Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/1224/AGD_Productions_SOLO_Limited_Edition_GaN_Power_Monoblock_Amplifier_Andante_MkII_Preamplifier_DAC_Phonostage_Music_Streamer_Review.htm

The MkII front panel is essentially unchanged, remaining simple and minimalistic, with touch-sensitive keys (no mechanical movement). The option of Apple’s handy remote is also included to manage menu functions. Additionally, the Andante now has a new ‘teaching’ mode that enables the remote with different types of controllers. A home theater bypass is now standard to enable easy integration with HT systems. The back panel configuration retains the same design of the MkI, with 3+1 analog inputs and 3 analog outputs. The third output can be customized as a subwoofer or high-pass filter output with a cut-off frequency at 120Hz (-3dB, at 6dB octave slope). All connectors are Cardas for all single-ended inputs and professional grade Neutrik for the balanced inputs. The Ethernet port has functional LEDs to monitor the communication stream over the network.

As my interests lay largely in vinyl LPs, my Kronos Sparta table remains my primary reference source, with the Esoteric K-03 available for variety. Tidal, Quobuz or sim.streaming portals are not part of my audio diet as-yet, though perhaps someday. Consequently, my primary evaluation of the Antante MkII focused on its phono stage, as well as a portal for the K-03.

As a conduit for digital listening, I ran my Esoteric K-03 both as a single box player and as a transport utilizing the Andante’s internal DAC. In both positions, digital examples retained a silky, yet highly detailed character, with wonderfully articulated transient speed throughout the dynamic spectrum. Used as a DAC, the Andante proved exceptional, demonstrating no over-emphasis of upper frequencies, stridency, or stretch. Transient strings and metallic percussion were strikingly beautiful, consistent across the frequency and dynamic spectra, devoid of any sense of artificial exploitations. There was a tangible, organic presence about the lower frequencies, albeit slightly less so than when the K-03 was used as a single unit player. Nevertheless, firm, well-fleshed, and true to character.

https://www.stereophile.com/content/system-audio-legend-402-silverback-wireless-streaming-loudspeaker

In this review, I reported my journey from expectations and initial impressions to my ultimate appreciation of the System Audio Legend 40.2 Silverback DS wireless speaker system. I spent weeks with the system, but I went from unpacking the system to enjoying music in less than hour, including the crucial room-correction setup. Purchasers can expect to have the same experience.With the 40.2 Silverback, one gets not just ease of use and fewer wires but also a good-looking, compact speaker system with excellent bass, spectral balance, and great dynamics.

https://www.hifinews.com/content/kef-kc92-active-subwoofer

The KC92 is tight, clean and dynamic, dispelling any fears of bass bloat. Its DSP works cleverly too, so that deep bass remains apparent even at quiet listening levels. I was taken aback by the extra bounce and heft in Raury’s ‘Devil’s Whisper’ [All We Need, Columbia; 44.1kHz/24-bit] with the system volume dialled low. As I was with Kraftwerk’s ‘Electrocardiogram’ [3-D: The Catalogue, Parlophone; 44.1kHz/24-bit], with its stop-start drum programming.

Perhaps the proof of the value of the KC92 (or a pair of them) was hearing Don Henley’s ‘The Boys Of Summer’ [Building The Perfect Beast; Geffen Records GFLD 19267] with its synth intro and famous guitar riff. There was much more expansion, greater scale, a deeper floor and a grander overall sound with the subs in play. Henley sings ‘I feel it in the air’ and I knew what he meant. To mangle a Darth Vader line, the force-cancelling is strong with this one.

https://www.headfonia.com/thieaudio-monarch-mkiv-review/

This is where the MKIV really leveled up. The switch from resin to CNC-milled T6 aluminum gives it a far more premium and durable feel without adding much weight. The shells are dense, cool to the touch, and built like they’ll last a lifetime.

The Stellashot faceplate, which I’m using, is my favorite of the default options. It gives the impression of shooting stars across the night sky, and it pairs beautifully with the black shells. It is one of the best faceplates I’ve ever seen. It’s exquisite yet elegant.

The Kaleidoglow is the alternative, with hexagonal patterns and a neon glow. For those who want more personalization, 14 custom designs are available. Twelve of them cost an extra $100, whilst two premium options cost $150.

The dual-tuning switch is gold-plated and positioned on the rear side of the IEMs. They are easily toggled with a fingernail, making them more practical than long faceplate switches or classic recessed switches. This is, in fact, the best switch implementation I’ve ever seen.

https://www.soundstageultra.com/index.php/equipment-menu/1282-marantz-model-10-integrated-amplifier

ook at me working backwards to conclude that the Model 10’s phono stage is actually quite good, considering it’s built into an integrated amplifier. Still, this is SoundStage! Ultra, and I’m expected, I guess, to really hammer stuff downward rather than forgive small slights. Innate snobbery and high standards aside, I found myself easily able to enjoy listening to LPs once the aural memory of the Mola Mola had receded.

After finding out that my copy of the Cure’s Galore – The Singles 1987-1997 (Elektra 62117-1) is worth north of CA$350, I pulled it out for a quick listen to see if it’s worth $300 more than Standing on a Beach – The Singles (Elektra 96 04771), the other Cure compilation in my collection. Well, yeah, I guess there is a reason for its valuation. The Model 10’s phono stage had more than enough resolution to show me that Galore’s mastering is far superior, despite each compilation having its own distinct track listing. Through the Model 10, I could hear how much additional depth circled around Robert Smith’s voice on Galore, and how there was a thick glaze around the entire production on Standing on a Beach. There’s dynamic range on Galore, while Standing on a Beach sounds compressed to hell and back. This resolution of detail and reproduction of dynamics via the Model 10 point to a well-designed phono stage.

Perhaps the most endearing aspect of the Model 10’s phono stage was its somewhat laid-back highs, which were very slightly sweet and not the least bit grainy.

Listening through to the rest of Galore showed an impressive conveyance of rhythm, with “Just Like Heaven” especially making me smile and tap my foot along with the music. Standing on a Beach is a domestic pressing, and it was thin and cheap when I bought it new, so it’s no surprise that the highs are somewhat tizzy and out of control. The Model 10’s phono stage didn’t highlight the poor reproduction of cymbals, nor did it gloss over them.