Audiophilepure

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I switched to Nordost Titanium Sort Kones under the HDPlex LPS that powers my Roon Nucleus+ music server/streamer, external USB hub, and the final Sonore optical Module—MBL’s N11 preamp seemed an ideal match. Engaging Unity Gain provided the best bass control I’d ever heard from my system, save when I used the far more expensive D’Agostino Momentum HD preamp ($40,000), which in my opinion deserves a Product of the Year award. The N11’s Unity Gain also toned down the noisy top ends of some recordings, making for easier listening. Tonalities were spot on, the range of colors varied and intriguing, and the listening experience a joy.

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“When I finally got my hands on the VAC Signature Mk IIa SE line stage (w/phono), it triggered a few memories and I immediately began to pull together some interesting amplifiers for this review. This includes one of my most dependable and telling benchmarks, the Pass Labs XA100.5 Class A monoblock amplifier. I always keep a Pass Labs XA.5 or XA.8 amplifier in the stable as a reference point.

I also thought it would be appropriate to match up the VAC with a top flight Class A/B solid state amp. A close friend has been living with the Ayre Acoustics MX-R Twenty monoblock amplifier for over a year and has been extremely happy. I have spent a considerable amount of time in his listening room and it truly is a wonderful amp. He left it with me for an extended stay and for another comparison”

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“That’s by-the-by. This preamplifier has, to my ears, no rivals in dynamics nor in the bass. The tubas on the various Dukes Of Dixieland tracks blasted from the speakers with all of the force of the Salvation Army Band that performs in Canterbury on most Saturdays. I hear brass bands all the time – the HD put them in my listening room, with the mass, the power and above all the extension of the actual instruments in reality.

There is danger in using the word ‘best’. But I can tell you this much: the Momentum HD is one the greatest preamps I have ever experienced. If you own a TechDAS Zero turntable, Wilson Audio WAMM Master Chronosonics, or other components of that elevated calibre, you have to hear the D’Agostino Momentum HD. It’s that simple.”

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McIntosh Laboratory’s C1100 is a captivating-sounding preamplifier, and a worthy successor to the C500 and C1000. Designed to be the center of any high-quality audio rig, the C1100 offers myriad analog and control connections, MC and MM phono stages, exemplary build quality, luxurious yet intuitive ergonomics, and a rich, inviting sound. Moreover, the C1100 is very competitively priced; at $14,000, it costs $3000 less than the C1000, and to get the same level of functionality from other preamplifiers of this ilk, you’d likely have to pay more. I thoroughly enjoyed my time with the C1100; it spoiled me every time I touched it, and captivated me every time I listened to it. Highly recommended.”

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“Gryphon Audio Designs, that’s who, and even in this crowded market, their comeback to North America is welcome. If you want an impeccably designed and built preamplifier with exquisite sound quality, and an aesthetic that blends the badass attitude of a 1970 Plymouth Hemi ’Cuda (in black, of course) with the sleek lines of an alien spacecraft, the Gryphon Zena is your preamp. Let’s just hope it comes in peace.”

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“Listening to the opening track on St. Vincent’s Love This Giant, the big bass drum is more robust, more locked down with the Classic. Rolling through a long playlist of bass-heavy tracks, it’s easy to hear that there is more texture, life, and definition, along with a little more speed to the bass line. Nagra has done a lot to update the power supply in the Classic, so this makes perfect sense.

Switching to vocal tracks and music showing off the other end of the frequency scale, the same observations are made. Ella Fitzgerald and Billie Elish both come further out of the speakers, feeling more convincing and natural. Cymbals have more sheen, and the soundfield created by the Classic is larger in all dimensions. The Jazz feels a little small when you go back to it, but still very listenable. However, those asking the familiar “should I upgrade to the new box” question, I’d say that if it doesn’t cause any undue financial strain, it’s definitely a worthwhile upgrade. Sell your Jazz to a friend that isn’t versed in the way of Nagra yet!”

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“The Stellar needed little time to break in, and its core sonic performance didn’t change significantly over time. Once I was confident that the Stellar was operating at its peak, I immediately noticed an overall sound that was very quiet and smooth. The Mactone amps, for example, have an exceptionally live character that might be a tad overstated with the wrong ancillaries, but whenever the PS Audio Stellar was in the system, those razor-sharp transients were placed in a much larger context within the soundstage. That doesn’t mean that the Stellar smoothed out the vivacious sound of the Mactones, but rather it supplied a comfy place for these Japanese tube amplifiers to sit and converse with the listener in a meaningful way.

Like the XP17, the PS Audio Stellar was so quiet that it was difficult to pick out its character in the context of the system. It’s been a long time since I’ve used a phono preamplifier with noise issues so that’s not that remarkable on its own, but I do notice when a product is quieter than usual, quitter than I would consider the norm. Over the last few months the reference system has gone through a transformation, thanks to so many wonderful products that have come in for review, that I’m now focused on the concept of supreme quiet. For years I never really identified with reviewers who talk constantly about velvety black silences from which the music emerges, probably because I didn’t have a lot of that in my own system. Now I can listen to products and appreciate how they preserve that preternaturally low noise floor. The Stellar certainly preserved that sense of tranquility, especially with the Palmer 2.5/Audio Origami combo—a combo that I can best describe as both majestic and musical.”