Tag Archives: amplifier

Opinion 1

Although in the times of common globalization and immediate spread of all kinds of news and trends, it is very hard to talk about a certain direction of their expansion; but when you look at our global village, you can assume, with a significant dose of certainty, that the novelties are still coming to us from the west. Of course this does not exclude a situation, that something arrives from somewhere else, and before we realize, or check its source, it is everywhere and bumping into us with such an intensity, that we start to be afraid to open our refrigerator. Additionally, something that seemed to be rather stable, evolves into something changing, and you can detach yourself from a brand perception/reputation practically immediately. This is the reason, that a change of brand name, that was connected, or even perceived as the key to success, was surprising some time ago(for example in 1995 the change from Goldstar to LG for the South Korean giant) but currently the seemingly enigmatic moves from Google (changing to Alphabet) or Facebook (change to Meta) attract the attention of the general public only for a few moments, after which it becomes boring, and the public moves after another seasonal sensation, while shrugging their shoulders. So instead of becoming attached to labels and logos (not needing to look far – even Gucci changed their logo many times, including seasonal changes – for example for the Alessandro Michele collection) it is much better to concentrate on certain products and solutions. And in this, quite convoluted, way we have finally arrived at the main point of this introduction, the integrated amplifier Reference, of the seemingly unknown and debuting brand Sountastic. And I used the statement “seemingly” on purpose, as this manufacturer used another name till October of this year, namely Struss Audio, and I think, that I do not need to introduce that name to anybody, even marginally acquainted with the Polish audiophile market.

Even a very quick first glance at the looks of our today’s guest reveals similarities to the model DM250, we have reviewed over two years ago in our magazine, and those cannot be denied. We deal here with the same logic, and although both constructions differ in nuances, like changing a toggle switch to a knob, or not having the purple claw, they still do have the same ancestry. On the thick slab of blackened aluminum stylized “margins” were made with two vertical, chromed grooves. In the center of those grooves there is the power knob on the left, and a similarly looking input selector with a larger volume control knob on the right. The selection of one of the eight inputs is indicated by a blue LED, and the only decorative element is the model name. We learn about the ancestry, and the manufacturer, looking at the back plate, where you can feel a slight déjà vu. We have there an evolution of the topology known from the mentioned 250. This upgrade is seen in the extension of the inputs of the built-in phonostage with a MC one, and the change of the singular loudspeaker terminals to a version with “anti-short collar”. Besides those we still have a pair of XLRs and RCAs dedicated to the main input, and four pairs of less elaborated RCA inputs. The right part of the back is occupied by a 3-pin IEC power socket with an integrated fuse chamber.
Looking through the vents on the top cover, we can see two solid toroidal transformers (500VA each), and a battery of four 12000 uF Nippon Chemi-Con capacitors. The amplifier is working in AB class, offering 140W per channel at 8Ω and almost doubling to 260W at 4Ω. And we cannot forget about the characteristic round remote controller, which we can use for volume control.

Not kowing how much time the tested amplifier, brought to us by the manufacturer, spent playing, we used the first week to have it (the amplifier, not the manufacturer) work as hard as possible, to have it burned it and brought to full potential. After such long lead-in time, there could not be any reduced tariff … and it was for sure not needed, as the Reference did not have anything to be ashamed of, but in contrast, it chained us to our listening seat reorganizing our plans. It turned out, that taking full advantage from the assets and characteristics of the 250, it had its own way of sounding. It is maybe a bit less uncompromised from its predecessor, but looking at it as objectively as possible, it is easier accepted, catching your ears from the first notes and making us feel great. Now let me explain all of this. The 250 offered a very dynamic, and at the same time a very resolved sound with an incredibly neutral timbre, while the Reference seems to be stronger supported in the midrange and base, and treats recordings, which are made in a less than referential way, a little more gently. Things are denser, and the treble was only touched with some velvety smoothness. This does not mean, that was made dull, or withdrawn, as the brass on “Nibbles” by Norsk Tromboneensembre had its shine, and the mad guitar riffs from “Ballistic, Sadistic” by Annihilator, cut through air like fiery lances. In short everything was in its rightful place, only the accent was placed not on uncompromised analytics, but on high resolution combined with hedonistic musicality. The difference seems small on paper, but while the 250 was a proposition for audiophiles searching for the absolute truth, the Reference has characteristics, that make it more accessible for the music lovers. This is why Gregory Porter on “Take Me to the Alley” brilliantly enchanted with the depth of his velvety voice, while the still present percussion gave him priority, remaining perfectly audible, while never going into first plane. The next, completely earned, compliment goes into the spaciousness, or more precisely, depth of the stage created by the tested amplifier, which, in contrast to the older brethren, did not concentrate on the width, but had much more to offer in terms of multiple planes.
The only aspect, which you need to keep in mind, and verify with your own ears in controlled environment – like your own listening room – is bass, which the Soundtastic has aplenty, and while it is drawn in a thicker like, than I am used to with the Bryston, it is really hard to have any complaints about it in terms of control or differentiation. And that it sounded stronger and more often than from its Canadian competitor, its his right, and a characteristic, which is strongly desired by most buyers, regardless of the time of day or repertoire. But I must mention it during the review, as listening to “Touch” by Yello, at concert-like volume levels, something the Reference is not shy of, can drastically damage our relationship with the neighbors and inmates.

