Audiophilepure

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“I’ve reviewed several pricey, high-end integrated amplifiers over the years, and each had some unique personality, in terms of physical design, performance parameters and, most important, sound. In that last parameter, the Simaudio Moon 700i v2 proved an exception — it didn’t peddle in euphony or coloration, artifice or parlor tricks. I heard an utterly balanced, wide-open sound that I found impossible to find fault with. It was ultra-resolving without sounding analytical, and extended and airy while in no way bright. That elusive character — defined, if at all, by its very lack of character — might not be to every listener’s taste, but there was no question that the Moon 700i v2 proved a gentlemanly steward for the musical signals I passed through it. It also let through, with unvarnished authenticity, whatever idiosyncrasies and foibles were committed by the components upstream or downstream of it.”

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“Stereo imaging is nicely expansive. This integrated renders an expansive sound stage and populates it with well-defined and focused instruments. There’s a pleasing amount of stability here, and the amp locks sounds in place even when the music becomes demanding.

We switch to Nick Cave’s rambunctious Babe, I’m On Fire and the Cambridge is right at home. It’s an enthusiastic listen with plenty of rhythmic drive and punch. The production is as dense as they come yet the Cambridge maintains just the right amount of control without diluting the track’s frantic feel. That’s a neat trick most rivals can’t manage.

Turn the volume up and the Edge A creates a wonderful wall of sound that makes it virtually impossible not to get engrossed in the track. We play a great deal of music from the hauntingly beautiful Found Songs by Olafur Arnalds through Bruce Springsteen’s High Hopes set and Stravinsky’s The Rite Of Spring and at no point does the Edge A sound unconvincing. ”

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“Michael Fremer concluded his review of the original Halo JC 1 by saying “There was nothing solid-state-sounding about the JC 1. . . . There was an honesty to the overall tonal and harmonic presentation that transcended technological stereotypes. Powerful, refined, smooth, organized, dynamic, transparent, and rhythmically supple, the JC 1 offered a combination of attributes that added up to many weeks of listening pleasure.”

After several weeks auditioning the Parasound Halo JC 1+ monoblocks, I don’t really have anything to add to what Mikey wrote in 2003, other than to note that even with its significant increase in price, the improvement in its sound quality and the explosion in recent years in the prices of high-end, high-power amplifiers keep the JC 1+ competitive. This is a superb-sounding amplifier that will get the best from every loudspeaker with which it is partnered. Well done, Mr. Curl.’

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“Here’s what makes Simaudio’s Moon 700i v2 worthy of your consideration. First and foremost, it offers terrific clarity and transparency throughout the audioband, shortchanging or spotlighting nothing at all. If you want an integrated amp that comes admirably close to the ideal of a straight wire with gain, this model should be at the top of your shortlist. Add to that the best volume control I’ve ever used, and thoughtful functionality that lets the user tailor its inputs as that user sees fit, and the package becomes even more compelling. The Moon 700i v2 also has significant if not bottomless reserves of power, even into 2 ohms. Ally all of that to a beautifully built case and a ten-year warranty, and there’s little left to quibble about. In this second generation of their flagship integrated amplifier, Simaudio hasn’t messed with its winning formula. It’s easy to see — and hear — why.”

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“And the e1X exerted a level of control over the Maggies that I’d never before experienced. Magneplanars—especially the smaller ones—are notorious for exhibiting some degree of mid-bass panel flap: Magneplanar bass panels are riveted at a number of points to control excessive panel flexure, which also restricts the panel’s free movement when relatively strong bass content is present. Lesser amplifiers will allow enough panel movement to cause a relatively loud “thunk” around the rivet location; I’ve heard this countless times with almost every pair of Maggies I’ve ever owned—and it can be particularly obvious with plucked acoustic bass content. (Think: Jimmy Garrison’s powerful acoustic bass solo on “Lonnie’s Lament” from John Coltrane’s classic Crescent [16/44.1 FLAC, Impulse 1764902].) No matter how close to or beyond reference levels I pushed the e1X-driven LRSs, they responded with absolute authority and zero driver-induced distortion.

The Bel Canto e1X was undoubtedly also the quietest amplifier I’ve ever had in my system. With the LRS speakers being so very inefficient, you generally need to really crank the volume knob to get to SPLs approaching normal levels. Full-blown orchestral passages from sources with tremendous dynamic range require an even further twist; it’s not unusual for the volume on my PS Audio preamp to reach 80 or 85 on a scale that maxes at 100. With every other amp I’ve used in my system, I could always hear some residual noise in the background, even with the most well-engineered recordings. Not so with the e1X—nothing, not a peep: It was absolutely, perfectly, completely silent.”

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“Drawing on its well of power and coupling it with notable resolution proves to be a winning combination for the K-300i. It has even found favour with Naim Audio die-hards (no easy task), who view the K-300i as something akin to a ‘SuperDuperUniti’. So, purely as an integrated amplifier, the Krell-300i is a winner. The Krell has an excellent taut tonality that stays this side of ‘lean’, has power to burn and can deliver it into all sorts of speaker loads with speed and sure-footed dynamic stability. Like all good amps, it imposes itself on the music yet never gets in its way and the 150 watts into 8 ohms is going to be ample for all but the more extreme systems and locations. So far, so good, but the K-300i becomes a different proposition entirely with the addition of the digital board, and for the extra outlay, it is well worth it. Audiophile-grade streaming is a growing area of the market and incorporating all the electronics into a single component is going to be attractive to many people. If you’re one of them, you should certainly put the Krell K-300i on your audition shortlist. ”

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“Without question, the Aavik Acoustics U-380 integrated amplifier delivered the finest class-D sound that I’ve ever heard in my system. Beyond the strong and superbly controlled bass that I’ve come to expect from amplification of its class, it also exhibited an uncommon range of color, dynamics, and detail. While a slight dryness of timbre and lack of ultimate brilliance were evident, they manifested in a context so musical as to render their ultimate effect perfectly suited for extended listening. To put this in some sort of context, speaking from direct experience, the difference in timbre, color, liquidity, and brilliance of the San Francisco Symphony in SF’s Davies Symphony Hall and Seattle’s Benaroya Hall is far greater than the sonic differences between the Aavik U-380 and the other integrateds I’ve auditioned.”