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Integrated Amplifiers & Receivers
A
Allnic T-1500 300B: $6900
Made in South Korea and imported by Hammertone Audio, the 12.5Wpc T-1500 boasts exquisite industrial design: polycarbonate chimneys showcase, protect, and ventilate the tubes, while attractively molded handles make for easy lifting. It uses two PCL86 driver tubes, two choke-regulated 300Bs with user-adjustable fixed bias, and output transformers wound around a nickel-permalloy core. Though it lacked bottom-end extension, the T-1500 delivered harmonic richness, excellent transparency, and natural tonal colors, said ST. “One of the world’s most beautifully crafted amplifiers,” he said. “A stunning value.” (Vol.34 No.8)
ATC SIA 2: $4300
ATC’s beefy (44 lbs) SIA 2 delivers a claimed 150Wpc and is hand-built in the UK. It has five RCA inputs and a rear-panel headphone jack, but no phono stage, balanced inputs, or digital inputs. Fit’n’finish were good rather than great. Compared to the Luxman L-505u, the ATC had a more authoritative sound, with a less flattering sound, a lower noise floor, and more resolving power, said JM. “Excellent performance, good value for money, and a great match for ATC’s SCM 40 speakers,” he concluded. (Vol.33 No.4 Read Review Online)
Audio Note Jinro: $24,000
Like Audio Note’s staggeringly expensive Ongaku ($121,500), the 18Wpc Jinro has: enormous output transformers, a simple tube-rectified power supply, star-ground design, a solid-copper chassis plate that doubles as a ground plane, silver wiring throughout, and one directly heated 211 triode tube per channel. Though its midrange was a bit soft, the Jinro showcased powerful bass, unsurpassed flow and momentum, and an overall sound that was very subtly sweet. AD concluded: “The Jinro exists as an appealing alternative for those who can appreciate and afford such a thing: a wonderful, wonderful amplifier.” Though the Jinro’s performance will depend heavily on the tubes used, it measured well “for a single-ended triode design,” JA qualified. (Vol.34 No.4 Read Review Online)
Audio Research VSi60: $4495
In the 50Wpc VSi60, a passive line stage is combined with a JFET input stage driving one 6H30 driver tube per channel. Each channel’s output stage has a matched pair of Svetlana 6550C push-pull tubes with a combination of pentode operation and ARC’s “partially cathode-coupled topology.” Convenient to use, the VSi60 provides output taps at 4 and 8 ohms, as well as four pairs of voltmeter test points. Though it lacked the ultimate control of more powerful amplifiers, the VSi60 combined a glorious midrange with clean, detailed high frequencies and outstanding low-level dynamic articulation. “In the VSi60, Audio Research has produced an integrated amplifier of staggering quality, versatility, and value,” said BJR. Add $500 for tube cage. (Vol.33 No.9 Read Review Online)
Ayre Acoustics AX-7e: $3500 ✩
The success of this 60Wpc, solid-state, two-channel, fully balanced, integrated amplifier depended on the associated sources. Used from balanced output to balanced input, “It was brilliant. Amazing. Stirring, even,” said AD. However, used as an unbalanced amp, “The AX-7 still sounded good, but its musical performance lacked momentum and, ultimately, excitement.” Overall, the Ayre was “colorful, clear, well-textured, and spatially convincing.” It seemed sensitive to the type and length of speaker cable AD used, and seemed more sensitive to AC power quality than average. “I strongly recommend the Ayre AX-7 for use [only] in an all-balanced system.” The ‘7e’s power supply now includes greater filtering of the AC mains, increased peak current delivery, and filtering of the rectifier switching noise. In addition, the AX-7e’s gain stages now use two-stage voltage regulators in place of the earlier version’s single-stage regulators. The sound now combined classic Brit-style pacing and tunefulness with near-SET levels of presence and a fine sense of musical flow, a combination that allowed AD to become emotionally involved in the music. “The AX-7e is the best integrated I’ve ever heard,” endorsed WP. “One heck of an involving amplifier,” he summed up. Original AX-7s can be fully upgraded for $250–$350, depending on the age of the unit. (Vol.26 No.10 AX-7; Vol.29 No.1, Vol.31 No.3, AX-7e Read Review Online; see also “The Fifth Element” in Vol.34 No.2 and Vol.35 No.4 Read Review Online)
Boulder 865: $12,500 ✩
