Audiophilepure

https://www.whathifi.com/us/reviews/yamaha-a-s3200

While the phono stage’s 47ohm moving magnet input impedance will work well with pretty much any cartridge of that type, it’s a little odd that Yamaha has chosen to go with a 50ohm value for the moving coil option. While MCs vary in terms of their loading requirements, a 100ohm value would have suited many more cartridges. It’s not a make-or-break situation, but you’ll need to be careful with the cartridge choice if you want optimal results.

How did the Parasounds perform on more delicate fare? You’ll get few quibbles from me, friends. There were moments when I was simply startled by the finesse that they offered. On Louis Bellson’s album Thunderbird, for example, I was smitten by the rendition of the Neal Hefti standard “Softly With Feeling.” The Parasounds were able to provide the hushed backing of the winds with total control, endowing the song with a sense of realism that it would otherwise have lacked. This was one of those times when this LP on the Impulse! label really sounded opened up rather than claustrophobic. I mean talk about pristine. Suffice it to say, that the Parasounds conveyed, or appeared to convey, just about every last little nuance the cartridge excavated from the black grooves.

But even on the delicate passages, the sound was never wispy. Take the magnificent album Festival of Trumpets [Nonesuch]. It was mastered in 1974 by Bob Ludwig and features the New York Trumpet Ensemble, directed by Gerard Schwarz. I was riveted, among other things, by a lovely Sonatina by the baroque composer Johann Christoph Pezel, who himself  played trumpet and violin. The gossamer-like trumpet playing of Schwarz and Louis Ranger sounded very enticing, but it was the accompaniment of the bassoon and harpsichord that really caught my ear. It’s easy for them to get lost in the mix. But here it was easy to hear the pleasingly sonorous sound of the bassoon as it puffed along, as well as the soft and deliberate plucks of the harpsichord. If I had to pick a nit, it would be in the treble. It’s not that the sound ever became hard or dirty—the Parasound always has a rich, warm, inviting sound on top—rather, the amp could sometimes be less slightly transparent and pellucid on top than some of its far-pricier brethren.

https://www.hifinews.com/content/cambridge-audio-edge-nqm-streamermonoblocks

This streaming DAC/power amp combination has a lot going for it – gorgeous looks and a sound and build quality to match. It’s simple both to install and use, and you won’t need any tweakery to tease out their best. Cambridge Audio has got its ‘no limits’ series pretty much bang-on, and anyone who still thinks the brand is just about ‘budget hi-fi’ needs to know it’s playing with the big boys now – with great success.

At the beginning of this review, we called the M33 an innovative new design. Looking at the distortion and noise results above we can confirm this. We believe this is the best performance to date of a stereo or AV product, that has no analog volume stage. It’s the AKM AK5578 chip used with four converters processing one channel. Wired this way this ADCs performance is about as good as can be achieved from a single chip. We know of no other consumer product with this ADC performance. We believe we are the first to extensively examine the preamp-out performance of the M33 and note the performance standard it has set. Only a relay-based analog volume or a volume using an exotic current mode multiplying DAC with laser trimmed film resistors will provide a significant improvement over what we see here.