Audiophilepure

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“So what we have here is an amplifier which uses considerable technical skill to interfere with the music signal as little as possible. Protection of phase relationships and almost obsessive preservation of fine detail pays enormous dividends when it comes to the rendering of the musical experience. Large-scale is more than adequately catered for: the LSO/Alwyn Tchaikovsky ‘Capriccio Italien’ [Decca] has some phenomenal dynamic swings and leans towards bombast in places, and there was no question the E-370 was up to the task at hand. My listening notes just read: ‘Bloody hell!’, which is shorthand for ‘a rollicking ride, which nevertheless preserved an excellent sense of the passing of thematic material around the orchestra – something often lost in translation’. It’s no one-trick pony, either. I’ve already praised the amp’s felicity with contemplative Scandy jazz, and now ‘When I am laid in earth’ from Purcell’s Dido and Aeneas [Apex] was almost unbearably poignant. The phrasing, the way the searing melodic line plays against the implacable ground bass, and the precise spatial placement of solo, choir, and orchestra, all contributed to a deeply affecting performance.”

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“When you get right down to it, in so many different ways, the Naim NAIT 5si just isn’t the sort of integrated amp I would have gone out of my way to audition for my own two-channel listening room for so many of the reasons listed above, if not for the fact that I was tasked with reviewing it. Generally speaking, I wouldn’t put any integrated amp that lacks a USB input into my “to audition for personal purposes” pile.

But the NAIT 5si simply won me over with its price-to-performance ratio and its distinctive character. So if you’re looking for an all-analog integrated amp — whether you plan to use it with an all-analog hi-fi system or simply look elsewhere for D-to-A conversion — the NAIT 5si is absolutely a component that I think you should check out, assuming you can schedule an audition anytime soon.”

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“So the question becomes, do output transformers have a sound? I believe they do, and that bigger tends to be better and more transparent. This makes logical sense, bigger means more bandwidth before saturation, and the farther you are from saturation the more linear the output should be. Justin proved this to me with the Suolo Monos, which are mono block version of his famous Kenzie amplifier. The Suolo Monos use 10-watt output transformers where the Kenzie uses 5-watt output transformers. The result was that the Suolo Monos put out noticeably better bass, both in weight, quantity, and clarity when compared to the Kenzie. It is also important to note that the 5-watt transformer for the Kenzie was already significantly oversized (the Kenzie only outputs around 250 mWatts). By comparison, the Mogwai SE’s output transformers were only over spec’d by 25%, therefore, doubling the output transformers size for the Bigger Ben was much a larger update and easily explains the performance gains.”

https://www.stereophile.com/content/parasound-halo-21-power-amplifier

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Over a span of weeks, the A 21+ was a constant companion and a bringer of musical enjoyment; compared with other amps on hand and in spite of a few sonic differences, the new Parasound was impossible to fault. That shouldn’t be surprising at this point in time: Unless an amp designer imposes her will to suit a particular set of associated equipment or a particular acquired taste, the performance of modern amplifiers should and does converge.

The Parasound A 21+ is remarkably powerful, transparent and quiet. As such, it imposes no constraints on one’s desire to listen through it to the recorded performance or to experience the size, weight, and dynamics of the original event. It is large and heavy—probably of necessity, given its abilities—but it is also handsome and graced with useful connections and controls. Anyone in the market for a stereo power amp would be well advised to consider the Parasound A 21+, especially those who believe that they must spend more. With apologies to W.S. Gilbert, It is the very model of a modern power amplifier.”

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“Smartly designed, the Vincent SV-200 fits today’s digital and analog sources seamlessly. Its sound output is much bigger than I expected – rich and detailed with a touch of warmth, I especially like its design and small footprint. This little amp exceeded expectations for its price point in every way. If you’re in the market for well-priced, authentic high-end performance gear that’s easily portab”

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“My time spent with the Primare A35.2 amplifier reminded me that there still is no such thing as a perfect, one-size-fits-all amplifier. Some amps are stronger or more engaging than others. Some deliver exciting force, while others deliver subtle, enduring charms. Some, like the Primare A35.2, have high-toned manners, can dance the latest dance, and sometimes even order fine wine. Which reminds me: I never actually drank that Château Margaux. But I swear to you, the Primare amplifier looked expensive and sounded ooh la la! with the unopened bottle sitting next to it.”

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“Replacing Röst was always going to be an interesting act for Hegel. It broke new ground for the company, and with many ground-breaking products, that meant it didn’t sell quite as well as it deserved to. The H120 is different, as it retains everything good the Röst brought to the party and also continues and extends Hegel’s ‘giant-killer’ range of amps. This is the kind of amplifier that works well in context and can support some surprisingly high-end speakers. While that sounds like the stuff of absurd review kit-bashing, what it means in reality is you can build and upgrade a system around the H120 far further than usual at this price. You don’t have to use it with esoteric audio equipment, but it won’t mask their effects if you do. In short, it’s an all-round goody. ”

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“To answer my own question, would the new flagship Coda 16.0 Class-A amplifier outperform its wonderful, but less-expensive sibling, the No.8? Absolutely. Whatever, Coda discovered/created in their latest generation of equipment, starting with the No.8 amplifier and FET 07x preamplifier, they have brought it to their new flagship 16.0 Class-A amplifier. This amplifier offers boundless macro-dynamics/powerful control of low-end frequencies, gorgeous color/tonality, an overall grainless silky smooth presentation, and the ability to render lifelike spatial dimensions rarely found in solid-state amplifiers. Because of its ability to drop immense current (100 amperes) it will easily drive virtually any speaker on the market today yet retain a beautiful musicality that many “muscle” amplifiers on the market totally miss out on. When you figure in the 16.0 amplifier’s build quality, the quality of its internal components, that’s completely hand-built here in the US, and not inexpensively, but very competitively priced compared to other US-based high-end companies, the 16.0 amplifier is a great addition to the world of audiophile-level equipment. With all I shared in this review I don’t think it’s a surprise I’m figuring out a way to finance my purchase of the 16.0 amplifier because I don’t want it to leave my system. ”