Audiophilepure

https://www.hifinews.com/content/d%E2%80%99agostino-pendulum-amplifier

I still can’t get over another revelation to attribute to the Pendulum. It extracted detail from Shirley Bassey’s ‘Goldfinger’ from Dame Shirley Bassey – The Singles [Strawberry QCR3JAM31] which had eluded me despite hearing it countless times in 60-plus years. The stereo spread was wall-to-wall, the lower register slam as impressive as Bassey’s soaring vocals. ‘Majestic’ doesn’t begin to cover it.

If, as I asked before, you’ve been dreaming about owning one of Dan D’Agostino’s products since the days of Krell, but nowadays can stretch to £18,000, this is the entry-level integrated amp for which you have been waiting. It’s like the Swiss Army Knife of amplifiers: unbelievably affordable and versatile. So don’t resist. Instead, just relent.

https://www.enjoythemusic.com/superioraudio/equipment/0815/Ayon_Audio_Crossfire_EVO_Monoblock_Power_Amplifier_Review.htm

This was also supported by fantastic sounds of high definition. When talking about details and nuances, one describes what one knows from a hi-fi world. These are important elements of the sound, important components of a greater whole. But when it comes to high-end, top-high-end in particular, mentioning details or nuances – that may be in a very poor taste. Details and nuances simply are there, as they should be, what is very important is a level up, which is based on these elements. In Ayon’s Crossfire EVO they build up in interesting, nicely differentiated sound depending on the quality of recording, with a listener-friendly presentation. I did not find a single recording that would have sounded unpleasant played by these amps. Having said that, I need also to clarify, that if there is some issue, like an emphasis on vocal’s attack phase, or just vocal that is bright sounding – like Leonard Cohen’s on his last album – these amplifiers won’t hide that. If you want an amplifier that can sugarcoat such recordings, Phasemation or Triode might be a better choice.

Ayon, just like Kondo and Ancient Audio, play such pieces differently as they deliver what’s there in the recording. Hats off for Ayon Audio! Hats off because despite the fact that these amplifier clearly show the weakness of certain recordings, their performance is nearly always enjoyable as within a properly mastered album. We always accept it as it is. I loved every album played despite the fact that some were recorded with boomy bass, some with bright vocals, and others that lacked ‘air’. Ayon clearly pointed out problems with trumpet timbre on certain jazz recordings, but it was me, the listener, who could decide whether this issue bothered me or not. The decision was mine alone, yet was not forced upon me.