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https://audiophilestyle.com/ca/reviews/review-boulder-866-integrated-amp-r968/

 The analog and digital version certainly isn’t inexpensive at $14,450, but it’s a game-set-match component, just add speakers. The 866 Integrated looks really nice on my desk sitting next to my iMac and my headphone stand. The metal chassis is 100% Boulder, making it impossible to misidentify this amp as that from another company. The fit and finish are second to none. When it comes to sound quality, the main reason we are all into this wonderful hobby, the 866 Integrated is fantastic. 

I wrote at the start of this review that an amp must be fantastic or else I’d hear its flaws through the SR1a headphones. The Boulder 866 delivers the goods flawlessly at all volume levels. I played everything from test tracks (not really fun, but necessary for evaluation) to tracks that grip me emotionally, and the 866 handle them all with ease. Reproducing incredibly wide dynamic range on bombastic symphonic pieces and the very fine details in Jewel Kilcher’s voice that bring out the emotion of an 18 year old busker from Homer, Alaska, the Boulder 866 is an all-in-one that can do it all.

Suffice it to say that, as with every Benchmark product I’ve used or reviewed, everything works smoothly, precisely, flawlessly. I must single out for special mention the volume control. While the whole unit is completely relay controlled, with a total of forty “precision relays switching high-precision metal-film resistors,” each channel has its own gain control with 256 steps in 0.5dB increments. An accelerator facilitates rapid movement up and down the range while preserving the 0.5 steps, while exact channel-to-channel balance is maintained regardless of changes in level (if you’ve altered the balance to favor one channel, the imbalance is preserved through any level changes until you alter it again). The volume control is designed to generate a light “ticking” or “clicking” sound when used, which I liked. For one thing, it sounds cool; for another, the steps are so fine that without it you might not know you’ve made a change. By far, without question this is the best volume control I have ever encountered, capable of finer resolution of level increments than any in my experience (hard to imagine a set of conditions in audio usage where finer gradations would be required)

REVIEW: Conrad-Johnson CAV-45S2

There’s a thing about tubes that when it’s delicious, you can’t forget it. But it’s a road with a lot of detours. If your experience has mirrored mine at all, no doubt you’ve heard amplifiers with a silky smooth high end, others rendering a three -dimensional space that is so beguiling you might think you were under the influence of hallucinogenic drugs, yet others offer a delicacy that’s almost intimate enough to be obscene.

The CAV-45S2 offers all of this and a well-defined lower register to boot. Whether I was listening to bass-heavy ambient tracks or heavily layered vocals, it comes through like few others. The presentation that the CAV-45S2 provides is deceptively simple. Should you place one in a system achieving an excellent match, you’ll not only find yourself losing track of time while listening, but you’ll also question why you didn’t do this earlier.

In the upper reaches of the high end, there are just a handful of glitter-glam companies that seem to inhale most of the air in the room. Most of us know their names. Granted, they’re dazzling, exquisitely engineered, with musicality to burn. However, to my way of thinking Rogue Audio generally, and the DragoN in particular, represents amplification that in its muscular performance and uncommon value should be equally celebrated. Rogue Audio’s contributions have been vastly underrated in my view, and the DragoN provides even further and unassailable evidence. Not just another high-powered beast, the DragoN is a truly splendid piece of electronics that can proudly grace any system.

When I got the ProLogue One back from my (now ex) niece a few years ago, I couldn’t have been more excited to be reunited with this old friend. And it cost me dearly – I had to trade she and her husband a new Simaudio NEO integrated ($3,400), along with some heavy convincing that having a tube amp around the house with a couple of toddlers was a really bad idea. The fatigued tubes were replaced with a new pair of PrimaLuna 12AU7s, a pair of EAT 12AX7s and a mint quad of NOS Siemens EL34 power tubes. Other than a slightly noisy volume control (with a little bit of contact cleaner took care of immediately) the PL One was back rocking with a pair of 1976 vintage Klipsch LaScalas. The sound was glorious, and with the coolio, upgraded tubes, even better than the day I unboxed it for the first time.”

https://www.hifinews.com/content/dagostino-progression-integrated-integrated-amplifier

Running them side by side, the Progression Integrated’s amplifier section is undoubtedly less bold, less forceful than the costlier Momentum Stereo. But the differences were so minute as to cause a bit of head scratching. I had to keep reminding myself of the Law of Diminishing Returns, acknowledging that the Progression customer is not the same as the Momentum client.

It was the subtlety of George Benson’s guitar work on The Other Side Of Abbey Road [A&M Records 82839 3028 2] that showed how two amplifiers from the same designer can sound different, yet share common ground.

Sorry about this, folks, but an analogy from the world of wine best illustrates this: the Progression Integrated is to the Momentum what ‘second growth’ wines are to Premier Cru. For someone like me, who can’t afford £800-a-bottle reds, there are, blessedly, plenty of astounding second growths. So, for you teetotallers: the Progression Integrated is to the Momentum what Le Volte is to Ornellaia. And that spells ‘Bargain’.

https://www.stereophile.com/content/cambridge-audio-cxa81-integrated-amplifier

I greatly enjoyed my time exploring the CXA81. It helped me realize how much music can be had for such a low price. It knocked me flat with its ability to sound good in so many ways. It is versatile, well-made, and smartly designed. Most important, it sounds good to great. If you’re in the market for an affordable integrated amplifier, this one should be on your audition list.

https://www.stereophile.com/content/ps-audio-stellar-m1200-monoblock-power-amplifier

Want a sonic checklist rating? Bottom end: A+, midrange transparency: A, high-frequency extension and freedom from grain and grit: B+, macrodynamic “slam”: A, microdynamic delicacy: C, imaging and staging: B, timbral verisimilitude: Jekyll and Hyde, A or C, depending on the recording and the instruments involved. Maybe the M1200s were just too fast for their own good.

After the superclean attack, they went right for the too-fast decay and missed the sustain. While that often leads to “skeletal” sound, the M1200s never delivered bones, because the transients were never edgy or nasty. They were natural and just right. Still, I’d probably like the M1200s even more if they put on a little weight.