Integrated Amplifiers

Which are you? The minimalist who wants an integrated valve amp bearing only clearly-labelled inputs, source selector, volume control and speaker terminals? Or do you prefer a 'fully loaded' device with total flexibility? The former is intuitive, and any experienced hi-fi user thinks of such units as virtually 'plug 'n' play'. Germany's 30-year-veteran brand Octave Audio has, in its V70 Class A, an amp that sits between both camps and yet I was compelled to digest its 36-page manual.

In high-end hi-fi, it’s common to see the phrase ‘two-man lift’ applied to heavyweight loudspeakers, amplifiers and subwoofers. Yet the top-of-the-line InPoL Legacy from Italian manufacturer Pathos goes one (well, two) better. This integrated amplifier, priced £51,995, arrives in a purpose-built wooden crate on wheels, along with two metal ‘pull-up’ bars that slide underneath the chassis once the crate has been disassembled. It’s then a four-person job to lift the bars and manoeuvre this 140kg beast into position.

As a new arrival from Tuscany, Italy, and with just the P50A integrated amplifier in its inventory, it's possible you've not yet heard of Pegaso. On the other hand, many readers will be familiar with fellow Italian brand Audio Analogue [HFN Nov '20 & Feb '20], which has been in operation since the mid '90s. Both are stablemates sheltering under the umbrella of AF Group SRL (also the home of AirTech), and they share more than just a postcode.

Side-by-side, you'd be forgiven for seeing no changes between the Perreaux Eloquence 255i integrated amplifier and the earlier 250i [HFN Aug '12]. Same rotary, same display, same number of buttons – even the price would leave you clueless, the six years between them inflating the £5695 of the earlier unit to £6895 in standard, line-level-only trim. Given the recent drop in the value of Sterling, that alone could account for the increase, so full marks to Perreaux.

In its hi-fi heyday, Philips was one of those audio brands that seemed to delight in being unconventional. Be it in styling or engineering, its products were usually distinctive, which delighted some but confused just as many. Neither is it necessarily an advantage when the equipment has to be combined with units from other brands to form a system. Philips receivers in the early 1970s, often made in the firm’s factories in Finland, were difficult to build a system around if you wanted to use anything other than Philips source components and loudspeakers.

True story: a knowledgeable audiophile arrives at my listening room in mid-November. Pink Triangle’s Integral integrated amplifier is driving a set of Wharfedale Diamond 8.1s, its badge covered with tape. I state to this collector of some repute with a memory spanning 35 years, ‘You will never guess who made this amplifier. Never’.