Audiophilepure

https://www.whathifi.com/us/reviews/rega-aethos

“Our initial impressions of the Aethos’s sound were disappointing. Despite being given days to stabilise, it wasn’t as dynamically expressive as we expected and didn’t convey rhythms with enough verve. We asked for another sample and we’re glad we did.

The second Aethos sample proves a notable improvement in both respects. It turns out that the cables for one of the channels had been disturbed (possibly during transit) with the result that distortion had increased on that channel. The second sample has no such issue and is very much Rega on top form. Given Rega’s track record, we would hope and expect any issues to be sorted quickly. “

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“Back to music and we play Alt-J’s Every Other Freckle, yet again enjoying the spaciousness on offer and revelling in the expertly painted tonal picture, which balances substantial bass with textured mids and glistening treble that refuses to brighten.

It’s an immediate, upfront delivery that’s instantly engaging and exciting. There’s oodles of punch here, but the Amp skilfully avoids ever veering into jarring hardness or irritating harshness, and there’s decent detail behind the initial hit of each note.

But the Amp does, when compared to streaming components of a similar price (and non-streaming amps at lower prices), lack the real hi-fi-like subtlety that comes from low-level dynamic delicacy. It’s a bold, attention-grabbing delivery, but one that struggles a little to peel back the layers towards the centre of a track and get to its emotional core.”

https://hometheaterreview.com/parasound-halo-a-21-stereo-amplifier-reviewed/

“I’m sure a lot of people reading this review are wondering if the A 21+ sounds a lot like the original A 21. These thoughts are perfectly appropriate when nothing but a plus sign has been added to the model name. As a previous long-time owner of the original A 21, I feel confident in saying the A 21+ does in fact sound similar. However, I also feel confident in saying the sound is not a carbon copy.

In a sense, you’re getting an A 21, but with moreof everything. Specifically, the A 21+ offers more impressive dynamics, a more accurate stereo image, wider stereo separation, and I heard more impressive control over my speakers’ drivers on a regular basis. Like its predecessor, the A 21+ still punches well above its price point in overall performance and is still an amplifier that does most things right.”

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“Well, yes, to a small degree. For instance, take Charles Mingus’s almost violent The Black Saint and the Sinner Lady (LP, Impulse A-35). Here, the trombone had better growl like a wild boar, the sax had better taunt and make an ugly sound, and the drums should pile up and knock you over. The 452 iQ didn’t quite kick it like my solid-state reference amp, but it came close enough that the music didn’t suffer. A well-regarded music writer visited recently to do some comparisons on a big rig for a feature he’s writing. After we’d finished his work, we had some fun. I played him the 45rpm lacquer of Art Blakey & the Jazz Messengers’ “A Night in Tunisia” that I’ve been taking around to shows. That knocked him back! Then I hit him with the original Bob Ludwig–mastered (“RL”) version of Led Zeppelin II (LP, Atlantic SD 8236), and of course he was blown away by that, and so was I. Though the solid-state reference amp has greater “grunt” on bottom, never did the 452 iQ make me feel like I needed to switch amps so my guest could better appreciate the Led Zep tracks. The 452 iQ was an addictive-sounding amp, suitable for all kinds of music.”

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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! ”