Audiophilepure

https://www.whathifi.com/us/reviews/goldmund-telos-590-nextgen-ii

All this talk of detail and precision could set alarm bells ringing for those that are wary of sterile but highly detailed presentation. To those people, we say there’s no need to worry. Older Goldmund amplifiers may have erred towards the clinical, but not this one. The 590 Nextgen II sounds natural and fluid, and certainly delivers this Arvo Pärt piece with all the verve and emotional impact it deserves.

While this Goldmund’s stereo imaging isn’t the most spacious we’ve heard, there’s no denying the focus and stability in its presentation. Instruments and sounds are locked into position making it easy to place the orchestra within the recording venue. It’s a sound packed with confidence and authority.

https://www.hifinews.com/content/rotel-ra-1592mkii-integrated-amplifier

In fact, Rotel’s RA-1592MKII proved a very capable all-rounder even if its digital section lacked just a little of the sparkle I recalled from the costlier Michi X3. The latter edged home on ultimate sound quality even if it’s still bettered on format compatibility by a few relatively affordable external DACs. As is the RA-1592MKII, although it remains more than good enough for most needs and will serve well anyone wanting to explore just what their computer can do when connected to a high quality amp.

Meanwhile, used as a purely analogue amplifier, this beefy new Rotel integrated is good enough to justify its price even if you’re never going to use its digital section, and should definitely be considered if you fancy a Michi X3 but want to save yourself some cash

https://www.whathifi.com/us/reviews/cyrus-i7-xr-integrated-amplifier

You could say the i7-XR is like a professional orator – seemingly effortlessly articulate and a natural in getting messages across as precisely and coherently as possible. And in terms of these traits, the i7-XR is, like many Cyrus components before it, up there with the very best at this level. Play Eminem’s Killshot and his biting vocal cuts through the middle of the soundstage with intensity and focus, as if he’s spitting his lyrics just centimetres from your face during a rap battle. The track is fast and lively, and the Cyrus keeps up.

Switch momentum completely, to Ludovico Einaudi’s Oltremare, and the notes are precisely drawn and dynamically varied enough for us to stay interested during the composition’s 11-minute duration. There’s plenty to like.

We’re pleased to report that the second-gen QXR DAC is of a decent calibre, too, if you did want to connect a digital source that way. Not all DACs built into such machines offer quality as close to the analogue performance, but while the digital delivery (we stick mostly with the ‘Apodising’ digital filter) isn’t so fast-footed or full as the analogue, the stark clarity, spaciousness and general communicativeness are well retained. 

The PrimaLuna EVO 300/Floyd Design Integrated

PrimaLuna’s vacuum tube amplifiers are all built with point-to-point wiring (except for the small auto-bias board that eliminates the need to bias the output tubes) and feature a fanatic level of attention to detail. Those arguing point to point wiring can’t compete with the consistency offered by printed circuit boards have never looked inside a PrimaLuna! The EVO 300/Floyd still uses point-to-point wiring, but there are three PCBs now. These boards are 2.4mm thick with 105um gold-plated copper traces, for maximum longevity and highest signal integrity.

Fit and finish elsewhere is equally fantastic. PrimaLuna has always set the standard for execution, using their signature dark blue metallic for the chassis, mated to a thick aluminum front panel with silver or black anodizing. The only thing feeling out of place on recent PrimaLuna products is the control and selector knobs. The rough, pebbly finish does not look as “finished” as the smooth ones used in earlier PL products. This is truly my only complaint with the EVO300/Floyd, but it is something that other PL owners have talked about online. Perhaps offer an upgraded, machined pair of knobs as an add-on?

https://www.enjoythemusic.com/magazine/equipment/0222/Aric_Audio_Custom_300BPSET_Amplifier_Review.htm

The rectifiers are two 6CG3 damper diodes that are quieter than regular tube rectifiers and can handle the extra current. The power supply is connected to the amplification unit via two Speakon connections, which I have to say, are the most intense power connectors I’ve seen in a home-use amplifier. The amplifier section of the Custom 300B PSET starts with 6SN7 input tubes in SRPP mode. Those are coupled using Audyn True Copper foil coupling capacitors to triode-strapped 6V6 driver tubes. The drivers are then coupled to the 300Bs using custom-made interstage transformers. This is where it gets really interesting and makes the Custom 300B PSET so unique.

You then have the choice of running the amp in either SET mode with one pair of 300Bs or PSET mode with four 300Bs. As you can imagine, in PSET mode you have twice the power. Plus those four 300Bs in quad formation look so cool. There are a lot more great features in this amp that I won’t go into detail about here. I must add, this is a beautiful amplifier. Both bases are constructed of alternating light and dark woods, and cool retro ammeters on the front of the amplifier unit.

https://www.stereophile.com/content/riviera-levante-integrated-amplifier

If I were to speculate, I would wager that the RAAL develops a third-harmonic–dominant distortion spectrum while the Levante reverses that equation. I say this because high third harmonic and low second harmonic produces a sense of clarity and beat-keeping, whereas the reverse emphasizes space and atmosphere.

Thinking about this reminded me of what Luca Chiomenti wrote in his email. “A great part of the distortion and ‘character’ of the (Levante’s) sound is due to this first stage circuit, which changes simply by changing the tube.” Because there is no feedback or degeneration on the 12AT7 totem pole, every tube change can, and likely will, make a noticeable, possibly measurable difference in the Levante’s sound character