So summarizing – even if we assume the model Reference for a completely new deal, and Soundtastic as a new player, we need to admit, that the rules of the game and the cards did not change. This means, that if you had a soft spot for previous Struss Audio models, our today’s guest should fulfil your expectations. Not only has it the power to make a pool table move, but it emphasizes on dynamics going hand in hand with musicality, so it should easily fit into most, at least properly constructed systems. But we should not “dance about architecture” and discuss, you just should agree on a listening session or even take it home for a weekend and just allow the Reference to play.

Marcin Olszewski

System used in this test:
– CD/DAC: Ayon CD-35 (Preamp + Signature) + Finite Elemente Cerabase compact
– Network player: Lumin U1 Mini + I-O Data Soundgenic HDL-RA4TB
– Digital source selector: Audio Authority 1177
– Turntable: Kuzma Stabi S + Kuzma Stogi + Dynavector DV-10X5
– Phonostage: Tellurium Q Iridium MM/MC Phono Pre Amp
– Power amplifier: Bryston 4B³ + Graphite Audio IC-35 Isolation Cones / Synergistic Research MiG SX
– Integrated amplifier: Wzmacniacz zintegrowany: Pathos Inpol² MkIIPathos Inpol² MkII
– Loudspeakers: Dynaudio Contour 30 + Brass Spike Receptacle Acoustic Revive SPU-8 + Base Audio Quartz platforms
– IC RCA: Tellurium Q Silver Diamond
– IC XLR: Organic Audio; Vermöuth Audio Reference
– Digital IC: Fadel art DigiLitz; Harmonic Technology Cyberlink Copper; Apogee Wyde Eye; Monster Cable Interlink LightSpeed 200
– USB cables: Wireworld Starlight; Goldenote Firenze Silver; Fidata HFU2; Vermöuth Audio Reference
– Speaker cables: Signal Projects Hydra; Vermöuth Audio Reference Loudspeaker Cable
– Power cables: Furutech FP-3TS762 / FI-28R / FI-E38R; Organic Audio Power + Furutech CF-080 Damping Ring; Acoustic Zen Gargantua II; Furutech Nanoflux Power NCF
– Power distribution board: Furutech e-TP60ER + Furutech FP-3TS762 / Fi-50 NCF(R) /FI-50M NCF(R)
– Wall power socket: Furutech FT-SWS(R)
– Anti-vibration platform: Franc Audio Accessories Wood Block Slim Platform
– Switch: Silent Angel Bonn N8 + Silent Angel S28 + Silent Angel Forester F1 + Luna Cables Gris DC; Innuos PhoenixNet
– Ethernet cables: Neyton CAT7+; Audiomica Anort Consequence + Artoc Ultra Reference + Arago Excellence; Furutech LAN-8 NCF
– Table: Rogoz Audio 4SM
– Acoustic panels: Vicoustic Flat Panels VMT

Opinion 2

I will not stall you, but I will immediately, and honestly tell you, that despite our venture to review devices, that are exceptional, and as such usually very expensive, the thing that makes me most happy, are meetings with our local, Polish devices, which more and more often come to international fame. Which ones you might ask? You do not need to look far back, so let me just mention the lately reviewed Circle Audio or David Laboga Custom Audio as proof. So what is the reason for such approach? Please ease down. This is not a result of populism, or political correctness, but something in the form of a patriotic verification, what the Polish technical prowess has to offer in terms of audio, and how it compares to the international top offerings. And when the result of such comparisons becomes more and more often positive lately, I have no choice, than to put the Polish manufactures in one line with their counterparts, that are on similar technical advancement level, from abroad. And this is also the foundation for today’s test. And what is being tested? I would like to assure you, that for many of you this will be a very interesting item, as out today’s test is the integrated amplifier Reference, provided to us by the manufacturer, Soundastic (previously Struss Audio). Intriguing? If yes, then please be invited to get acquainted with the text below.

