Audiophilepure

https://www.hifinews.com/content/d%E2%80%99agostino-pendulum-amplifier

I still can’t get over another revelation to attribute to the Pendulum. It extracted detail from Shirley Bassey’s ‘Goldfinger’ from Dame Shirley Bassey – The Singles [Strawberry QCR3JAM31] which had eluded me despite hearing it countless times in 60-plus years. The stereo spread was wall-to-wall, the lower register slam as impressive as Bassey’s soaring vocals. ‘Majestic’ doesn’t begin to cover it.

If, as I asked before, you’ve been dreaming about owning one of Dan D’Agostino’s products since the days of Krell, but nowadays can stretch to £18,000, this is the entry-level integrated amp for which you have been waiting. It’s like the Swiss Army Knife of amplifiers: unbelievably affordable and versatile. So don’t resist. Instead, just relent.

https://www.enjoythemusic.com/superioraudio/equipment/0815/Ayon_Audio_Crossfire_EVO_Monoblock_Power_Amplifier_Review.htm

This was also supported by fantastic sounds of high definition. When talking about details and nuances, one describes what one knows from a hi-fi world. These are important elements of the sound, important components of a greater whole. But when it comes to high-end, top-high-end in particular, mentioning details or nuances – that may be in a very poor taste. Details and nuances simply are there, as they should be, what is very important is a level up, which is based on these elements. In Ayon’s Crossfire EVO they build up in interesting, nicely differentiated sound depending on the quality of recording, with a listener-friendly presentation. I did not find a single recording that would have sounded unpleasant played by these amps. Having said that, I need also to clarify, that if there is some issue, like an emphasis on vocal’s attack phase, or just vocal that is bright sounding – like Leonard Cohen’s on his last album – these amplifiers won’t hide that. If you want an amplifier that can sugarcoat such recordings, Phasemation or Triode might be a better choice.

Ayon, just like Kondo and Ancient Audio, play such pieces differently as they deliver what’s there in the recording. Hats off for Ayon Audio! Hats off because despite the fact that these amplifier clearly show the weakness of certain recordings, their performance is nearly always enjoyable as within a properly mastered album. We always accept it as it is. I loved every album played despite the fact that some were recorded with boomy bass, some with bright vocals, and others that lacked ‘air’. Ayon clearly pointed out problems with trumpet timbre on certain jazz recordings, but it was me, the listener, who could decide whether this issue bothered me or not. The decision was mine alone, yet was not forced upon me.

Timbrally, too, the U-588 ranks among the most neutral amplifiers I’ve heard. Please don’t read that like it is devoid of color or saturation. It renders everything in the recording, whether wooden, metal, string, vocal, or otherwise, just as it is supposed to be. The pacing is also perfect, neither slow nor hurried, but precisely in between, and moving along with the music. Likewise, the U-588 is dynamically very capable, scaling precisely as needed by the music, neither undercutting nor bragging.

As I proceeded to listen to various tracks, I realized that the U-588 has a stealth-like musicality. By this, I mean that amplifiers that are usually found to be “musical” and engaging are typically warm or lush, or in some other way veering from purity or neutrality. With the Aavik, there is simply no added warmth, thickness, or coloration. Nevertheless, it does not devalue the emotion or reduce the warmth embedded in the recordings. In short, it is earthy and neutral, yet natural and musical.

A fundamental splendor emerges when music is reproduced properly, revealing the essential magic when everything sounds just right. This is expressed through several indicators, including stereo field realism, rich harmonic content, texture, dynamic contrast, and physical depth, contributing to a complete, upper-echelon level of resolution.

With limited review time annually, curiosity and enthusiasm must guide discovery, and I’m more than happy that I’ve taken a deep dive into Merrill Audio’s latest offering. Merrill Wettasinghe purveys something deeper and extraordinary, evident in every musical turn. The ELEMENT 110 monoblocks counteract amplifiers that induce listener disenchantment. These US-made amplifiers deliver profound musical gravitas rather than entry-level catharsis.

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.