Audiophilepure

https://www.hifinews.com/content/mcintosh-c2800

The more I used the C2800, the more I came to appreciate its blend of clarity and focus. Some might prefer a preamp with a simpler specification, or perhaps the multiband equaliser that’s writ large across the solid-state C55, but I have to admit I didn’t use its subtle tone controls beyond a brief period of experimentation to explore their effect. Frankly, I was more than happy with the basic rightness of the C2800’s sound, and the way so much functionality has been packed in seemingly with no deleterious effect on the performance.

‘Real-world’ isn’t a description many would apply to a product costing the thick end of £12,000, and probably requiring a similar amount to be invested in power amplification. However, I think what McIntosh has got here is an exceptional valve preamp with excellent performance, all the inputs almost anyone could ever want, and no sign of valve quirkiness to frighten the horses.

https://www.stereophile.com/content/nad-m66-streaming-preamplifier

It is hard to think that any user would exhaust the M66’s options. As an analog preamp, as a digital “preamp,” as a DAC, as a room-correction tool, as a Roon endpoint or BluOS-based streamer, its functional and sonic performance is outstanding, and it seems optimal with all sources (though I didn’t try the phono inputs). The learning curve was relatively short, and as I learned to use it, I found it easy to use despite its extraordinary range of functions. The NAD M66 is a tour de force!

https://www.soundstageultra.com/index.php/equipment-menu/1248-simaudio-moon-891-streaming-preamplifier

This review reminded me of the importance of perspective. The Moon 891 proved to be a captivating performer across all inputs. It is built like a tank, is almost ergonomically perfect, offers a plethora of digital and analog inputs, and comes equipped with a proprietary streaming platform and an onboard phono stage that can hold its own against dedicated options costing south of $5000. It took comparing the Moon 891 to a set of standalone components that together cost significantly more to hint at any shortcomings—and therein lies the importance of perspective. The Moon 891 was designed to replace such products while costing thousands less, saving space, and reducing cable count and component clutter. When measured using those metrics, Simaudio’s Moon 891 streaming preamplifier is a triumph. Highly recommended.

https://www.stereophile.com/content/ch-precision-l1-line-preamplifier

I would happily live forever with the CH Precision L1, especially paired with the X1. Considering the prices and CH Precision’s perfectionist approach, this is not surprising. What is surprising is how much extra performance apparently remains unrealized, even in a very well-designed product, as demonstrated by the improvement when the X1 was employed. I find myself wondering how much room for improvement is still out there, waiting to be realized. How much better could a four-box L1/X1 system, or the L10 preamp, be?

https://www.soundstageultra.com/index.php/equipment-menu/1248-simaudio-moon-891-streaming-preamplifier

Cueing up the 24/96 FLAC version of “Love Letters” highlighted two key differences. First, when used just as an analog preamp, the Moon 891 is utterly transparent. Subsequently, I realized that the Moon’s and the T+A’s DACs sound very different. Through the 891’s streaming module and DAC, instruments and vocals exhibited body and dimension, but compared to the T+A, lacked a bit of sizzle. The T+A MP 3100 HV painted more holographic images within a larger soundstage, while placing those objects closer to me. Bass performance was nearly indistinguishable. I say “nearly” because the 891 sounded ever so slightly more controlled in the bottom end, with deep notes able to be felt in my chair just a wisp more than from the T+A. Focusing on the orchestra, the MP 3100 HV added a bit of scale but didn’t quite lock down instruments with the same precision I heard through the 891. The same observation rang true with Krall’s vocals. Through the 891, Krall sounded as if she was two to three rows further back on the stage, yet was drawn more sharply. Malone’s electric guitar lost a fraction of tonal color through the 891. Additionally, the T+A presented Erskine’s brushes of the cymbals and Krall’s piano through a clearer lens, perhaps because it positioned these elements closer to me, which I enjoyed.