The tested integrated has dimensions quite typical for this price segment, so about 43cm width, 36cm depth and 10cm height. The thing that makes it stand out from the competition, given the size, is its weight, a significant 16kg. But why does this matter? Well, this parameter suggests, that the inside of the chassis is solid, and should be able to fulfil the requirements of delivering 140W at 8 Ohm and 240W at 4 Ohm. Unfortunately, paper can take everything, so you can write down even the most exorbitant wishes of the manufacturer, what does not translate into the real world, mostly due to the attempts to save on everything. This is the reason, that more often than not, during the pre-testing check of marketing materials, of any tested gear, I tend to check those against the real thing. Is this trivial? Something without meaning? Maybe yes, at least for some of you. But for me this is quite important, and if something quite small, does carry significant weight, it has got my attention from the start. If the consequences are positive or negative – this is a completely different thing, but it is important for an item, to show, that it brings something to the table. And this is a really important aspect of it. Going further with the visual presentation of the Soundtastic, let us discuss the fascia. The front is very deliberately frugal and has no superfluous details. Looking from the left, we have a silver ornament, and in its axis, a round power knob, slightly flattened in the place it makes contact with your fingers. To the right of the vertical axis of the unit we have eight LEDs indicating the selected input, while more to the side, also composed into a vertical pillar, a volume adjustment knob and the input selector, which looks identical to the power switch. Moving to the back panel, in the left top section of the cover we see five holes for ventilation of the transformers, which are also bleeding out to the side. When we finally reach the back panel, we can admire, what the manufacturer prepared to make our life easier. We have there an input for the MM/MC phono cartridge, complete with a grounding pin, a set of XLR and RCA inputs for the CD, four universal RCA input for any other devices, a set of loudspeaker terminals and an IEC power socket with integrated fuse cover. The amplifier can also be remotely commanded using the provided, round remote, with only two buttons for the main functions.

Trying to open the paragraph about sound in somewhat interesting way, I must tell you, with full responsibility, that the newest product from Soundtastic is much better that its predecessor. But not because the previous amplifier was bad. Not at all. It is rather about the way it sounds, it is closer to my point of view in that aspect, than its predecessor was. Well, it is still very concrete in terms of drawing the edges of the musical event, offers an untamed energy of the sound and openness in the top registers, but adds to that some kind of sonic nobleness to that. But what does this mean? Roughly speaking, everything is as it was before, but when playing with the Reference, the music had a slightly bigger body. Of course such approach has its consequences. But I assure you, those are positive, as they transfer not only into a more pleasantly perceived weight of the bass and more palpable vividness of the midrange, but also a keep the treble from moving out too freely. Now it is a bit toned down, but in relationship with the rest of the sound spectrum, it appears more coherent. You think, this might be perceived in a negative way? Absolutely not. And why? Well, our tested amplifier is still the propagator of brilliant drive. Proposed with a little more weight, but still full of expected expression. And that regardless of the music played.
A very good example for the above is the disc from the Polish trio RGG “Mysterious Monuments on the Moon”. I have listened to it for a few times, and I know, that it is a bit more expressive than the previous albums. And in this case I do not think about the pieces being more majestic, but more dynamic, and offering much more of all kinds of percussive interrupts, proposed by the drummer. The musicians just play more around with individual sounds, are trying to propose something in the lines of the jazz melodrama “Szymanowski”, a disc I use quite often for testing, that has interpretations of the works of Karol Szymanowski on it. So what does this new album prove in the context of the tested amplifier? It shows, that the reproduction of sound, well founded in mass, but without losses in the reproduction of edges and the sound rising speed, was able to show even the most crazy passages, embroidered with many percussion, and other instrumental sounds. The spectacle was still full of details, placed well in the ether, in width and depth, despite the sound being more saturated. In addition, the piano benefitted from that, as did the double-bass, which was well balanced between the strings and body.
Vocal music turned out to be in similar spirt, as tested with Melody Gardot on “Sunset in the Blue”, where she sings jazz standards. But how precisely? I mean the fact, of very good showing of the timbre of the artist’s voice, while not losing the, so important for such kind of musical production, throat tastes. Of course, without such artifacts, the diva will still enchant us without any problems, but this is not that kind of music, that would be happy to lose such things somewhere along the way. Those things are hidden there, in the zeros and ones, and it would be good to present them in an interesting way, and this is exactly what the Polish integrated did.
Finally a strong rock kick with a cannon in the background. What do I mean? Of course, the AC/DC disc “For Those About to Rock”. Here also nothing was left unspoken. The amplifier kept the pace very well. And in addition, due to the extra dose of saturation, it splendidly underlined the guitar riffs, that are probably most important for this group. It also did not forget about adding energy to the vocals of the frontman. But most importantly, with all this putting of the sound in a nice timbre, it did not strangle the reverberations of the cymbals of the percussion player. Naturally they were heavier, and less irritant, but in no case dull or fading too quickly. They were still very expressive, without losing any swing, but presented with a tad more culture. This was so interesting, that I listened to this disc not only without any special tiredness of my ears, but from beginning of the end, including a few passes of the canon, depicted on the cover.

