Audiophilepure

https://www.soundstagehifi.com/index.php/equipment-reviews/1636-technics-reference-class-su-r1000-integrated-amplifier-dac

There was excellent delineation between the lead and backing vocals and synthesized instrumentation on the frenetic “Sledgehammer,” but it was the SU-R1000’s ability to make the voices appear holographically in space before me with arresting realism that made me really take notice. The vocals of Gabriel and Kate Bush on “Don’t Give Up” sounded smoother and more natural than I am used to hearing them on this track, even when compared to high-resolution digital files. Bush’s translucent vocals floated gracefully between the speakers, while Gabriel’s less melodic but emotive voice provided a more solid but equally affecting aural image. There was a richness and fluidity to Tony Levin’s unhurried bass line that infused the entire track with a melancholy, but perfectly timed, foundation. And while the SU-R1000 was able to deftly convey that measured but slightly muted character of Levin’s bass, it was also able to make the electronic keyboards on “That Voice Again” sparkle with remarkable clarity. Playing back DSD64 files of tracks from So provided better low-frequency control and slightly more precise imaging, but the smooth, more relaxed sound that the SU-R1000 wrought from vinyl was always beguiling and quite remarkable, considering the relatively modest Pro-Ject turntable and cartridge

https://www.theaudiobeat.com/equipment/ch_precision_l1_a15.htm

Where does all this fit into the overall scheme of things? If the CH Precision I1 integrated amplifier gave a hint of what the gear upstream in the CH Precision line sounds like, the L1 and A1.5 are like a full menu at Arpege in Paris (11 courses) or Atelier Crenn in San Francisco (14 courses). As with when dining at these restaurants, all you need is one experience and you are left with an impression, no matter what your level of experience or sophistication, that will remain with you for a lifetime. Like the L1 and A1.5, those meals are not for (or attainable by) everyone. Unless you skimp on the wine pairing, you will be looking to drop $1000 per person at either restaurant. The L1 and A1.5 are expensive. They might be the entry point as far as CH Precision separates are concerned, but they are still genuinely aspirational components, ones that will likely require some effort and expense to hear in a showroom or system. But they are innately musical in a way that is incredibly hard to find elsewhere. Are they 10 Series beaters? Of course not. To carry the food analogy a step further, the M10 provides a world tour, embracing a seemingly endless procession of equally impressive culinary opportunities. However, the CH Precision A1.5 shares the M10’s DNA and shares its fundamental magic. While you can label the L1 and A1.5 as “entry level” in CH Precision terms, perhaps it’s more accurate to think of the pair as entry-level ultra-high-end audio, marking, as they do, a step up in musical expectation

https://www.stereophile.com/content/accustic-arts-amp-v-power-amplifier

Can any single review of audio equipment be definitive, given the differences in listening rooms, equipment configurations, and human sensibility? Perhaps not. Nonetheless, a few things about the AMP V are incontrovertible. It’s not just a powerhouse; it’s a musical instrument that produces bright colors, huge images, and seat-shaking bass. Nor does it skimp on detail. While I didn’t journey into heavy metal during my time with the AMP V—Bromberg, Holst, and Shostakovich on steroids were as close as I got—the AMP V sailed through numerous ultradynamic tracks whose cumulative percussion and brass would leave many a rock fan diving for cover.

The AMP V is one of the finest and most musically satisfying amplifiers ever to enter my audio system. Anyone with a spare $50,000 (and who doesn’t require easy portability) would be foolish not to give it a serious audition.