Integrated Amp Reviews

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Martin Colloms  |  Mar 07, 2004  |  First Published: Aug 01, 1998  |  0 comments
The search for signal transparency has led to much experiment and debate concerning losses in fidelity that can be traced to the preamplifier or—as it's more often and awkwardly called these days when the phono stage is omitted—the "line controller."
Robert Harley  |  May 30, 2005  |  First Published: Sep 01, 1997  |  0 comments
With the price of high-end audio increasingly reaching for the stratosphere, audiophiles appear to becoming much more value-conscious. This trend is reflected in the recent popularity of CD players over separate transports and processors, and particularly in the sudden resurgence in integrated amplifiers. An integrated amplifier makes a lot of sense: the buyer saves the cost of two chassis, two power cords, two owner's manuals, and an extra pair of interconnects. You also get a simpler system.
Lonnie Brownell  |  Jan 11, 2004  |  First Published: May 01, 1997  |  0 comments
Bryston is one of North America's most established hi-fi makers. Based not far from Toronto in Peterborough, Ontario, Bryston has been in business since 1962.
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.
Wes Phillips  |  Dec 03, 2006  |  First Published: Jul 03, 1996  |  0 comments
What, I hear you asking, is an integrated drive? The MID is part of McCormack's much lauded "Micro" series (see my review of their Micro Line Drive in Vol.18 No.6), which are designed to offer the same dedication to quality as McCormack's full-size components, but at a lower price (and in a smaller package). The MID was initially the Micro Headphone Drive, sporting two ½" stereo phone-jacks on the front panel, a two-position input switch, and a volume control. The rear boasted two inputs and an output (controlled by the volume pot). It was designed to be a high-quality headphone amp and a minimalist preamp. In this configuration, I ran into it at the 1995 WCES where—almost as a gag—Steve McCormack had made up a few ½" stereo phone-plug to 5-way binding post connectors. He could, he explained, run small speakers from the headphone outputs. There was a serious purpose behind the joke, of course. Showing that the MHD could drive speakers spoke volumes for its ability to drive headphones.
Robert J. Reina  |  Aug 26, 2013  |  First Published: Dec 01, 1995  |  3 comments
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. . .
Robert Harley  |  Sep 26, 1995  |  0 comments
As strongly as I believe that the listening experience is the most reliable method of judging the quality of audio equipment, I've been biased against single-ended tube amplifiers because of their quirky measured performances. Without having heard single-ended under good conditions—much less living with an SE amplifier—I had concluded that many listeners must like them because they're euphonically colored by large amounts of low-order distortion and impedance interactions with the loudspeakers. SE amplifiers seem to be a departure from the goal of making the electronics transparent. Moreover, the range of loudspeakers suitable for SE amplifiers is so restrictive that I wondered why anyone would bother with these underpowered distortion-generators. I had fallen into a trap that I've repeatedly railed against: drawing conclusions without firsthand listening experience (footnote 1).
Corey Greenberg  |  Jul 13, 2008  |  First Published: Nov 13, 1993  |  0 comments
Stereophile should start a "Personals" section in the back of the mag—maybe stick 'em in with the classifieds:
Jack English  |  Mar 07, 2008  |  First Published: Jun 07, 1993  |  0 comments
All right, class. Your assignment is to write a paper persuading people to do something good for themselves that they really don't want to do.
Robert Harley  |  Jul 11, 2019  |  First Published: Feb 01, 1993  |  2 comments
American audiophiles have long had a love-hate relationship with British integrated amplifiers. On one hand, they often provide superb musicality, sell for a moderate price, and don't take up much room. On the other, these British alternatives to Adcom or B&K separates often have low power output, nonstandard connectors, idiosyncratic appearance (footnote 1), and dictate the kind of speaker cable and interconnects you can use.
Guy Lemcoe  |  Jun 06, 2008  |  First Published: May 06, 1991  |  0 comments
Psst! Got a minute? I'd like to bend your ears a bit and tell you about a component that'll lift you from the doldrums of audio angst and transport you to the relaxing calm induced through the enjoyment of music. That's what it's done for me, and I'm so excited about it I can't wait to tell you.
John Atkinson  |  Feb 24, 2013  |  First Published: Oct 01, 1987  |  1 comments
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.
Robert Harley, Sam Tellig  |  Aug 08, 1995  |  First Published: Aug 08, 1985  |  0 comments
The $395 NAIT, rated at 20Wpc, is a good-sounding little amp. It's very open and spacious-sounding, but, like the $250 Rotel RA-820BX, sometimes sounds a little hard in the upper registers.
J. Gordon Holt  |  Aug 11, 2015  |  First Published: Dec 01, 1977  |  7 comments
This receiver includes a rather respectable little tuner, almost comparable to the Dyna FM-5 in performance, a 15Wpc power amplifier of passable quality, and a preamplifier section that in some ways gives some of the costliest preamps a run for their money.

If you don't live in a difficult receiving area or are trying to receive long-distance FM, the tuner should satisfy any perfectionist. It is far superior to the FM transmission quality in most US cities anyway. The power amplifier is better than any we have previously found driving the dinky little speakers in most compact systems, but it has neither the power nor the other attributes to replace any of the amplifiers currently in favor with perfectionists.

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