$24,900 (Optional DAC card, $7600; optional phono card, $6000)

The Gryphon Diablo 333 is an evolution of one of the best-selling high-end integrated amplifiers of all time. It can deliver a whopping 333Wpc into 8 ohms, doubling to 666Wpc into 4 ohms, and a stunning 1100Wpc into 2 ohms. Yet, it brandishes that awesome power to present acoustic tapestries of subtlety, delicacy, spatiality, and emotion, as if painted with a single bristle brush on a 3-dimensional canvas of air. Engineered with techno-stylistic principles and Gryphon’s famous design cues, this 112-pound behemoth reads heirloom build-quality. The Gryphon 333 is sonically accurate and wonderfully resolving, while completely avoiding any sense of sterility. It does this while maintaining a silent noise floor, controlling low-end dynamics, and generating grandiose scale and gravitas—not with brute force, but with a conductor’s delicacy. With all that power, the Diablo excelled at the subtlety and micro-resolution that exists between the nooks and crannies of the music. The 333 created space and presented it in a complex and structural way, and can portray texture, authentically convey timbre, handle massive dynamic swings, and make six hours disappear in a listening session. The Diablo 333 could be your very first high-end component or your very last. It is a dignified monster, a devil in a tuxedo, a beast that can drive the Nürburgring without ever spilling your martini. (354)

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$13,500

The Hegel H600 integrated amplifier is a virtual Swiss Army knife of features with incredible digital flexibility, including integral network streaming. Its aluminum enclosure is elegant, simple, rigid, and well designed. Inside is a dual-mono Class AB MOSFET amplifier producing 300Wpc into 8 ohms with a damping factor of 4000, doubling to 600Wpc into 4 ohms, and stable into a 2-ohm load. The preamp section utilizes several technologies from Hegel’s reference P30A preamplifier, and the amp section is based on principles implemented in Hegel’s well-regarded H30A reference amplifier. The built-in ESS 9038Q2M D/A converter is a bit-perfect design fed by an internal server with built-in Spotify, Tidal Connect, UPnP, Qobuz Connect, Chromecast, and Apple AirPlay. It is also Roon Ready. The H600 is clean, pleasant, and engaging in a way that most other equipment in this price range simply isn’t. The Hegel sound is neutral, airy, and refined without being overly dense or viscous. Staging and imaging are wide, deep, high, and well-focused. The H600 is a superstar at keeping you engaged in listening and delivering a performance that keeps you invested and intrigued. Never overbearing or overexuberant, the H600 delivers a sense of power under control, like drinking from a water fountain fed directly by the Hoover Dam. The Hegel H600 represents a terrific value, making it an easy choice for our Integrated Amplifier of the Year Award. (349)

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$38,000–$54,000

The I1 is a previous Golden Ear winner, but I’ve gained new appreciation for it over the past year. First, I’ve found that its nominal 100 watts/channel of horsepower, which was previously fed a diet of mostly high-efficiency speakers, has proven up to the task of driving more challenging loads like the Wilson Sasha V. Indeed, I’ve now had the opportunity to directly compare the I1’s power amp section with the higher-output CH Precision A1.5 stereo amp. While the A1.5’s extra power does come in handy in extreme situations, most of the time I actually preferred the lighter-on-its-feet I1.

But even more impressive are the changes brought by a firmware update that completely revamped the DAC module. Instantly, and at no cost or swapout hassles, the DAC vaulted from very good to the best I’ve ever heard. Of course, the I1 retains its sonic pedigree, and its modular architecture means you buy only the functions you need—choose from DAC, streamer, analog inputs, and phonostage—with the ability to expand later. Overall, the case for the I1, in terms of sonics, versatility, and longevity, has never been stronger. (346)

