Audiophilepure

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“The GM 50’s bass sounded more open, and seemed to reach deeper than the Atlas Magnum II’s, whether I was comparing them with or without the REL subwoofer connected. (REL claims that using the high-level inputs carries forward the sound of your amplifier, but as my system employs no high-pass filter, the difference with the sub could still be due, in whole or in part, to the differences in how each amplifier drove the main speakers.) For some specific examples, while the concert bass drum in the Bull violin concerto sounded big with the Atlas Magnum II, its fundamental pitch was more obviously lower in frequency with the GM 50. Likewise, it was easier to hear the fundamental pitch of the concert harp in the final movement of Mahler’s Symphony No.4, as performed by the Royal Concertgebouw Orchestra under Bernard Haitink, with soprano Christine Schäfer (SACD/CD, RCO Live RCO 07003). For a nonclassical example, Alan Anton’s bass in the Cowboy Junkies’ The Trinity Session (16/44.1 FLAC, RCA) sounded a bit tubbier with the Atlas Magnum II, a bit more linear with the GM 50. On the other hand, the kick drums in both The Trinity Session and Random Access Memories had noticeably more punch with the Atlas Magnum II — I felt as well as heard them.”

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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 portable, the Vincent SV-200 is a fantastic place to start. Glad I met you, Vincent. Highly recommended!”

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“When evaluating equipment, I seldom listen to complete LP sides, let alone one after another. But that simple change of gain setting turned the sound from merely OK to really good. When the Ragnarok 2 first arrived, I wondered why the choice of gain settings had been included — most integrated amps lack them. Now they make more sense.

Raves, reservations, recommendations

The Just An Amp version of Schiit Audio’s Ragnarok 2 integrated amplifier isn’t cheap at $1499, or — especially — by the standards of this column, which focuses on components costing under $1000. However, it’s as much of a bargain as anything I’ve reviewed that costs less. From its build quality to its styling to its idiosyncratic feature set to its sound, I loved everything about it — and for a great price. I believe that the only reason the Ragnarok 2 doesn’t cost, say, $3000, or even more, is because Schiit sells factory direct, eliminating the distributor and dealer markups that can easily double the wholesale price. Such an approach scores a big win for the consumer.”

https://positive-feedback.com/reviews/hardware-reviews/auris-audio-nirvana-amplifier/

“Bass is presented with boundless extension, texturing, and detail while maintaining good slam and impact. While not as fast as solid-state amplifiers, the Nirvana conveys authoritative bass lines with heft and clarity. Midrange is portrayed with liveliness and warmth, while retaining excellent layering and depth. High frequencies share the same timbre with exquisite extension, detailing and attack without sibilance and glare.

Compared to the dual golden CMA800R Questyle Amps, which capitalize on current mode amplification to resemble tube technology, the Nirvana sounds airier, with better three-dimensionality. The CMA800R amps, on the other hand, offer more of an analytical sound, with shorter decay and faster speed as is to be expected from solid-state amplifiers. “

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“I haven’t heard the full new Evo range yet, but I can’t help feeling that this Evo 300 pre/power occupies the sweet spot in the range. Granted if you need more power the Evo 400 power amps (especially in mono form) are the logical choice, and if you need to put some distance between pre and power, then the Evo 400 preamp with either the Evo 300 or Evo 400 power amp, all running in balanced mode would be a more sensible option. But for many who are going to put less than five metres of wire between the two PrimaLuna products, and those who aren’t in the market for bigger, beefier power amps, I can’t help but think this is the perfect combination. That is based on a sample of precisely one product combination in the range, though… so maybe every PrimaLuna product is in that sweet spot! ”

https://audiofi.net/2020/02/accuphase-a-48-a-final-frontier-power-amp/

“The underlying sonic foundation had a tinge of natural warmth, while keeping pace with the rhythm in a non-hurried manner. Your choice of audio cables can affect the results, to make the A-48 sound overly warm and lethargic. May not be a bad thing, given that you will get to tweak the sound to your liking through cables. Truth be told, I had the best results with a simple regular power cord and thin gauge speaker cables that brought out the true musical nature of the amplifier.

If you are looking for a final frontier amplifier that can live with you through the years, the Accuphase A-48 might fit the bill, given its timeless design, involving musicality, solid build, quality components and, best of all, proven capability and power reserves to drive difficult loads. Would I buy this amplifier? It’s a simple yes, resources permitting.”

https://parttimeaudiophile.com/2020/02/09/pass-labs-int-250-integrated-amplifier-review/

Beyond that, the pairing of the M3 and the INT-250 was something of a head-scratcher. It’s not that they sounded bad together by any stretch, but I wasn’t wowed by the combination, either. As notoriously difficult as it is to put these sonic perceptions into words, I’d say that the combination initially sounded a bit “flat,” both in terms of spatial presentation and also a certain paucity of tonal richness. I missed the musical magic dished out by the combination of the M3’s and my reference Vinnie Rossi LIO integrated. Given Pass Labs’ impeccable reputation for producing killer amplifiers, something, I thought, must be awry in my rig. What now?

This led to considerable theorizing. Perhaps what I was (or wasn’t) hearing was a lack of speaker/amplifier synergy. Using a behemoth amp like the INT-250 to drive the 95-dB efficient Spatial M3 Turbo S speakers in a medium-sized room (in a semi-nearfield seating arrangement, no less) might be a case of overkill, like cramming a Ferrari engine into a Mini Cooper. Then again, the impedance curve of the 4 Ohm Spatial M3 Turbo S is far from flat, so I’d expect the INT-250 to tame it with ease. But maybe, maybe another speaker would be more to the Pass amp’s liking? More on that in a moment.”

https://www.soundstagehifi.com/index.php/equipment-reviews/1374-pmc-cor-integrated-amplifier

“I figured that if I was going to hear any differences between them, subtle or otherwise, I’d have to play some bass-heavy electronic music at LOUD volumes into these 4-ohm loads. “She Will,” from Lil Wayne’s Tha Carter IV (16/44.1 FLAC, Cash Money), has a strong foundation of pulsing ultra-low bass notes complemented by rhythmic thumping in the lower midbass. I listened at volumes high enough that I could feel the pulsing low-frequency notes in my chair and the bass thump in my chest. I estimate that the needles on my MC302’s power meters were peaking in 100W land! In terms of dynamic punch, that feeling of pressure in the chest, the amps performed the same, controlling each DALI’s two 8” woofers with authority, and the sensation of bass slam was powerful and taut — in a word, impressive. With respect to the low-frequency extension — the rumbling pulsing I felt in the lower half of my body — I thought those lowest notes sustained just a bit longer through the MC302. But even this difference was tiny. Kudos to the Cor’s power-amp stage for holding its own against the far more powerful MC302 at these high volumes.”

https://www.audiophilia.com/reviews/2019/12/27/hj2zytau8x44xp6xkvu18f59excd9k

“For sure, it’s an easy visual winner in all of Rossi’s categories. Just look at it. But the sound it produces is very special. And some of the most musically inviting, transparent, sweet and diaphanous sound I’ve had the pleasure of hearing in my music room.

The magic is mixed in Rossi’s conjuror’s hat. For sure, the very high quality Elrogs have a great deal to do with the sound—typical of superb 300Bs—but Rossi’s design prowess (ears/voicing) adds much to the general character.