Nowy Burson HA 160 nie ma już problemów z przydźwiękami i w ogóle o lepszy napęd dla 701 chyba trudno. Sam przesiadłem się na Concerto ze Swinga. Porównanie Bursona z Concerto od Meiera to sprawa bardzo "cienka":
"Concerto vs. Burson Audio HA-160: Functionally, the Concerto was the more advanced. Its lo/hi gain function allied to 0.7dB attenuator steps created a broader adjustment range than the fixed 2dB steps of Burson\'s custom solution. The latter becomes particularly limiting with higher source voltages. While the Raysonic adopts variable gain in the digital domain, its 4.7V in fixed mode reduce useful range to a mere few clicks. The Burson will be useless for ultra-efficiency ear-canal headphones. The Concerto meanwhile coddles them. Then it throws in crossfeed. The Burson retaliates with lo/hi impedance ports. On enclosure build, the Burson\'s 6mill panels beat anything in this sector. Whether that\'s important is a different matter but on raw vault pride, the Burson is boss.
Over my phones, both were dead quiet (even though my HA-160 loaner has ground-plane issues to often cause ground loops without a cheater plug - supposedly addressed since my review). Both exhibited what one thinks of as iron-fisted driver control - bass balls of brass, jumpy and long-arced dynamics and very high resolution even at low volumes. The most apparent difference concerned the handling of transients and, relatedly, overall textures. The amp from Oz was warmer, not as lit up on top and as a result, less blistery on guitar arpeggios, less spicy on Cuban brass and less angular on rhythmically peppery fare.
On subjective articulation—that sense of lithe finesse that peels out individual strands—the Concerto was keener. Texturally, the HA-160 felt drier, less illuminated. Its particular kind of warmth is most decidedly not valve fuzziness from octave-doubled harmonic distortion. Instead it seems to be an intrinsic quality of their discrete modules - faint parts signatures. The Australian\'s insistence that op amps suck falls apart of course when confronted by something like Jan Meier\'s Concerto which embraces them and sounds no worse for it. But there were clear differences. Unless we are the designer, it\'s simply impossible to ascribe differences to specific circuit or parts choices.
Having lived with both amps for a while, I couldn\'t fault either. I own the big Woo Audio Model 5 with dual EML 5U4G rectifiers, 6SN7 drivers and 300B output bottles; the Trafomatic Audio Experience Head One; and the Yamamoto HA-02. Those all use tubes. My sonic references are thus evenly split. To find any headphone amp compelling these days, it has to carefully walk down center aisle. As transistor units, both Burson and Corda avoid the type of silicon signatures valve lovers shy away from.
That said, the more piquant handling of the leading edge displayed by the Concerto was more transistor typical than Burson Audio\'s. Over my cured Sennheisers, I found the embedded sense of energy compelling. With their native forward treble and tendencies to brightness, the HD800s without a quality after-market wire harness would most likely not be my first choice over the Corda. The rather darker triode-esque Audio-Technica Raffinatos meanwhile are tailor-made. Ditto the ballsy semi voluptuous Grado PS-1000s. For triangulation purposes, this should suffice."
Powyżej fragment testu Concerto z 6moon
http://www.6moons.com/audioreviews/meier3/meier_3.html_____________
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