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$1795

The Abyss from French speaker-maker Cabasse is a compact, easily used, and sonically satisfying streaming amplifier, which also allows analog input and non-streamed digital inputs. What makes it of truly exceptional interest is an abundance of user-adjustable DSP that deals effectively with fundamental audio issues often otherwise ignored. It has Fletcher-Munson compensation for level, tonal balance adjustment to fit room acoustics, including bass adjustment according to speaker positioning, and, for Cabasse speakers, amplitude smoothing and phase linearization. It has been almost three decades since Arion-Essex demonstrated the possibility of such speaker correction externally (REG, Issue 106). Here it is in a mainstream product and more power to Cabasse for creating a product that points the way to what ought to be the future. (346)

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$24,990; DAC 3 card, $7600; Phono 3 card, $6000

The Diablo 333 integrated amplifier is the long-awaited successor to the Diablo 300. It is bigger, stronger, faster, and more resolving (but less edgy) with more finesse, more artistry, more emotion, and the same huge value for cost. With 333Wpc into 8 ohms and 666Wpc into 4 ohms, this beast can drive anything you connect it to. Offering optional DAC and phono cards (both, not one or the other), RCA sub outputs, two balanced and one unbalanced inputs (plus tape in and out), it is a flexible and compact 112-pound behemoth with the typically exceptional Gryphon build-quality in a beautifully designed rock-solid enclosure. Be aware that this integrated demands absolutely the best equipment before and after it and will let you know if it’s not happy. System matching is critical! A no-brainer for a Golden Ear.  (Forthcoming)

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$3199

The MKII version of the venerable RA-1592 offered rock-solid musicality across virtually all criteria, with a lush velvety character and a weighty well-defined bottom end. Its wide dynamic range imparted a bone-tingling physicality and impact to large-scale orchestral music. The treble octaves were clean, relatively free of clutter or grain. At the treble extremes there was a minor reduction of air and harmonic bloom and a scarcity of depth cues, but these were trivial subtractions. The 200Wpc Class AB powerhouse sports upgrades to all important circuits, including the capacitors in critical signal paths. Plenty flexible, the MKII supports both traditional Bluetooth streaming plus aptX^TM, AAC high-quality audio streaming, and MQA and MQA Studio decoding and rendering. The RA-1592 MKII proved itself truthful, articulate and musically compelling—what TAS has come to expect of a 50-year-old brand. (327)

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$799

Though the original Sprout’s compact, retro-modern form factor remains the same, the new Sprout100 offers a number of upgrades and improvements, including a redesigned phonostage and headphone amp, a new DAC (up to DSD128 and 384/24PCM), a tiny indicator LED, and a remote control. Oh, and twice the power: 100Wpc. The Sprout100 has the ability to coax even more open spaciousness, lively musicality, detail, and low-end extension from the small loudspeakers (especially with the “bass boost” option on). Expect big sound and even more bang for the buck. (289)

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$13,450 (without DAC); $14,950 (with DAC)

The ergonomic beauty of the Boulder 866 is that with one chassis you can accomplish everything required (except transducers, a turntable system, and a couple of cables) to assemble a complete high-performance playback system. You can actually have a fully functional state-of-the-art audio system that does not entail large metal boxes on the floor tethered via cables to a phalanx of chassis on racks. For audiophiles with smaller rooms and space restrictions, the Boulder 866 has the ability to produce superb sonics in limited space at a level that, depending on the level of refinement to the environment, can equal that of a multiplicity of separate boxes in a larger dedicated room.

While I was waiting for my review sample of the Boulder 866 integrated amplifier, a friend and regular listening buddy purchased an analog version of the 866 to be the centerpiece with his new Elac Concerto S 509 loudspeaker system. In his fairly large, well-damped space, the 866 had no problem driving the Elacs to well past my upper volume limits. Although the 866 has a rated output of “only” 200 watts into 8 ohms, it can deliver 250 watts of peak power into 8 ohms and 700 watts peak into 2 ohms! His Boulder/Elac combination was more than a little impressive. The system had a wonderful sense of quiet and calm. And while his room was 3dB higher in noise level than Boulder’s factory listening room, where I heard the 866 driving a pair of big Focal loudspeakers, the system’s silence when music was not playing was indicative of the extremely low level of inherent noise in the 866.

