At the extreme high end—Halcro, VTL, Boulder, etc.—reviewers gush about a lack of character. If you're paying $20,000, you want a preamplifier or power amp to disappear. At those price points we also want extreme, unfatiguing resolution, and noise that's well below what most people would consider audible. But at those prices, an absence of character is definitely something most people aspire to.
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.
A decade ago, many predicted that amplifiers with switching or class-D1 output stages would come to dominate high-end audio. In a postPeak Oil world in which the price of energy would always continue to rise, a class-D amplifier's very high efficiency in converting AC from the wall outlet into speaker-driving power would be a killer benefit. Although a conventional push-pull class-B amplifier has a theoretical efficiency of 78.5%, which would seem usefully high, this efficiency is obtained only at the onset of clipping; the need for the output devices to carry a standing bias current reduces that efficiency considerably, typically to around 50%. Class-A amplifiers are even less efficient, with a maximum of 25%; ie, three times as much power is dissipated by the amplifier as waste heat as is used to drive the loudspeaker (see "Sam's Space" in this issue).
Older audiophiles remember the splash NAD made in the late 1970s with the introduction of their 3020 integrated amplifier ($175). Ridiculously cheap, it looked graceful and sounded warm, inviting, and holographic. Removable jumpers between the 3020's sections permitted enthusiasts to determine whether the magic resided in its preamp, its power amp, or in some synergy of both.
In an industry whose newest products are often as discouragingly unaffordable as they are short of the sonic mark, the Naim Audio Uniti ($3795) stands out. In a single reasonably sized box, the 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, an iRadio, and a UPnP-compatible connected computer or serverall for the price of a very good television set.
In a world of me-too products, NuForce distinguishes itself from all those other components whose names begin with i by actually using a capital I. Actually, that statement is unkind, even unfairunlike the myriads of products designed to capitalize on the Apple iPod's current sexiness, the NuForce Icon isn't designed to be portable (although NuForce does offer an Icon Mobile). What the Icon unquestionably is is a fine little piece of audio engineering, which most of those other i components are not.
"Onkyo Returns to its Stereo Roots to Debut New Digital Amplifier Technology." This heading of the press release for Onkyo's A-9555 digital integrated amplifier was surely intended to warm the cockles of the two-channel audiophile's heart. Some of us remember the Onkyo Grand Integra amplifiers of the 1980s, which were considered competitive with the big Krells and Mark Levinsons of the day. To refresh my memory, I looked through my Stereophile archives and found the December 1985 issue (Vol.8 No.8), which included Larry Greenhill's review of the Grand Integra M-510, a 300Wpc power amplifier covered in lacquered persimmon wood, weighing 139 lbs, and costing $4200 (about $8000 in 2007 dollars). Larry was most impressed with the M-510, describing it as "a very powerful amplifier with outstanding sonics across the board—power with delicacy."
Wilson Audio Specialties' David Wilson likes to say that you should build a stereo system from the speakers down. Of course he does—he sells speakers. But that doesn't mean he's wrong. So recently, when offered an inexpensive new product for review, I decided it would be a good test of Wilson's theory. I tried driving Wilson's $45,000/pair MAXX2 speakers with Outlaw Audio's RR2150, a $599 stereo receiver.
Ten thousand hours. According to Malcolm Gladwell, in his book Outliers: The Story of Success, it takes 10,000 hours of practice to become truly exceptional in your field. For any endeavor, Gladwell contends, what will get you to Carnegie Hall isn't inborn talent but practice, practice, practice.
Whether one was surprised, in 2010, by the success of Peachtree Audio's iDecco may have more to do with age than anything else. My peers and I wondered, at first, who would want their high-end integrated amps to come bundled not only with digital-to-analog converters but with iPod docks, of all things; at the same time, younger hobbyists wondered who in the world still wanted their integrated amps to contain phono preamplifiers. (Respect for the elderly, myself especially, prevents me from adding "and mono switches.") Color me chastened.
With Peachtree Audio's new nova125 integrated amplifier, most decisions are made for you.
Need a DAC with three S/PDIF inputs (two coax, one optical)? An asynchronous USB DAC? A line stage? A tubed output buffer? A power amp that should be able to drive even difficult speaker loads? Remote control? You've got them all for $1499. Just add speakers. (I assume you have a laptop computer and several disc spinners.) You may want a separate phono stage, because there is none onboard.
As with so many other things, from cell phones to soy milk, the idea of a portable MP3 player was something I at first disdained, only to later embrace with the fervor of any reformed sinner. But not so the idea of a high-fidelity iPod dock: Given that I now carry around several hundred high-resolution AIFF files on my own Apple iPod Touch, the usefulness of a compatible transport seemed obvious from the start. Look at it this way: In 1970, whenever I bought a music recording, I could enjoy it on any player, in any room in the house. In 2010, why shouldn't I enjoy at least that degree of convenience and flexibilitywithout resorting to a pair of tinny, uncomfortable earbuds?
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.