Audiophilepure

https://www.stereo.net.au/reviews/cyrus-audio-one-cast-smart-amplifier-review

“A number of gloomsters in the hi-fi world have long since decreed that Class D is in some way “not musical” and “no fun.” Anything that uses it then, they argue, should not be accorded any seriousness as a listening tool. Integrated amplifiers like the Cyrus ONE Cast show just how wrong they are because this turns in a high-quality sound that leaves one wondering how it’s all possible at the price. Indeed, it’s a most impressive, listenable little amplifier that impresses across all its myriad inputs.

I’m a huge fan of the original Mission Cyrus range, but even an old-school purist like me can’t help but concede that the new ONE Cast does an awful lot rather well, sonically. It has a surprisingly rich, creamy sound that lets the listener relax into the music and enjoy the occasion. There seems to be far more power than is normal for an amplifier of this physical size, and it translates to a full-bodied, confident sound that tackles the recording head-on, without fear or favour. This little integrated isn’t scared of powerful basslines, dramatic dynamic crescendos or soaring, expressive vocals. The result is both suave and sophisticated, punchy and powerful.”

https://audiofi.net/2020/01/accuphase-p-4500-a-power-amp-with-muscle-and-finesse/

“Even with the volume low, there was more drive and air in the music, especially with better quality recordings. The presentation was flowing and delivery, effortless. Bass was fuller and better fleshed out, and the sense of urgency and slam, I usually heard only when the integrated amplifier was played louder on its own.

Pushing the P-4500 harder didn’t result in any loss of grip over the proceedings, whether it was simple acoustic recordings, orchestral music or some good ol’ classic rock – the amp exhibited the same level of control and finesse over the entire frequency spread. If anything, the highs opened up further, and the mids seem smoother and even better focused… at least, this was made even more evident than at lower volume. There seemed to be a bit more of shimmer and bite in the music with the P-4500 in the system.

All these served to draw the listener deeper into the musical event, capturing the senses with a more intimate feel. The background was darker, allowing the minutiae to surface with better clarity, and lending the recording a better nuanced reproduction of instrumental and vocal timbres.’

https://www.dagogo.com/pure-audio-one-solid-state-integrated-amplifier-review/

“Moreover, unlike some amplifiers the Pure Audio One allows for future upgrading by serving as a power amp.  Fortunately, I was provided a Pure Audio Control 1 Preamplifier for testing purposes. The Control 1 preamplifier was subsequently followed by a new preamplifier called — you guessed it — the Control 2 Preamplifier. The Control 2 updates the power supply and uses a more standardized input selector similar to the One.

Regardless, the separate preamplifier makes some significant gains to the overall presentation concerning transparency and overall clarity without taking away the richness of the presentation. I was impressed with the gains made using the Pure Audio Control preamplifiers (although when I pushed the remote control volume, it operated both units at the same time).  Still, I felt the Control preamplifiers open up some of the sound creating more space, air, and articulation to vocals. Put simply, the presentation was more transparent.”

https://www.soundstagehifi.com/index.php/equipment-reviews/1373-lab12-integre4-integrated-amplifier

“In an attempt to push the Integre4’s upper mids to their limit, I streamed several tracks from Spotify, itself a bright-sounding platform. With the somewhat mellow-balanced Living Voice Avatar speakers I also own, the voices and guitars in “Don’t Bother Calling,” from Moses Sumney’s Aromanticism (320kbps Ogg Vorbis, Jagjaguwar), sounded fairly well balanced through the mids and into the lower treble. So, too, did SZA’s voice in “Love Galore,” from her album Ctrl (320kbps Ogg Vorbis, RCA). But through the more neutral-balanced Klipsch Epic CF-2 speakers the Integre4 pushed the presence region forward, adding some shrillness and excess sibilance to SZA’s voice. “Birds of a Feather,” from Mocky’s Saskamodie (320kpbs Ogg Vorbis, Heavy Sheet Music), also had a bit of excess glare and brightness in the sounds of tambourines and whistling, sounding at times too harsh.”

http://www.theabsolutesound.com/articles/cary-audio-sa-5001-es-monoblock-power-amplifie/

“Resolution of fine detail was well integrated with the amplifier’s tonal balance and rhythmic timing, and thus tended to a “greater whole” sort of presentation rather than one of crystalline clarity of minute details. I am not altogether sure if much higher overall resolution would necessarily fit with the 500.1’s mid-hall listening perspective or with its generally flowing, warm, and solid-foundation personality, for that matter. An attempt to increase its resolution could result in the amp’s sound becoming forced or unbalanced. For example, if there is an abundance of bow-on-string sounds (suggesting a relatively near listening position), but the general tone of those same instruments also have more rich, burnished qualities (indicative of a more distant listening position), the end result could be a mélange of inconsistent spatial cues. Massed orchestral string sections had enough information to suggest individual players but not to the extent I am used to with the other—admittedly more expensive— amplifiers I had on hand (covered below). Singers’ lip sounds were evident on closely miked recordings, but they were not out of proportion with the general presentation.’