Integrated Amp Reviews

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Michael Fremer  |  Jun 15, 2003  |  0 comments
Does the modern audiophile want a sleek, compact, powerful, remote-controlled, microprocessor-driven, two-channel integrated amplifier? Perreaux Industries, based in New Zealand, thinks so. They've designed all that, plus good looks and impressive build quality, into the R200i. Despite its relatively small size—4.1" tall by 16.9" wide by 13.4" deep—the R200i packs a punch. It's rated at 200Wpc into 8 ohms and 360Wpc into 4 ohms, yet it weighs just a fraction under 30 lbs.
Robert J. Reina  |  Apr 13, 2003  |  0 comments
It was 20 years ago today that Sgt. Michaelson taught the band to play. I was living in London when Antony Michaelson launched Musical Fidelity in an attempt to make a major statement in the area of affordable, high-quality, high-value electronics. Other Brits at the time were doing the same—companies such as Creek, A&R Cambridge (now Arcam), and DNM began to compete for the destitute audiophile's dollar.
Sam Tellig  |  Feb 23, 2003  |  0 comments
Despite its name, the Panache is not made in France, but here in the States, by Portal Audio, headquartered in Charlotte, North Carolina. The company is owned and run by Joe Abrams, a longtime veteran of high-end hi-fi who was once closely associated with Threshold.
Chip Stern  |  Jul 14, 2002  |  0 comments
With this review I conclude an audiophile's progression through the price/performance ratios of three very musical solid-state integrated amplifiers: the NAD C370 ($699, reviewed in January 2002), the Arcam DiVA A85 ($1499, February 2002), and now the Simaudio Moon i-5 ($2595). In the process I was fascinated to hear how each amp recommended itself to its targeted price point. Likewise, it was most instructive to hear how they spread their compromises around. With a rough doubling of suggested retail price from the NAD to the Arcam, there was a degree of sonic refinement introduced. However, the leap in improved sound from the Arcam to the Simaudio was more significant. And in quantifying the benefits another $1000 worth of enhancements can confer, I discovered what constitute real high-end bona fides.
Chip Stern  |  Feb 17, 2002  |  0 comments
Although audiophiles may muster little enthusiasm for the home-theater-driven audio marketplace of the 21st century, its prerequisites have inspired manufacturers to cram as wide a range of flexible programming features into as highly resolved a set of performance packages as possible. Thus we're now witnessing a new generation of exceptionally musical electronics with high-end performance targeted at two-channel enthusiasts, but all primped and prepped for integration into an expanded audio-video rig.
Chip Stern  |  Jan 04, 2002  |  0 comments
NAD has been out there on the leading edge of entry-level high-end sound long enough that some audiophiles reckon they invented the category. Sure, we should give serious props to the likes of Creek, Rotel, Musical Fidelity, Arcam, Denon, and Parasound, all of which have made significant contributions to the musical aspirations of budget-conscious pilgrims. But I continue to harbor warm feelings about my last extended visit with an NAD component: the inexpensive yet supremely musical L40 CD Receiver, which I reviewed in the June 2000 Stereophile.
Robert J. Reina  |  Mar 18, 2001  |  0 comments
Creek Audio founder/designer/co-owner Michael Creek is a quiet, friendly, unassuming man. Unlike some ego-driven electronics designers who tout their products very loudly from their pulpits, Michael Creek has been quietly designing high-quality, musical, and affordable integrated amps in black-metal boxes for nearly 20 years. His target market is the passionate music-lover who wants something a notch above an entry-level NAD or Rotel receiver, but whose bank manager would frown on splurging on electronic separates.
Chip Stern  |  Feb 01, 2001  |  0 comments
Having evaluated any number of integrated amplifiers in the past year or so, I've repeatedly been impressed by the ways in which designers build versatility and sonic distinction into their single-box designs. In matching those that sounded and measured the best—such as the tubed E.A.R. V20 (October 1999) and the solid-state Magnum Dynalab MD 208 receiver (January 2001)—with appropriate speakers and source components, I was able to attain high-resolution musicality with a minimum of fuss. Crave high-end sound but require even less complexity? You could dispense with interconnects altogether by integrating a high-quality CD player into a remote-controlled receiver, as Linn has with the diminutive Classik that I reviewed last November.
Chip Stern  |  Jan 25, 2001  |  0 comments
Musical arguments in favor of separate components are compelling and well-documented. But there's also something musical to be said about reducing the number of power sources, keeping signal paths short and direct, and hard-wiring connections between components rather than employing multiple sets of interconnects. So while a designer must inevitably confront certain tradeoffs, the explosive growth and popularity of single-box products in the past few years contradicts the received wisdom passed down by some of the more sniffy audiophiles: that such unduly proletarian products are terminally compromised in terms of absolute levels of music reproduction.
Chip Stern  |  Dec 28, 2000  |  0 comments
In the ongoing audiophile debate over the relative merits of solid-state vs tube amplification, compelling cases can be made for the overall musicality of both methods. And while there's a lot to be said for the dynamic headroom, bass focus, clarity, frequency extension, and silent performance of solid-state gear, it's funny how much you can come to miss the aural verities of tube electronics after a prolonged absence.
Larry Greenhill  |  Jul 09, 2000  |  0 comments
When I learned that Madrigal Audio Labs was marketing their first integrated amplifier, the Mark Levinson No.383, I felt this was a big change for the Connecticut company. Mark Levinson literally started the high-end marketing revolution back in the early 1970s by manufacturing cost-no-object separate amplifiers and preamplifiers. The purist designs had one overriding rule: employ the simplest circuit path possible. Each amplifier or preamplifier used only individual circuit-board components (no integrated circuits) and had a minimal number of controls, eschewing elaborate switches and tone controls. Mark Levinson Audio Systems and its successor, Madrigal Audio Laboratories, has continued this philosophy of separate components for the past 25 years.
Michael Fremer  |  Jul 06, 2000  |  0 comments
Why would a sharp mind offer a $15,000 integrated digital amplifier to a reviewer who has been characterized in the audio press as the "self-proclaimed Analog Messiah" and a "hyper-Luddite"? That's the first question a self-centered reviewer asks himself. Yours might be: "A $15,000 integrated amplifier from...Sharp?"
John Atkinson, Shannon Dickson  |  Dec 16, 1999  |  0 comments
Convergence is a widely used buzzword in today's consumer-electronics industry. However, other than using my PC's soundcard in the office to play back MP3-encoded music and plugging the Mac in my listening room into my reference system in order to experience Riven with the highest possible sound quality, I've kept a low profile in this area.
Martin Colloms  |  Jul 06, 1996  |  0 comments
Is Krell risking its reputation? With the KAV-300i, an integrated amplifier that was originally envisaged as an export model, but for which home demand is clearly increasing, the Connecticut-based amplifier manufacturer is dabbling in low-cost territory. Previous Krell amplifiers have been known for their prodigious drive capability. Time and time again, it is found that the true measure of the bass performance of a big speaker isn't realized until a Krell power amplifier is brought into service. But how could an amplifier with a meaty 150Wpc specification and full remote control be built to sell for just $2350.

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