The 150Wpc Boulder 865 is essentially an 810 preamp and an 860 power amp crammed into a single, large chassis of anodized, aircraft-grade aluminum. It has four balanced line-level inputs; a sophisticated, microprocessor-controlled, optically activated volume control; and separate power supplies for the analog and microprocessor circuits. The 865 matched top-end sparkle and deep bass with rock-solid control, and its lack of noise and distortion allowed WP to hear deep into the soundstage. “It’s simple, and it’s darn near perfect,” he concluded. JA’s measurements revealed that the amp had to work hard to drive high powers into low impedances. Compared to the darTZeel CTH-8550, the Boulder had more low-bass impact but lacked some top-octave air. (Vol.32 Nos.4 & 8 Read Review Online)
Cary Audio Design CAD-300SEI: $5495 ✩
RH regarded the ultra-smooth, liquid sound of the 300SEI to be world-class, manifesting a warmth and beauty unmatched by any electronics he’s had in his system. “It’s actually a tone control, and an unpredictable one at that,” JA grumps (though he will admit under pressure that the sound of his B&W Silver Signatures driven by the Cary was first-rate). WP also got great sound using it to drive ProAc Response One SCs. When writing his reviews, the ever-spoiled J-10 now uses the 11Wpc Cary CAD-300—with a set of Western Electric 300B output tubes, of course!—to drive Sennheiser HD 600 headphones. Classic tube sound, if not the most dynamic Mr. Scull has heard; good bass, a bit plump overall, with “everything grand in the midband. Only a glutton could ask for more.” Current production in 2009 uses Chinese-made Cary output tubes in place of the original American-made Cetrons, replaces the Edison-Price Music Posts with common loudspeaker terminals, and lacks the optional 24k-gold faceplate. Though it lacked the texture and detail of AD’s Shindo components, the Cary “played melodies with organic, unmechanical, sinewy rightness and flow.” (Vol.18 No.9, Vol.23 No.12, Vol.32 No.5Read Review Online)
darTZeel CTH-8550: 20,300 Swiss francs
The Swiss-made CTH-8550 is rated to deliver 200Wpc and offers a full complement of inputs and outputs, including MC phono. The large display on the darTZeel’s gold-anodized front panel allows the user to customize virtually any parameter, and includes both a clock and a function that automatically powers the amp on or off at a set time. Inside the burgundy chassis, a large toroidal transformer handles the output stage while a smaller toroidal transformer powers the preamp section. The darTZeel was “fast, dynamic, and detailed,” with a sense of scale and low-level resolution that allowed WP to hear deep into recordings. JA, however, was disappointed by the amp’s measured performance, citing high levels of distortion and suboptimal channel separation. US price will depend on the exchange rate from Swiss francs. (Vol.32 No.8 Read Review Online)
Engstrom & Engstrom The Lars Type 1: $96,000
The Lars Type 1 is supplied in two halves, each comprising a single, monophonic integrated amplifier. It uses a complementary pair of 300B directly heated triodes per channel, for a stated output of 20Wpc into 4 ohms. “Made to look like a whiz-bang little-boy hi-fi toy,” each chassis of the Lars Type 1 is first cloaked in a thin wood-composite wrap, then surrounded by four large panels of Plexiglas that form a transparent protective shield. Though the Lars Type 1’s decorative elements were “flimsy” and “frustrating,” AD found the amplifier’s sound to be “convincingly, enchantingly musical,” and was most impressed by its ability to play music “with uncanny humanness and realism.” But that price!! (Vol.32 No.6 Read Review Online)
Exposure 2010S: $1495 $$$ ✩
“A positively magnificent little amp,” the 75Wpc 2010S astounded AD with its ability to communicate music with an unusual intensity that invariably pulled him down into his listening chair. While it didn’t sound as liquid as a good tube amp or retrieve instrumental textures as well as a good SET, the 2010S offered transparency, tunefulness, and timing that were beyond reproach. Jim Austin loved the 2010S’s rich, full low end, but noted a slight de-emphasis of transients. JA’s measurements uncovered “a sensible set of engineering compromises,” but nothing that indicated why the amp should sound as good as it did. Optional MM or MC phono-preamp card adds $219. AD reviewed the more powerful 3010S in Vol.31 No.6 (110Wpc, $2295) and though he had many positive things to say, he ultimately feels that the 2101S is the star in the Exposure line. SM’s long-term reference. (Vol.28 No.11, Vol.29 No.2 Read Review Online)
