2. amps-preamps
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Which integrated amp?

I am looking for an integrated amp for my system and would appreciate any input/ listening impressions for a couple that I have interest in. I have a couple of musts for any choice. At least one set of balanced inputs, pre amp outputs, and 4 ohm drive capability, 150 wpc minimum, solid state preferred but hybrid ok. My room is 11 x 15.5 x 8. I have a couple of different speakers either on hand or that will be arriving soon. They are the Mosaic Acoustics Illumination, and Meadowlark Shearwater Hot Rod. A pair of Green Mountain Audio yet to be released monitors are to be on there way soon (hopefully). The Mosaic and GMA both need subwoofer support, thus the need for pre amp output. I want the integrated to be flexible in case I decide to go with a somewhat larger floor stander in the future. Listen to mostly rock, hard rock, metal, blues, jazz and contemporary jazz. Mostly I listen at modest levels, but want to be able to put the pedal down when I feel like it. I prefer sound slightly on the warm side of neutral and want to avoid etch/ glare. I would like to limit to $3500 in the used market. I have been doing some research and am interested in experiences with the following;

Modwright KWI-200
Hegel H-300/360
Plinius Hautonga
BAT VK 300x SE
Coda CSI 300b
Parasound Halo

I am open to other suggestions. Thanks for your input.

csmgolf
kalali's avatar
kalali
1,977 posts
 
You're right in that sometimes when you keep all other things the same, changing one piece may not provide as much sonic improvement per dollar spent. I have not heard the Peachtree but I have heard the LS50 switched between a lower end NAD and a higher end Mark Levinson - I think No. 585, integrated at a dealers store and the difference was night and day. I also heard it with a Primaluna integrated at the same store and it was really excellent but only at lower listening levels. Worth considering for an office/bedroom system.
csmgolf OP
868 posts
 
@gdhal 
@imhififan 

How do the Musical Fidelity integrated amps (either M6 si or M6 500i) do at low volume or with speakers that are not real demanding to drive? I have read several reviews and am intrigued by them for sure. I previously had an LSA Statement, which was an excellent amp, but it liked to have the volume turned up a bit (10 o'clock on the dial or so) to perform its best. 
gdhal's avatar
gdhal
1,641 posts
 
How do the Musical Fidelity integrated amps (either M6 si or M6 500i) do at low volume or with speakers that are not real demanding to drive? I have read several reviews and am intrigued by them for sure. I previously had an LSA Statement, which was an excellent amp, but it liked to have the volume turned up a bit (10 o'clock on the dial or so) to perform its best.
@csmgolf 

Please allow me to answer your question by first pointing out that my speakers (GE T Ref) are 93.5 db efficient and have an internal sub-woofer amp of their own. Also, I am using balanced input to the M6si (which increases incoming gain approx 6 db).

Ordinarily (of course dependent on the source material) I can obtain 93.5 db at the speaker or 85 db or so at the PLP (7 feet away and measured with a meter) with the M6si volume control at the 9 o'clock position. I've found that (and very much to my liking) that when the volume control is at the 9 position, extremely subtle clockwise/counter-clockwise rotation can have a big impact. Not nearly as much when the volume control is say at 10 or above. So, in effect I have a very useful range between 8 and 10. For example, there is a distinct difference if the volume is at 8:50, 8:55, 9, 9:05, 9:10, etc. Further, the remote control can also be used at this volume control region in very subtle increments. Just a flick (tenth of a second?) of the volume key can move the volume control in seemingly minute by minute steps.

Suffice it to say I'm very happy with "low" volume precision of the amp. My speakers on the other hand I would say start to "complain" when played to low.
gdhal's avatar
gdhal
1,641 posts
 
@csmgolf

I’d like to clarify my previous statement "I’ve found that (and very much to my liking) that when the volume control is at the 9 position, extremely subtle clockwise/counter-clockwise rotation can have a big impact. Not nearly as much when the volume control is say at 10 or above. "

What I mean is that each few minutes of change (up or down) when at the 9 o’clock position equates to about 1 db of change. When at the 10 o’clock position and increasing volume in this region things can get pretty loud. Its seemingly as though the amp kicks into another gear (power/volume wise) at some point on the dial. After 10, I don’t find myself "looking" for a precise "minute" of volume as I might in the 9 region.

I have no practical way to measure/confirm this, so I’m merely stating my ear/brain interpretation :)

EDIT:

I also believe that - to a certain point where you don't completely lose dynamic range  - any amp sounds best the *less* you "ask" of it (from a power delivery perspective). Less distortion. 
luizfcoimbra's avatar
luizfcoimbra
25 posts
 
I had a Xindak 6950 that was replaced with BAT’s VK-300x and, even though the BAT was a little more refined and had much better bass control, I still missed the Xindak timbre. Voices were more palpable and it was warmer overall, the BAT was darker and leaner. I have since upgraded to BAT separates, and now I’m in Zanden heaven, but I’d certainly recommend the 6950 elder brother, the Xindak A600. You may find it used within your budget and it’s a mammoth. Built like a tank with great components; an absolute steal. I’ve heard it driving Thiels 3.7 and it was really, really good. It retained the 6950’s warmth and presence that I liked but added a lot more grip, refinement and control. Don’t let the "made in china" badge fool you: those are great components and a great bang for the buck, heavily built and really sweet sounding (not in a bad, exaggerated or slow way, simply very emotional). Hope this helps.

Luiz
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