If you’ve been a fan of Boulder’s sonics and build-quality but unable to field the space for their generously sized components, the new 866 could be the component of your dreams, made into reality. (Forthcoming)

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$3249

The Cambridge Audio Evo 150 is an all-in-one streamer, preamp, and stereo amplifier. It’s the sort of box that can be dropped into a system to replace multiple other products without missing a step. It outputs 150Wpc and utilizes Hypex NCore Class D amplification, which means it has plenty of power and runs coolly and efficiently. It has a ton of input options, including a phonostage (mm only), RCA, balanced XLR, optical, coaxial, and HDMI ARC for TV control. For streaming, there’s AirPlay 2, Chromecast, Spotify Connect, Tidal MQA, and Qobuz; plus, it’s Roon Ready. Other outputs include a headphone stage, preamp out, subwoofer out, Bluetooth, and speaker out. It’s got Wi-Fi and an Ethernet port and is compatible with a bunch of audio formats (ALAC, WAV, FLAC, many others), and there’s a very nice ESS Sabre ES9018K2M DAC in there, too. All those acronyms are necessary to make a point—the Evo 150 does pretty much everything imaginable, all with an attractive design and large front screen. Once setup is complete, the Evo 150 works seamlessly with very little fiddling and maintenance beyond the occasional firmware upgrade. Frankly, it was a pleasure to use, not only because of the otherworldly convenience, but also because of how great it sounded. Rhythm was tight and engaging, soundstage was wide, dynamics were exciting, lows were solid, and highs had a nice shimmer—no matter what genre of music got thrown at it, the Evo 150 performed. This could be the box-to-end-all-boxes, or at least a great way to tame the hi-fi sprawl. (338)

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$9000 (phono card option, $1250; digital card option, $1250)

Keeping to the theme of Golden Ear-worthy components that got away is the Mimas. Actually, to be accurate, it almost got away, because not long after I returned the review sample, I queried Jim White if I could borrow one back for a forthcoming review of an elite loudspeaker that needed Aesthetix-quality power and resolution. He obliged, and this reunion has reminded me again of what a delightful performer and value this 150Wpc tube/solid-state hybrid integrated continues to be. A second listen has only strengthened this conviction. It’s as silent as they come with a noise floor free from electronic grunge and debris. Mimas never sounds like it’s under the sway of tubes or solid-state. There are no obvious fingerprints or colorations, tonal dips or peaks, treble octave grit or grain, or faltering in the lower frequencies. Bass response is as nimble as it is weighty. Further icing the cake is that Mimas comes equipped with a fine discrete headphone output. And if the standard Mimas is not quite enough in terms of features, DAC and phono modules are available to fill the open bays in the back panel at any time. The word obsolete doesn’t register with White and his crew, and I’m awed by the Aesthetix culture of continually supporting every component it’s ever produced—every one. Mimas continues to be an integrated amplifier of unalloyed transparency and superb musicality. A richly deserved Golden Ear. (294, 330)

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$41,800

Yes, I have owned this. No, I have not reviewed it. Yes, it’s insanely good. Yes, I am an absolute fool for selling it. Wow, that felt good getting off my chest. DarTZeel has garnered a reputation for being the best of the best. Built to Swiss standards, sonically luscious (just a hair on the warmish side of neutral), and amongst the closest things to real I have heard. The reason I sold it was simply because as a reviewer I just needed more power and more flexibility with separates than this red-and-gold mass of magic from the peaks of Switzerland could offer me; and I couldn’t afford the Big Boy monoblocks without selling my house, a car, and both kidneys (I did consider it). That said, the 8550 MkII’s ability to recreate the textures and timbres of reality with marvelous finesse and refinement were, at times, emotionally overwhelming. Bold and powerful without effort (with most speakers), it just connected me to the music. And I must admit that turning the volume knob of a darTZeel is a sensual experience everyone should experience at least once! Add to that the low $40k price point and compare it to the other integrateds priced in the $50–$60k range and, other than less power output (which won’t matter with the right speakers), sonically it is in the same class or better. Oh, and its phonostage is insanely good, as well! Both sonically and visually worthy of a Golden Ear award. (Not reviewed)

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