Leben CS600: $6495
Taking its look from 1960s American hi-fi, the beautiful, 32Wpc CS600 has a gold faceplate with green trim and wooden side panels made from solid, fine-grain, Canadian white ash. The amp employs a push-pull topology and can use EL34 or 6L6GC tubes. There is a 1⁄4" headphone jack but no remote control. JM: “The Leben CS600 had a certain, almost indefinable sweetness about it, and a beguiling presentation of inner detail that made me overlook its limitations in dynamics and bass.” Partnered with the Harbeth P3ESR loudspeakers, the Leben sounded “simply glorious.” (Vol.33 No.6 Read Review Online)
Leben CS300: $3395
With its wood side panels, gold-toned faceplate, and large balance and bass-boost knobs, the line-only CS300 has a decidedly old-fashioned look and feel. It uses two pairs of EL84 power pentode tubes running in class-A/B mode to deliver 12Wpc. A rear-panel output control allows the user to switch between transformer secondaries that are optimized for use with speakers with impedances of 4, 6, or 8 ohms. Construction quality was superb throughout. Though it lacked the color, presence, internote silence, and sense of flow of AD’s Shindo separates, the Leben distinguished itself as a punchy and realistically textured amp with an especially deep, tight bottom end. It measured “about as well as can be expected from its retro design,” commented JA. (Vol.34 No.11 Read Review Online)
LFD NCSE: $6295
The 70Wpc NCSE is an upgraded version of LFD’s Integrated Zero Mk.III LE (NCSE stands for New Chassis, Special Edition). It uses the same circuit topology as the Integrated Zero, but has a heavy, ribbed chassis with four viscoelastic feet. Build quality is improved inside and out. Though the NCSE was “obviously superior” in terms of quietness, dynamics, low-level resolution, and finesse, there was “something a little somber about the sound,” said ST. It lacked the Integrated Zero’s “illuminated-from-within quality.” He does note that the basic LFD Integrated Zero Mk.III is a better value in today’s economy, however. (Vol.32 No.3)
LFD Mk.IV LE: $3695
“If you like features, this integrated has none,” says ST, but “If you like sweet, highly resolving sound, the LFD offers these aplenty.” The latest refinement of LFD’s LE integrated amplifier is rated to deliver 60Wpc and has a new chassis of extruded aluminum, a thick top cover, a much thicker faceplate, and three beautifully shaped knobs. The Mk.IV LE uses two MOSFET output devices per channel and a custom-made volume pot, but forgoes convenience features such as tone controls, specialized inputs, and remote handset. Compared with the Mk.III, the Mk.IV LE had a richer, fuller tonal balance, with deep, solid bass, astonishing immediacy, and exceptional dynamic range. “The LFD Mk.IV LE is artisanal hi-fi of the highest order, as much artistry as science,” said ST, who bought the review sample. (Vol.34 No.1)
Luxman L-505u: $4100 ✩ $$$
The 100Wpc L-505u offers four line-level inputs in addition to an MM/MC switchable phono input and headphone output. Large, backlit power meters and convenient tone controls mark its retro styling. The L-505u combined tactility and continuity with soundstage size and image specificity for an addictive overall sound. In direct comparison with the Grace m902, the Luxman’s headphone performance lacked body and spatial resolution. JM: “Luxman’s L-505u is my new default recommendation in integrated amplifiers.” (Vol.32 Nos.4, 6, 8, & 10, Vol.33 No.2Read Review Online)
Musical Fidelity AMS35i: $8999
The class-A, dual-mono AMS35i is rated to deliver 35Wpc into 8, 4, or 2 ohms. Large and heavy and with dangerously sharp heatsinks, the AMS35i has one pair of balanced line-level XLR inputs, four pairs of fixed-level RCA tape outputs, and, for biamping or adding a subwoofer, a pair of variable preamp outputs; there is no phono stage or phono option and no headphone amp. Though it lacked some bass control, the AMS35i had a “rich, full-bodied, sweet, harmonically pure” sound that worked to ameliorate the less than perfect, especially digital recordings or remasterings, said ST, but points out that the MF’s owner is paying a premium for the overbuilt design. (Vol.33 No.3)
NAD Masters Series M2 Direct Digital: $6000
