Integrated Amplifiers

Three thoughts hit me as soon as I switched on the Copland CSA100 integrated amplifier. The first was that it was an all-embracing, do-everything tube/transistor hybrid like the Vinnie Rossi L2i-SE [HFN Jul '20], rated at a similar 100W/8ohm if at a fraction of the price, at £3498. The second was that I want it to kick off a fashion for cool, fully-loaded integrated hybrids because they are the smartest option for offering the best of the tube/solid-state worlds. The third is the realisation that I need to look deeper into hi-fi system building.

Arcam is still headquartered in Cambridge, from where it took its original name, but the audiophile marque is now part of Samsung's global consumer electronics empire, through the latter's acquisition of Harman International, which had added Arcam to its portfolio in 2016. And amid these management-level changes, Arcam's product line has also undergone a refresh. The brand has withdrawn, for the time being, from the peripherals market, jettisoning its R series of docks and DACs.

If you are into fancy-looking hi-fi with machined fascias and decorative meters then the £5649 M8xi integrated amplifier is not for you. 'Sorry, that's the way it is', says Musical Fidelity, though I suspect this declaration of intent for the entire M8 series owes more to Musical Fidelity's founder than the new owners, Audio Tuning Vertriebs GmbH, of which vinyl evangelist Pro-Ject Audio Systems is another division.

Hybrid amps have always amused me. I still dream of Radford's TT100. This hi-fi equivalent of grafting two plant species hopes – ideally – to combine the best of a brace of disparate technologies. Too often, they marry the worst. Extraudio's X250T represents a first for me in that it promises to take efficient, compact Class D amplification and endow it with the sonic virtues of Class A, hence Class AD. Which made me think of playing with Krells way back in 1985.

As the latest in a long line of amplifiers from the German brand, T+A's PA 1100 E integrated is also one of the more innovative and comprehensive in its scope. The company (T+A stands for 'Theory and Application') has been manufacturing audio equipment since 1978 and prides itself on both its deep technical capability and in-house manufacturing. However, despite this heritage, the PA 1100 E is only the first of its amplifiers to include an onboard DAC – something very many competing brands have been doing for years.

When the grapevine alerted the world's tube crazies to the return of Rogers amplification, visions of two-tone faceplates danced before our eyes. A nice Cadet III [HFN May '13], or maybe an HG88 visually unchanged but suitably modernised. The collector in me rejoiced. But the Rogers beancounters felt that an all-new product was a more sensible proposition, which is why the E-20a and E-40a all-valve integrated amps have nothing whatsoever to do with the preceding models. Indeed, they have little to do with Rogers.

Released in 1977, B&O's Beomaster 2400 receiver brought touch-sensitive operation and full remote control to a world that expected nothing more from its hi-fi components than knobs and buttons. Its impact was immense, and soon the company's factory was unable to make receivers fast enough to satisfy demand. What's more, the unit's basic form and function lived on through a series of models that remained in production until 1992. And even by then, the design still looked fresh and modern.