Integrated Amp Reviews

In his review in the November 2015 issue, Herb Reichert wrote that Parasound's Halo Integrated amplifier "has a recognizable sonic personality: easy flowing, mostly smooth, and decidedly mellow. . . . But don't worry—it's not milquetoast mellow or unwashed-hippy-stoner mellow. It is, instead, an everything's-under-control, don't-worry-now mellow."

"The sound was to die for," I wrote shortly before my resurrection. I was taking notes about the sound of CH Precision's D1 SACD and CD Drive (now $38,000) and C1 D/A Controller (base price $32,000), in the demo room of Michael Woods's Elite Audio Systems, at the California Audio Show, just three months after the 2015 edition of the Munich High End show. CH Precision's L1 dual-mono, solid-state preamplifier (now $58,000), M1 dual-mono power amp ($104,000), and X1 external power supply ($17,000) had helped deliver "fantastic sound."

One summer in the mid-2000s I purchased a pair of Cambridge Audio components for my red-headed, tango-dancing Texas girlfriend. She quickly saw through my ruse to install some solid hi-fi in her New Jersey home away from home—but eventually she acquiesced, and soon Michael Martin Murphey (she), the Beatles (me), and Miles Davis (us) filled our weekends with music. Inspired by a Sam Tellig column I read around that time, I paired a Cambridge Azur integrated amplifier and CD player with a pair of Triangle Titus XS minimonitors. The sound produced by this quartet was clean, precise, and altogether pleasurable—for a total of about $1300.

The original PS Audio Sprout, which I reviewed in the May 2015 issue, showed newcomers an easier, smaller way to amplify music recordings in the home. At $599, the Sprout100 costs $100 more. It fixes a few of the old Sprout's weirdnesses: no power-on indicator light, no remote control, five-way binding posts that weren't really five-way. It also doubles the Sprout's class-D power output into 4 ohms, from 50 to 100Wpc (or 50Wpc into 8 ohms), and adds a few sonic and mechanical enhancements.

The Emitter II Exclusive integrated amplifier, from German manufacturer ASR Audio (footnote 1), challenged my idea of what I could expect from a solid-state amplifier and my thoughts of what might be the best amp for driving a pair of Quad ESL loudspeakers—revelations that were more or less inseparable. After hearing my friend and former neighbor Neal Newman drive his own ESLs with a ca 1975 sample of the Quad 303—a solid-state amplifier rated at 45Wpc into 8 ohms—and after my experiences, in 2016, driving my ESLs with a borrowed sample of the 18Wpc, solid-state Naim Nait 2, I began to think that Quad-friendly transistor amps are easier to find than their tubed counterparts.

"Okay, all you high-rolling audiophile know-it-alls—what is the argument against amplifiers that operate in high-bias, class-A, single-ended mode, with the lowest possible parts count? Is there a better strategy for beauty, rhythm, color, texture, and easy-flowing musical verity? I think not. And please explain: Why has mainstream audio gone to such ridiculous and expensive lengths to avoid building and selling precisely these sorts of amps?"