Integrated Amp Reviews

Stop me if I've said this before (okay, I have): There's much to be said for integrated amplifiers. While separates have long dominated high-end audio, an increasing number of integrated products not only bundle a preamp and power amp, but sometimes add digital inputs of various flavors, phono stages, bass and treble controls (long on life support in audiophile gear), and more.

The first time we saw an AR amplifier (at a Hi-Fi Show), we were struck by its bland, almost antiseptic appearance. Amidst all those other audio products that looked as though they had been high-styled for Madame's boudoir, the unadorned simplicity of the AR amplifier made it stand out like an Eames chair at Williamsburg.

When I asked NAD for a sample of their Masters Series M50.2 digital music player, which I reviewed in the December 2017 issue, they also sent me a Masters Series M32 DirectDigital integrated amplifier, which had also been introduced at the 2017 Consumer Electronics Show. Costing $3999, the M32 offers a continuous power output of >150W into 8 or 4 ohms. The M32 is the same size as the M50.2, and its smart-looking combination of matte black and gray-anodized aluminum panels make it look identical to the player, except for the black volume-control knob to the right of the front panel's four-color touchscreen, and the ¼" headphone jack at bottom left. It even has the same eight ventilation grilles inset in the black top panel.

Audiophiles are oblivious to the low-end music-reproduction medium that's currently staging a comeback: the cassette tape (footnote 1). I've adopted the cassette craze in my own small way. I glory in the trusted mixtape, which I play in the stereo cassette deck of my 1990s Toyota. An automobile is a dearly cherished possession in New York City; when I cruise the outer boroughs on Sunday, I want tunes galore. So I retrieved my 1996 Aiwa cassette deck, and, attic-bound as it had been for 20 years, it was in need of repair. Via Yelp, I came across Hi-Tech Electronics, a small repair-everything-electronic shop at the east end of Canal Street, in New York's Chinatown, and a mother lode of classic audio gear and audiophile nostalgia.

"Looking back, my life's passions have mostly been sensual: food, females, fast cars, music, wine, sailing and skiing. My motivations, activities and work have stemmed from the need to fuel these passions rather than enjoyment of the process."

Who said this? John Atkinson? Art Dudley? Dr. Dre?

Stereophile seldom reviews A/V receivers. We made an exception for Arcam's FMJ SR250 ($3600) because it's that unusual two-channel device: one that includes room-correction software, in this case Dirac Live. Many of us who listen in multichannel are comfortable with room correction, but a week doesn't pass without my hearing or reading someone say that they bypass room correction when listening to music in stereo. Spock-like, I find that illogical and, from experience, pointless.

The last few years have seen a flood of new integrated amplifiers in an audiophile market traditionally wedded to separate preamps and power amps. That might reflect the fact that integrated amps make a lot of sense, and not only because they usually cost less than equivalent separates. The latter gained a foothold in audio's Paleolithic era, when tubes were the only game in town. Tubes generate lots of heat—an enemy of electronics—and separating the preamp stages from the output devices kept this under control. Yes, there were integrated amplifiers back then, but they were generally of very low power—25Wpc was once considered monumental.