Audiophilepure

http://www.enjoythemusic.com/superioraudio/equipment/0121/Dynamic_Sounds_Associates_Amp_I_Review.htm

With rock masterpieces, like the cut “Hotel California,” from the Eagles remarkable 1994 reunion tour, Hell Freezes Over [Geffen GEFD-24725], while the kick drum is located solidly deep into the stage and left of center, is created with enough impact to move your pant leg cuffs. Queuing up choice cuts like “Under the Boardwalk,” from Ricki Lee Jones’ 1983 Girl at her Volcano 10-inch EP [Warner 1-23805], or with the Poco Adagio from the sublimely powerful Symphony No. 3 by Camille Saint-Saëns [RCA LSC-2341], the bass is not only deeply yet accurately extended, with no bloat or overhang, it is presented with a palpable sense of weight and pressure that is uncannily like that experienced live. Granted, considerable credit for this illustrious accomplishment must be attributed to the abilities of my remarkable VSA ULTRA 9 loudspeakers, but I have heard amplifiers, some considerably more costly than the Amp I, that suffer an obvious roll off as they descend into the nether regions, giving up both pitch definition and slam.

And as such, spatial cues were recreated almost as well as I have ever experienced, with realistically sized instruments regenerated with a sense of bloom or body that was unmistakably correct, recording dependent, of course… as not all recordings can deliver to the same degree on these attributes. Listening to recordings like the Cisco Records release of Steely Dan’s Aja [Cisco Music CLP-1006], the London Solti / CSO’s Beethoven’s Ninth [Mobile Fidelity Sound Lab MFSL 2-516], or even some QSound spectaculars like Sting’s The Soul Cages [A&M Records 75021 6405 2] or Roger Waters magnum opus, Amused to Death [Netherlands CBS/Sony (2) 468761 0], and I quickly realized that the Amp I could wrangle staging and imaging queues just about as well as can be accomplished.