Audiophilepure

Technics SU-G700 Integrated Amplifier

The SU-G700 has no negatives, and we haven’t even discussed the beautiful enclosure and attention to detail that goes along with this product. From the thick front panel, to the delicately lit power meters and even the high quality of the silk screening on the meters is in five-figure product execution range. If you are a build/style junkie, you’ll freak out by the level of overall quality present here. This is one beautiful piece of hifi gear – and it’s also available in black.

What the Technics SU-G700 does is provide you with a top-notch anchor for a great music system at an incredibly affordable price. It sounds great, looks fantastic, and offers an intuitive user interface too. Good as the remote is, the quality and feel of the controls just beg you to walk up to it, give the volume control a bit of a spin, and watch those power output meters come to life. Pairing it up with the SL-G700 and the speakers of your choice make for an incredibly high value proposition.

https://www.stereophile.com/content/nad-c-298-power-amplifier

Although my system is multichannel, there is no processor or preamplifier. The output of the DACs drives the power amps directly via balanced connections. I used the NAD’s XLR inputs in both stereo and bridged modes. When playing two-channel music, I used fixed gain. Fixed gain in stereo mode (28.6dB) also worked when playing multichannel with one C 298 powering the front L/R speakers. However, to use a pair of bridged C 298 amps, my options were to use fixed gain and adjust the channel balance in JRiver or the DAC or to use variable gain to match the other channels. The character of the amp remained constant across all these permutations

https://www.audiophilia.com/reviews/2021/3/17/tri-art-audio-b-series-60w-stereo-integrated-amplifier

It is time to conclude, dear reader; and many thanks for your interest. I know Steve Ginsberg and TAA’s Head of Electrical Engineering, Adam Thomaes, would agree with George Polychronidis of Moon River Audio—forgive me for quoting the competition—when he states that in the audio industry there is a misunderstanding about power. ‘Power is always measured by a constant, stable frequency in the lab—a single continuous sinewave without alterations of the level in time—when the major question is how much power an amplifier can deliver instantly, not constantly. Measuring with a stable frequency doesn’t tell you much about how an amplifier will handle musical dynamics, follow precisely music’s chaotic and complex transients, and drive the speaker.’

Starting with the basics, the Evo is extremely quiet. I am regularly surprised about how many high end amps have transformer buzz or hum. Quite frankly, it drives me bonkers. A few years ago, I had to obtain two Emotiva CMX-2 with their Precision Common Mode AC Line Filter With DC Offset Eliminator in order to review $30,000 monoblocks that buzzed loudly when plugged directly into the wall. Given the vagaries of the AC supply in many places, I would expect a designer to anticipate what needs to be done to prevent such issues in a home listening environment. Similarly, I am bothered to no end by thumps, clicks and thuds that occur during turn on, turn off, and anything in between.There are absolutely no such irritating issues with the Evo. The build quality, attention to detail, and the obvious expertise that went into this amp are impeccable in every respect.

https://www.stereophile.com/content/elac-alchemy-series-dpa-2-power-amplifier

I was. Replacing class-AB amps that cost many times more, surrounded by comparably high-end equipment, the ELAC Alchemy DPA-2 Switchable Stereo/Mono Power Amplifier delivered far more musical truth and pleasure than you might expect. Chief designer Peter Madnick has exceeded his goal “to provide the kind of real-life transparency and clarity that you would not expect at this price point, as well as an overall balance that would lead you to say, ‘Wow, that thing’s really good for the money.'” He may also have created a benchmark product for this price range—not that I’ve heard all the monoblocks that are available for under $3000/ pair. (There aren’t that many.) But if there are many other equally fine amps at this price, budget-conscious audiophiles are living in a golden age. Enthusiastically recommended

The liquidity that the XP12 and XA30.8 provide was not the match needed in my system in this room. The Sigma SSP presentation is a little darker and more angular than I’d want overall. If I were stuck between the two with a “nice” $250 DAC in a system in which every other individual component is literally twenty times more costly… I’d probably pick the Sigma SSP to match the XA30.8. With a source commensurate with the rest of my system… there should be no surprise here. 

https://www.whathifi.com/us/reviews/cambridge-audio-evo-75

Turntable owners will notice no mention of a built-in phono stage – sadly, that’s not an oversight on our part. As well as delivering double the power output and featuring a different ESS Sabre DAC chip, the step-up Evo 150’s selling point is the inclusion of phono, asynchronous USB and balanced XLR inputs, a second optical input, plus two sets of speaker terminals for running two pairs of speakers simultaneously. Vinyl-loving Evo 75 owners will have to connect a deck with a phono stage to the RCA input, or buy a separate phono stage.