Very impressive for someone who takes headphone listening seriously.

Like other PrimaLuna models, the Evo 400 integrated amplifier is an extraordinary mixture of being low maintenance, and a great first valve amplifier, combined with a spot of tube-rolling audio nervosa paradise. The ability to change between ultralinear and triode at the flick of a remote control button, combined with the ability to use different valve types means that this amplifier can indeed be all things to all people, or ‘cakeism’ as the modern turn of phrase goes. But not only is this the ultimate ‘cakeist’ amplifier, it actually does the various options extremely well. It is not only an educational experience, it is also extremely satisfying to listen to. Well thought out, well executed, and creates a high bar for those few competitors at this price.

https://www.stereophile.com/content/primaluna-evo400-integrated-amplifier

When I asked California tube guru and PrimaLuna importer Kevin Deal about the duo of uncooperative 12AU7s, he said it could simply have been a break-in issue: “Sometimes a new tube that gets a little noisy just needs to be reinserted or moved.” He added that his company, Upscale Audio, has retubed about 75,000 components and that many tubes that people send in as faulty test fine. “A tube that’s noisy in a gain stage may be perfectly quiet as a driver or phase splitter.”

Everything else about the EVO 400 was hunky dory. No hum emanated from the speakers or directly from the amplifier, not even when the room was dead quiet and I placed my ear practically against the drivers of my Tekton Moab speakers, which have a specified sensitivity of 98dB.

https://www.analogplanet.com/content/rega-research-io-integrated-amp-built-phono-preamp%E2%80%94-cautionary-tale

Based on my experiences with the Rega io, it definitely makes for a superb headphone amplifier. Headphone listeners will adore the Rega io’s sonic characteristics alongside its small, sleek physical footprint. Those seeking low-level background music may also appreciate the piece’s potential. However, given its relatively low power output one must take great care in choosing loudspeakers. Neither the 85dB efficient KEF LS50 Metas nor the ELAC Uni-Fi 2.0 UB52s were well served by the io. Perhaps driving more efficient speakers the io might not produce the listening fatigue I experienced. Those crafting new systems must carefully pair their new Rega io with suitable and efficient loudspeakers. Those with a preexisting system including higher-output AV receivers likely haven’t thought as deeply about loudspeaker pairing. If you’re ditching your AV receiver for Rega’s io, please ensure your loudspeakers are either efficient or you’ve budgeted for new, more efficient loudspeakers. Pairing inefficient loudspeakers with the Rega io will only send beginner audiophiles back to their AV receivers where a recording’s detail, dynamics, and three-dimensionality often die. What’s certain is that dealers recommending the io to drive the KEF LS50 Metas are doing their customers and Rega Research for that matter a great disservice.