Though it’s convenient to think of it as an integrated amplifier, the solidly constructed M2 is actually a multiple-input D/A converter with an output stage that can deliver up to 300Wpc into 8 ohms. For legacy analog sources, it has two pairs of analog inputs that are immediately converted to 24-bit digital, with a user-selectable sample rate of 48, 96, or 192kHz. The M2’s slightly overripe bass worked to complement its spacious soundstage and silky high frequencies, preserving the immediacy of good recordings while never exaggerating the brashness of poorer ones. “While the M2 is relatively large and heavy for a class-D amplifier, runs warmer than you might expect, and is not inexpensive, when fed high-quality PCM data it offers sound quality that competes with that of the best conventional amplifiers,” praised JA. (Vol.33 No.3 Read Review Online)
Naim Uniti: $4495
In a single, reasonably sized box, the 50Wpc Uniti combines the guts of Naim’s Nait 5i integrated amplifier and CD5i CD player with various additional sources: an FM/DAB tuner, and interfaces for an iPod, a USB memory stick, and a UPnP-compatible connected computer or server. Five line-level analog inputs and five S/PDIF digital inputs are provided. Though it lacked some texture and ultimate scale, the Uniti exhibited the traditional Naim strengths of timing and momentum for a sound that was “tight, tuneful, and very explicit, yet also capable of almost breathtaking musical beauty,” said AD. “The Naim Uniti remains among the most intelligent, exciting, and altogether recommendable products that the perfectionist audio industry has produced in ages.” Though it didn’t excel in any one parameter on the test bench, the Uniti impressed JA with the overall balance of its measured performance. (Vol.33 No.3 Read Review Online)
Pass Labs INT-150: $7150
The push-pull, class-A/B INT-150 is rated to deliver 150Wpc (191Wpc at clipping), and has a high-quality volume control and five inputs: two XLR/RCA and three RCA-only. It uses Pass’s Super-Symmetry Circuit, previously featured in all X-series models, to naturally eliminate distortions from the audio signal. Though it produced a slightly forward midrange and top end, the INT-150 combined wide dynamic range with great rhythmic drive, a broad soundstage, and tight, tuneful bass, said EL, who recommended high Class B. Measured performance was excellent in most respects, said JA, who feels low Class A is the appropriate rating. (Vol.34 No.1Read Review Online)
Simaudio Moon Evolution 700i: $13,000
Robustly built of thick, ultrarigid aluminum, the 700i is a fully differential dual-mono design rated to deliver 175Wpc (190Wpc at actual clipping), running in class-A up to 5W and in class-A/B thereafter. Its output stages are powered by six bipolar transistors per channel for a wide bandwidth and low noise floor, while its “zero global feedback” design works to boost the speed of the signal response and eliminate intermodulation distortion. Though it couldn’t match the Krell FBI’s transient speed or deep-bass extension, the 700i had a full-blooded, dynamic, seamless sound marked by vivid tonal colors, harmonic integrity, and a strong sense of rhythm. With the 700i, “I found myself drawn deeper into the music,” said FK. (Vol.34 No.3 Read Review Online)
T+A Power Plant: $3100
The 140Wpc Power Plant looks almost identical to T+A’s Music Player, and the two comprise a fully functional audio system in a single stack. Connection via a supplied RJ-12 cable coordinates the functions of the MP and PP, and allows the pair to be operated by a single remote. The PP’s switch-mode output stages were developed in-house, and combine MOSFET transistors with high-energy driver modules. JI noted a “dynamic-sounding amplifier section that exhibited ample and well-controlled bass along with a smooth, detailed top end.” Surprisingly robust and detailed sounding amp for such a small cool-running package, he concludes. (Vol.32 No.8 Read Review Online)
Unison Research S9: $10,995
The beautifully built, class-A S9 is rated to deliver 35Wpc. It weighs 110 lbs, measures 17" W by 9.75" H by 22.25" D, and uses two ECC82 or 12AU7 tubes for inputs and driver stages, and a pair of SV572-10 output tubes per channel in parallel single-ended mode. It provides just four line-level inputs and a tape loop. Lacking power and bass control, the S9 is not for hard-rockers, but its excellent low-level resolution, immediacy, and harmonic accuracy proved “especially well suited to classical and acoustic jazz,” said ST. “It brings the performances back alive. . . Super-dimensionality. Class A for sure.” Tube grill adds $160 (Vol.33 No.7)
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