Audiophilepure

https://www.stereophile.com/content/doshi-audio-evolution-monoblock-power-amplifier

Back then, I was using the dCS Vivaldi DAC; because it had a volume control and its single-ended and balanced outputs sounded quite similar, I was happy to connect it to the Doshis with single-ended cabling. Since then, however, dCS’s Rossini DAC (footnote 6) has replaced the Vivaldi in my system. The Rossini, too, has a volume control and single-ended outputs, and can be connected directly to the monoblocks without a preamp in between. I’ve found, however, that feeding its output to the balanced-only D’Agostino Momentum HD preamplifier produces larger and weightier images, more and better-controlled bass, heightened color contrasts, and a greater sense of texture. So, I prefer to use the Rossini with the Momentum HD. But since the Momentum HD preamp only has balanced (XLR) connectors, I asked Doshi how I should proceed.

https://www.hifinews.com/content/primaluna-evo-300-integrated-amplifier

Because these recordings were of the same vintage, with known recording hardware, the transparency of the EVO 300 – categorically not found in vintage amplifiers to this degree – will delight you if you’re a student of early record labels. I am not schooled in classical, so I can’t tell you which of Mercury, Columbia, Decca or RCA did the best with symphony orchestras, but you will definitely hear the ‘Capitol sound’ versus ‘the Columbia sound’.

It’s more complex than studio versus studio, eg, you also have to factor in Mitch Miller versus Nelson Riddle, but the pleasure of discovery is there. The EVO 300, in stock form, was a revelation. But, oh, to have the time to indulge in trying every one of the tubes it can accommodate.

And The Honeycombs? So chunky was the pounding, overegged-by-Joe-Meek drumming on the title track and ‘Just A Face In The Crowd’ that I suddenly lost the urge to swap out the EL34s for 6550s. For the weight of the drums alone, you can declare that this amp rocks. Whatever the tube.

The hall ambience it coaxes into your listening room also means that the lower regions of the piano resound with great fidelity. The piano chords have a 3-D dimensionality to them that is quite winning, particularly in the bass region. Ah, the bass region. I’ll admit it. I’m something of a bass fanatic, and not just because my system is located in the basement. Nor is it that I’m intent on pounding out the low bass on rock recordings, though I’ll confess that I enjoy it upon occasion

I connected the C658 to my network via an Ethernet cable. NAD also sent to me the Bluesound Pulse 2i, an all-in-one tabletop system ($699) that connects to the BluOS network wirelessly (as I used it) or via an Ethernet port. NAD wanted me to experience how products like the Pulse 2i allow BluOS to function as a whole-house wireless audio system. I wasn’t expecting to receive the Pulse 2i, but discovered that it was a great way to have music outside the listening room. There’s the joke that the audiophile’s way of realizing whole-house audio is to open the listening room door and turn up the volume. I must confess to taking that approach myself. But the ability to place the Pulse 2i in the kitchen, for example, and have full wireless access to high-resolution streaming music controlled by my iPad was compelling.

https://www.hifinews.com/content/marantz-project-t-1-amplifier

The amp’s way with textures carries over to each and every instrument, enough to allow you to use a compilation like the tribute, Rattlesnake Guitar: The Music Of Peter Green, as a guide to different guitar models. lt also means that incredibly fine details come through without a fight, with spatial clues so vivid that you can picture the walls of Abbey Road’s Studio 2 when you play the Fab Four. And you will hear vertical images just like the Cheskys said you would. It’s a near- magical experience, restricted only by speaker sensitivity rather than frequency response, driver type or impedance. Still, it has power to burn, compared to a SET.