In the mornings, just before I leave for work, I power up the system, turn the volume down low, and set the CD player to Repeat. I like to think that if I play calm, soothing music while Ms. Little and I are away, the cats will feel less alone and more relaxed. It's also nice, on returning home from work, to walk into a room filled with music. One evening a few weeks ago, I stepped into the apartment, dropped my bags to the floor, settled down into the couch with my iPhone, and began scrolling through text messages. I'd been seated for only a moment before I had to turn my attention entirely to the sound of the system, which, even at a very low volume, sounded warm, detailed, and unusually goodunbelievably, almost unbearably engaging.
The name sounds perfect. It fits neatly next to those of Messrs. Leak, Sugden, Walker, Grant, Lumley, and others of Britain's most rightly revered amplifier builders. In fact, when their distributor called and asked if I'd like to review the latest amplifier from Croft Acoustics, I accepted without actually knowing who they are, simply because they sounded like someone I was supposed to knowsomeone who's been around for 60 years or so, shellacking bell wire in an old mill with a thatched roof.
In this, my first equipment review for Stereophile, I'll begin by explaining my philosophy regarding reviewing inexpensive components. In my quest for products by designers who strive to establish new benchmarks for reproducing sonic realism at lower prices, I'll be looking for "value" components (a more appropriate term than "budget") whose designers logically fall into two camp. . .
It seems I'm always reviewing an integrated amplifier from Creek Audio. It started in the late 1980s, when I fell in love with the capabilities of inexpensive, well-designed audio equipment, sparked by the spectacular sound of a pair of Celestion 5 bookshelf speakers at a Consumer Electronics Show in Chicago. I was reading an issue of Hi Fi Heretic (now defunct), for which my friend Art Dudley wrote, and it included a survey of various inexpensive British integrated amplifiers, some of them made by Creek. I was already familiar with the company, but hadn't listened to affordable British electronics since I'd lived in London, in the early '80s. I got a Creek 4140s2 integrated and was amazed at its neutrality, its lack of etched sound, its natural reproduction of instrumental timbres. I ended up buying it, and used it to review bookshelf loudspeakers.
The only thing better than a review that writes itself is a product with a compelling story. Although the latter asks a little more of us here, it's usually the more enduring pleasure.
So it goes with the new AX-5 amplifier ($9950) from Ayre Acoustics, in which designer Charles Hansen has both revived an overlooked technology from a half-century ago and brought to market a more affordable embodiment of one of his own most well-received products.
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 a young music lover, I never knew there were such things as separate preamplifiers, amplifiers, and FM tuners. All I knew was that if I wanted to play music from my CD player, hook up my VCR to my stereo, or listen to the radio, I needed that magical device: a receiver. It was all I ever wanted.
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.
Since its founding just over ten years ago, Mission Electronics has grown to become one of the largest "real" hi-fi companies in the UK. Although their product line originally consisted of three relatively conventional loudspeakers, it rapidly grew to encompass high-end pre- and power amplifiers, cartridges, tonearms, and turntables, and, in the mid 1980s, a system concept based on CD replay and relatively inexpensive electronics: the Cyrus amplifiers and tuner.
A particular audio interest of mine has long been cost-effective systems that work really well together. I think most of the audio sob stories I've heard can be traced to one or both of two things: mismatched equipment, and inadequate attention paid to room acoustics. I've previously written about systems that range in price from $7500 to under $1500. Here's as minimal and classy a high-performance system as you can ask for: one box for the electronics (including USB connectivity), and two stand-mounted, two-way loudspeakers. The total cost is just under $10,000, but I think the price is justified not only by swank looks, but by the sound.
In a perfect world, all a serious record lover would need to enjoy music at home would be a single source component, one or two loudspeakers, and one good integrated amplifier. Speaker wire would be given by the dealer, free of charge, to any shopper who spent x number of dollars on new gear. Cable risers would come in cereal boxes.
Most reviews are straightforward. One preamplifier or power amplifier replaces another. DACs are swapped out. A new pair of speakers takes up residence in the listening room.
But some products demand a complete revision of a system's architecture. Such was the case with Devialet's D-Premier ($15,995). Not only is this French product an integrated amplifier, with phono and line analog inputs; it has digital inputs and an internal D/A section.
I can imagine the gaiety and mirth that filled the halls of the electronics industry in the 1950s, as engineer after bespectacled engineer realized that the transistor would soon consign to the outposts of oblivion those ancient technologies that had preceded it. Before longsurely no more than a decadethe hated vacuum tube would vanish from the Earth, along with the tube socket, the tube tester, the tag board, the high-voltage rail, and that lowest rascal of them all, the output transformer. What a jubilant time!
Integrated amplifiers are hot. I don't mean in the literal sensealthough having a preamplifier and stereo power amplifier in the same chassis usually results in higher running temperaturesbut in the metaphorical one. Once viewed as the type of component that no serious audiophile would consider buying, integrated amps have made a comeback in popularity and prestige. Consider: the October 2006 "Recommended Components" issue of Stereophile listed 29 integrated amps, whereas the October 2011 issue lists 40. Stereophile's 2010 Amplification Component of the Year award went to an integrated amp, the Audio Research VSi60, beating out a host of heavy-hitter preamps and power amps. The 2012 Stereophile Buyer's Guide lists 400 integrateds.
B.M.C. Audio GmbH (the initials stand for Balanced Music Concept) designs its high-performance audio products in Germany, where the company was founded in 2009, and has them manufactured in its own wholly owned factory in China. The design team is headed by Carlos Candeias, whose earlier designs included a belt-driven CD transport for C.E.C. and, for Aqvox, a high-performance, current-gainbased, balanced phono preamplifier that's reasonably priced. These have won him a lot of attention, and made him something of a celebrity in certain sectors of the audiophile world.