Audiophilepure

https://www.hifichoice.com/content/marantz-melody-x-test

What makes the Melody X quite so amenable is that accessing this functionality is sufficiently straightforward that you’re more inclined to make use of it all. Some of these design decisions only start to make sense when you spend a little time actually living with the unit. It might sound pointless to have controls for the CD section of the app for example, but as part of a multi-room system it really helps. Marantz has taken the venerable CD receiver concept and without changing any of the basics, has managed to turn it into a thoroughly 21st-century device that should win it plenty of fans

https://www.whathifi.com/us/reviews/mcintosh-ma8950

The MA8950 is a hugely impressive amplifier. McIntosh’s high-end experience shines through both in the thorough execution of the product and the way in which such a wide range of features have been so seamlessly integrated. We have slight misgivings about some aspects such as the remote handset and front panel control feel, but they are not enough to overshadow what is a very fine effort. Looking for a high-power integrated amplifier to cover any and all two-channel requirements? This one deserves to be high on the list.

https://www.soundstagehifi.com/index.php/equipment-reviews/1678-minidsp-shd-power-integrated-amplifier-dac

Those differences became more apparent when driving the MartinLogan loudspeakers in my main system. The miniDSP was able to drive the hybrid-electrostatic ESL 9s with greater ease than the Lyngdorf, which struggled to unravel complex passages at high levels. Playing Sting’s My Songs: Special Edition (24/44.1 FLAC, A&M Records / Interscope Records / Qobuz), “Desert Rose” had greater depth and width of soundstage and well-defined imaging of the vocals and instruments with the miniDSP. While the Lyngdorf’s presentation was a little vague, it still had that invitingly smooth Equibit sound. Adding the two JLA E‑Sub e112 subwoofers to the mix tipped the scales in favor of the Lyngdorf. While both amps benefited from the addition of the subs, the effect on the Lyngdorf, now freed of the requirement of amplifying the lower frequencies, was truly transformative. The mids and highs remained smooth and inviting but were more sharply focused. The synthesizer sounds and vocalizations of Sting and Cheb Mami swirled effortlessly between the speakers with wonderful openness, warmth, and coherence. The miniDSP too sounded better with the subs, but the soundstage did not open up as fully—the voices and instruments remaining more closely grouped together, and the sound remaining a little cool and not as lush.

https://www.hifichoice.com/content/primare-i2s-prisma

Some amps sound great and have fine powers of resolution and separation but show a tendency to homogenise, making contrasts – both bold and subtle – seem more similar than they should. The I25’s sound, conversely, cleaves towards a valued high-end ability to discriminate with meticulous care, not just in broad strokes but also in the finest detail. James Taylor’s latest album, American Standard, while hardly a stretch for the folksy balladeer and in danger of familiarity overkill, sounds more involving and emotionally invested than you’d credit, simple as that.

Clarity, speed, grip, strong dynamics, neutral tonality – the Primare has all its hi-fi ducks perfectly aligned in a row. But this counts for little if it fails to communicate the intention behind the playing and, again, we’re back in high-end territory. Irrespective of source – whether streaming the smooth soul of Anita Baker’s Sweet Love on Tidal or playing the densely layered musical complexities of Pat Metheny’s Imaginary Day on CD – the Primare combines impeccable timing with tight focus and a firm grasp of microdynamics, which does wonders for its ability to resolve nuance and inflection. It offers strong in-room presence where performers and instruments are portrayed with body and dimensionality in a truly spacious soundstage.