Listening – Magico S1 MkII
By this point, it was no longer surprising but expected, and as anticipated, when powering the Magicos, the GaNMs once again performed admirably. Further, I found that the GaNMs performed equally well with any source and music genre. There was simply no faulting them in a musical sense. Whether it was intimate soul, hard-hitting blues or rock, fast-paced electronic music, or small ensemble acoustic performances, they delivered impressively across the board, confirming that the GaNMs are not only technically advanced; they also convey acoustic realism and emotional intent with great fidelity.
Unlike the original Q-series, the Magico S1 MkII has a smooth and fluid nature, which works superbly well with the GaNMs. Although the speakers did not mask the reduced refinement and resolution compared to the CH A1.5, they also did not accentuate this, as the Apogees do. In turn, the GaNM’s upbeat nature made for a propulsive and communicative performance.
In this combination, another aspect emerged that did not stand out with the Apogees, which concerns the soundstaging and layering behind the speakers. In my experience, soundstaging and the portrayal of 3D objects behind the speakers are areas where Apogee speakers, as well as most dipole line-array ribbon speakers, tend to struggle. This is, of course, the perfect excuse for multiple speakers. Now, if only I could also have several listening rooms…
Whereas the CH A1.5 has the ability to paint a vividly-layered, organically fleshed-out 3D stage behind the Magicos, the GaNMs image very sharply and precisely, but less deeply, and instead more forward. Don’t get me wrong, the sound with the GaNMs still projects in 3D behind the speakers, but less deeply and with less specificity.
On the other hand, their more forward nature also works in a musically meaningful way, serving to more vividly communicate the pacing and dynamic musical intent. In this aspect, the GaNMs reminded me of the WestminsterLab Rei monos, which were also remarkably crisp and direct, in addition to having reference levels of elegance, refinement, and resolution, which acutely made me stop taking audiophile notes and enjoy the music. Like the CH, the WestminsterLab monos still excel in many areas, which is expected given the massive difference in price. Nevertheless, the GaNMs present a sizable slice of the true reference performance, at an attainable price.
Earth / GND Clamps
As with all LAiV components except the u-components, the GaNMs are fitted with Chassis Grounding clamps. If desired, these can be removed to leave the chassis floating with respect to the ground/earth. In my experience, grounding the chassis invariably leads to a cleaner, tighter, and crisper rendition, which I usually prefer. The CH components also offer this, and with the exception of the L1 preamp, I prefer having the chassis grounded for all.
The GaNMs performed as expected when the clamps were removed, resulting in a more relaxed sound with looser bass and a significant reduction in concreteness and focus. While I can see how some setups might benefit from this change, I chose to continue listening with the clamps in place.
While it may be visually appealing to place the GaNMs on the floor, they truly deserve to be positioned on a high-quality rack or platform. Although they still sound pleasingly musical when on the floor, they lose a significant degree of crispness, articulation, and control compared to when they are placed on racks like the Artesania Aire, Artesania Modular Platform, or HRS EXR.
Spike Bases
I did not like the spike bases when used with the Harmony DAC, as they introduced an unnatural accentuation in the treble and diminished the authenticity of the bass. However, with the GaNMs, using the spike bases leads to improved refinement and fluidity in the treble, while only slightly sacrificing a small amount of the crispness in the bass.
Honestly, I didn’t expect this adjustment to work as well as it did, but after a second test the following day, I was convinced: these amplifiers sound most balanced when used with the supplied footers.
Musings on Class-D
The Jeff Rowland model 201 monos (ICE Power) were the first amplifiers that introduced me to Class D for high-end purposes. At the time, the little beauties impressed me in certain respects, but they also confirmed that the Class A/B Jeff Rowland Model 6 monos were nowhere near surpassed.
When I later heard the Mola Mola Kaluga monos (a variant of Ncore), it became clear that switching amplification had made large strides and that it was to be taken very seriously, even if the very controlled “cleaner and tighter than average” delivery was not for everyone.
More recently, when I heard the Nuprime ST-10 and AMG-STA (proprietary Class-D) amplifiers, further reinforced this realization. The NuPrime ST-10 impressed me with its remarkably robust and dynamic performance and Class-D-untypical texture and fullness of timbre. The NuPrime AMG-STA, in turn, surprised me with its transparency and refinement. Even if neither of these amps truly challenged the CH reference amplifier, they came closer in their respective fortes than they had a right to, certainly given their price point. Sure enough: it was evident that Class-D was here to stay, and it would only continue to improve.
I recall finding the NuPrime ST10 remarkably good when I first reviewed it, but that was before I got well and truly spoiled with CH Precision. Against this new backdrop, the ST10 loses some points. Nevertheless, when comparing the LAiV GaNM to the NuPrime ST10, the latter still sounds pretty good, particularly given its modest cost (less than half the GaNMs). The bass is nicely full-bodied and powerful, the timbre is deeply saturated and natural, and the amp is smooth without being slow or laid-back. However, the ST10 is significantly less precise and transparent than the GaNMs. It is rougher, darker, less articulate, and, frankly, not in the same class.
I recently heard the new Mola Mola Perca stereo power amp, which is several generations ahead of the aforementioned Kaluga monos. The Perca has a hugely tight and controlled yet energetic delivery that is very exciting, if less soothing and soulful than I consider ideal. Most of all, the Perca impressed me with its linearity, neutrality, transparency, and resolution, and in these aspects, it is nearly on par with the CH A1.5.
In many ways, the Perca represents the current pinnacle of Class-D design, but other brands are also catching up. The LAiV GaNM may not equal the Perca in terms of ultimate refinement and resolution, but to these ears, they better convey the eb and flow, and the soul of the music.
No matter how close technology gets to perfection, there will always be variations that allow for different interpretations and personal preferences. Like any audiophile, I strive for “perfection” even if that may not be 100% possible. With that understanding, it becomes a matter of knowing what matters most to oneself, identifying the aspects that most evoke a sense of realism, and determining what enhances our immersion in the music. No two audiophiles will ever completely agree on these factors. However, the GaNMs offer nearly everything I need, only omitting a relatively small portion of what I desire. Considering their reasonable price, they deliver far more than one could realistically expect.
Next: Listening to full LAiV system and Conclusion