Reaching the end of our encounter, I would like to assure the fans of the previous way of presenting music by the products coming from this manufacturer, that with this integrated amplifier, we are not going somewhere far away from the school represented previously. This is still a very expressive sound, with the only difference being, that it has a note more timbre. Timbre and weight, which do not sentence the music to losing its aggressiveness. We still get an amplifier, which has a lot willingness to spend time with all kinds of music, without crossing the borders of good taste in any direction, being it fatness or anorexia. This is the reason, that only our choices, with regard to cables and other components, will influence, how it will finally fare. For me this is a very interesting proposition, because, just as I mentioned in the introduction, this amplifier has some personality. On one hand has very clear edges, on the other, it has drive supported by mass. This means, that the only people, who might be weary of trying it out in their system, could be die hard tube lovers. All the remaining population should face the Soundtastic Reference without a doubt.

Jacek Pazio

System used in this test:
Source:
– transport: CEC TL 0 3.0
– streamer: Melco N1A/2EX + switch Silent Angel Bonn N8
– DAC: dCS Vivaldi DAC 2.0
– Master clock: Mutec REF 10 SE-120
– reclocker: Mutec MC-3+USB
– Shunyata Research Omega Clock
– Shunyata Sigma V2 NR
– Preamplifier: Robert Koda Takumi K-15
– Power amplifier: Gryphon Audio Mephisto Stereo
– Loudspeakers: Dynaudio Consequence Ultimate Edition, Gryphon Trident II, Gauder Akustik Berlina RC-11
– Speaker Cables: Tellurium Q Silver Diamond
– IC RCA: Hijiri Million „Kiwami”, Vermouth Audio Reference
– IC XLR: Tellurium Q Silver Diamond, Hijiri Milion „Kiwami”
– Digital IC: Hijiri HDG-X Milion
– Power cables: Hijiri Takumi Maestro, Furutech NanoFlux NCF, Furutech DPS-4.1 + FI-E50 NCF(R)/ FI-50(R), Hijiri Nagomi, Vermouth Audio Reference Power Cord, Acrolink 8N-PC8100 Performante
– Table: SOLID BASE VI
– Accessories: Harmonix TU 505EX MK II, Stillpoints ULTRA SS, Stillpoints ULTRA MINI, antivibration platform by SOLID TECH, Harmonix AC Enacom Improved for 100-240V, Harmonix Room Tuning Mini Disk RFA-80i
– Power distribution board: POWER BASE HIGH END
– Acoustic treatments by Artnovion
Analog stage:
Drive: SME 30/2
Arm: SME V
Cartridge: MIYAJIMA MADAKE
Step-up: Thrax Trajan
Phonostage: Sensor 2 mk II

Manufacturer: Soundastic
Price: 6 500€

Specifications
Power: 2 x 140 W / 8 Ω; 2 x 260 W / 4 Ω
Frequency response: 5Hz – 100 Khz 3 dB / 1 W / 8Ω; 10 – 30 000 Hz / ± 0.01 dB
Distortion – THD: 0.05% @ 1 W / 8 Ω; 0.02% @ 120 W / 8 Ω
Slew rate: 150 V/μs
Signal – noise ratio: 130 dB (IHF – A)
Sensitivity of inputs: 500 mV (RCA), 500 mV (XLR), 3 mV (MM Phono), 0,2 mV (MC Phono)
Impedance inputs: 100 kΩ RCA), XLR: 22 kΩ (XLR), 47 kΩ (MM Phono), 100 Ω (MC Phono)
Pobór mocy: 40 VA – 1200 VA (peak)
Potentiometer (volume): Alps – Blue Velvet
Transformers: 2 x toroidal, 500 VA each
Capacitors filtering the supply voltage: 4 x 15 000 μF – Nippon Chemi-Con
Dimensions (W x H x D): 430 x 95 x 358 mm
Net weight: 16 kg