Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1141-esoteric-e-02-phono-preamplifier

The Esoteric E-02 is as serious a piece of electronic kit as I’ve ever had in my system, revealing better qualities than I’ve experienced before in terms of its powers of resolution, textural detail and finesse, impressive soundstaging, bass presence, and slam. My reference Pass Labs phono certainly delivers the goods and has a mellower touch, particularly with orchestral music. But the E-02 is notably the more powerful of the two units—blessed not only with its own velvet hand for rendering acoustic music but also a closed fist in a velvet glove for rock, jazz, and dynamic vocals. What’s more, it has fine physical lines—with a luxurious though understated aesthetic to its build—and a plethora of useful features that are supremely elegant to engage with, all of which make it instantly recognizable as part of the Esoteric line of prestige electronics. If I could summon the great novelist Ralph Ellison from his “hidey-hole” in Heaven to experience just what the E-02 can get from the likes of Nat King Cole, Ellington’s Orchestra, and contemporary opera diva Anna Netrebko, I guarantee he’d join me in a chorus of hosannas and kyries, as Esoteric’s phono preamplifier extracts a music both jubilant and pensive from my mono and stereo cartridges that is a sonic séance of body and soul. If you’re in the market for one of the best phono stages at the $10k price point, I urge you to audition the Esoteric E-02.

https://www.audiophilia.com/reviews/2022/8/20/icon-audio-la4-mkiii-preamplifier

The same for streaming. I have lots to say about streaming quality in upcoming reviews. But, when streaming thickly scored Brahms symphonies or the astringent scoring on Steely Dan’s Gaucho, the LA4 did the music proud. If system basics are in place in your well-balanced system and appropriately sized room, you won’t be wanting for more. There is an admirable separation of instruments, even on 1960s CD-quality classical recordings. Voices sound very beautiful—Elizabeth Schwarzkopf singing Strauss songs, for example. Because of the LA4’s clarity, the orchestral accompaniment was laid out perfectly with Schwarzkopf’s soaring soprano above the orchestra, her exquisite voice intact and more importantly, in place, even at a loud volume.

https://www.hifinews.com/content/nagra-classic-phono-phono-preamplifier

Revisiting earlier tracks revealed them to be just as exhilarating, but now with the additional smoothness and revelation possible with a good MC cartridge. The Classic Phono really does ‘step aside’ to let your chosen pick-up do its stuff, and this combination of cartridge and phono stage gelled stunningly. It made the most out of anything I chose to play, finding the best in even the most underwhelming of recordings.

That said, there’s real magic when you give it something good to work with, such as Fearon & Galaxy’s ‘Dancing Tight’ [12in single, Ensign Records 12ENY 501]. Here, the delivery of the drum beats and bassline was masterful, and I revelled in the impact, scale and sheer joie de vivre of the performance. If machines have a soul I would swear that the Classic Phono was having a whale of a time, too.

The irony that the most listening fun I’ve had in weeks was thanks to a £17,000 phono stage playing a 1980s 12in single didn’t escape me, but it bothered me not one jot – I was too busy enjoying it.

https://www.whathifi.com/reviews/chord-ultima-pre-3ultima-6

Listening to Massive Attack’s Atlas Air track shows that these Chords are good though not class-leading when it comes to communicating the music’s momentum. The combo sounds surefooted rather than overtly exciting. Instead, our attention is drawn to the effortless way this pairing steps out of the way and lets us focus on the music. Their presentation may be supremely insightful but it doesn’t try to highlight that fact in some kind of showy ‘look at me’ way. We also love the midrange clarity and focus with voices, and the way each sound element is given space to breathe even when the mix becomes complicated

https://www.soundstageultra.com/index.php/equipment-menu/1124-linn-klimax-dsm-av-dac-preamplifier

Linn’s new Klimax DSM has taken me on a rollercoaster ride, and I am in desperate need of an emotional rescue. On one hand, I found the analog input lacking in terms of transparency and dynamics, and I remain skeptical of the efficacy of the Space Optimization software. I’m also leery of the idea of spending this much money on a flagship DSM knowing that, based on Linn’s history, an expensive upgrade could be in the works. On the other hand, for a product of such vast capability, the Klimax DSM is an ergonomic marvel post-setup. The front display makes excellent use of its real estate in providing valuable configurable track information to the user. The theater of how the display lights up, seamlessly transitioning between volume and track information, and the way in which the beautiful glass dial illuminates to communicate volume information is second to none. The Klimax DSM is also built like a tank, enthralling to look at, enticing to interact with, and beguiling to listen to. Put simply, this is the best sounding DAC-streamer I have ever heard.

McIntosh MP100 Phono Preamplifier: Review

The McIntosh MP100 Phono Preamplifier isn’t cheap at $2,000 and those looking for a warm sounding phono preamp that rolls off everything at both extremes might want to look elsewhere.

Detail, resolution, clarity, dynamics, and presence?

This little box from Binghamton brings that to the party all day and night.

The MP100 is neutral enough that I think one can get away with a wide range of cartridges if you’re looking to create a specific sound and perspective — I just wouldn’t go too neutral on the cartridge.

https://www.soundstageultra.com/index.php/equipment-menu/1124-linn-klimax-dsm-av-dac-preamplifier

Linn’s new Klimax DSM has taken me on a rollercoaster ride, and I am in desperate need of an emotional rescue. On one hand, I found the analog input lacking in terms of transparency and dynamics, and I remain skeptical of the efficacy of the Space Optimization software. I’m also leery of the idea of spending this much money on a flagship DSM knowing that, based on Linn’s history, an expensive upgrade could be in the works. On the other hand, for a product of such vast capability, the Klimax DSM is an ergonomic marvel post-setup. The front display makes excellent use of its real estate in providing valuable configurable track information to the user. The theater of how the display lights up, seamlessly transitioning between volume and track information, and the way in which the beautiful glass dial illuminates to communicate volume information is second to none. The Klimax DSM is also built like a tank, enthralling to look at, enticing to interact with, and beguiling to listen to. Put simply, this is the best sounding DAC-streamer I have ever heard.