![]() On my speakers which I've routinely described as voiced like vintage Sonus faber with US-style bass and boisterous dynamics, sugar was prevalent. This explains why trade show demos with Accuton-fitted ceramic Mårten Design speakers elicited such applause. If anything it's become slightly too warm and thick. As my previous 3 rd-gen ICEpower reviews covered, the sound one gets today is the literal antithesis of early bleached needly hyper-pixilated class D. When the RCA connection between Jazz and mAMP suffered ground loop hum but XLR was deathly quiet, the latter became the default choice. I began by inserting the monos into the standing system above. The front end with SOtM's best USB bridge, Metrum Hex and Nagra Jazz all connected balanced By following in the footsteps of the $5.000 Meraks and $6.500 Ai700, there was zero shame, just a real-world reminder not to expect miracles with speakers that want to be dominated with a virtual choke hold. Any unreasonable hopes I might have secretly harboured for an eNCore on the cheap were squashed when Wyred's minis joined the ranks of amps which had me stuff the ports again as I already do for all my resident amps. All our comparator amps had properly low output impedance. What exactly it is about the NCores to make for such mega results on our stubborn Lithuanians we don't know. On iron-fisted speaker kung fu those proved superior to a single Devialet D-Premier. Marja & Henk concluded likewise whilst reviewing the smaller Rhapsody 130 with their pair of Dutch NCore monos. The only amps to completely annihilate all port-induced boom and looseness had been the $9.000/pr British Acoustic Imagery Atsah monos based on a stock Bruno Putzeys NCore 1200 platform. Having driven my 5-driver 3-ways with AURALiC's brilliant Hypex monos and Simon Lee's stout Stello Ai700, I already knew how none of them had exercised complete control over this seriously underdamped twin-port loading which hits 20Ω at 17Hz with a 3.45Ω nominal rating and swings to 2.8Ω at 9000Hz. I simply had to find a properly challenging speaker I liked enough to want to own. To assess high-power amps, boxes coming on song with a measly watt to require very little control over gnarly impedance swings and wicked phase angles don't make for an ideal testing ground. After reviewing AudioSolutions' Rhapsody 200, I knew I'd found my long-sought conventional speaker. This review page is supported in part by the sponsors whose ad banners are displayed below ![]()
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