Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/0726/Perfect8_Cube_S_With_Sub_Reference_HiFi_Loudspeaker_Review.htm

If that’s who you are, and you have the financial means of entry, then I suggest going as high in the PERFECT8 Technologies AB model line-up as you can afford. They just keep getting better and better the higher you go. Email or call Jonas and figure out how to hear them, because you need to hear them. Eventually, I know I will own a pair!

I have to touch on the price. Yes, $50,000 is quite a bit for loudspeakers. Keep in mind that PERFECT8 currently sells direct — not by philosophy, but because building the right dealer relationships takes time. They are actively looking for dealers in the U.S., and distribution in Europe appears to be close. They do not aggressively advertise other than shows, and continue to successfully develop a truly grass-roots following (or would that be glass-roots?). As such, their loudspeaker prices are more about manufacturing cost than profit, especially when compared to a brand that sells through distributors and dealers. Also consider that a nice gold Rolex or Audemars Piguet timepiece can cost between $40,000 to $100,000 easily — that (and higher) are the clientele they are selling to.

That’s not to say that some trial and error isn’t still worthwhile. PE mode tends to work best with lower‑impedance cartridges, and not every design will be an ideal match. With the 33Ω Denon DL-301 II, set to PE high as the manual recommends based on its specs, I detected a higher noise floor and what felt like too much gain with an in-your-face sound. Dynavector suggested backing it off to the medium setting (which entails moving just one jumper per channel, a ten-second operation) and the noise floor not only dropped but music had a much greater sense of ease and refinement at the expense of some dynamic impact. But some higher frequencies now seemed oddly set back spatially, with cymbals seemingly ten feet behind the drum kit. So I reverted to standard mode: in this case, 470Ω with 60dB gain. The sound wasn’t quite as ripe but it was more balanced and accurate. Bingo. 

The bottom line is, guidelines are guidelines, and the Phono Enhancer setting that sounds best to you is the right one, even if that means not using it. Still, it feels like getting a second phono stage for free. It even makes me wonder if there might be a market for a simpler, MC-only P75 that runs strictly in PE mode; users would only need to connect the cables and ground wires, then perhaps use a toggle switch on the front panel to select high, medium or low. Sounds dreamy to me – especially considering Sutherland’s TZ Vibe, the most affordable name-brand transimpedance preamp I can think of, sells for $1,600. I can’t speak to how the two compare sonically, but in purely practical terms, you could buy the P75 Mk4.1 for $980, treat it as a dedicated transimpedance unit, and still keep $620 in your pocket.

All of this is finished in a two-tone gunmetal and silver color with a smoky coffee brown colored braided custom SoftFlex PVC jacket protecting the wire.

There is a fairly noticeable block of silicone memory wire coating near the 0.78mm 2-pin connector barrels, though it’s relatively pliant and not too rigid.

I can also see a small sliver of silicone wrap for tension relief at the main jack barrel head, which is a sight I prefer to be internalized in the barrel rather than peaking its head outside.

Inside the jacket, the wire is a coaxial shielding structure with a 21.5AWG 4N OFC copper core in a Litz Type 4S four-wire configuration with a 5N silver-plated OFC copper inner shielding mesh.

It has a dense feel to the handling, though by no means a heavy cable. I have tested much heavier, such as Effect Audio’s 16AWG Code 24 monsters. Memory retention is low, as is microphonics, so it’s well behaved and nicely insulated.

My one nitpick is the choice of 2-pin enclosures at the base of the connector barrels. They are the type typically used for recessed sockets, giving them a fairly lengthy profile when connected in a flush socket.

https://www.hifinews.com/content/aavik-i-188-integrated-amplifier

Though a beguiling example of an ultra-modern, high-end integrated, Aavik’s I-188 defies convention not just in its left-field circuitry, but in eschewing an onboard DAC, balanced inputs, etc. Instead, it’s a lean, mean machine with immense power, bank-vault construction and gorgeous looks where minimalism meets the future – a product poised in the vanguard of the ‘integrated amplifier renaissance’.

https://www.headfonia.com/noble-audio-osprey-review

The left faceplate carries Noble’s chrome logo, while the right side features a stylized chrome osprey emblem. The inner shell that comes into contact with the ear has a solid indigo finish, giving the Osprey a cleaner and more uniform look from the inside. I really like this two-tone approach, just as I did on the Rex5. The shell size is almost identical between Rex5 and Osprey, too.

The shell design follows the same ergonomic approach we have seen across Noble’s recent FoKus models. The chassis is not too large, and the shape is optimized to sit securely in the concha. The blue-colored metal nozzle is a nice touch, and it features Noble’s eccentric logo-shaped mesh on the sound outlet. The nozzle is adequately long, which helps with seal stability and tip grip.