Presentare la Audio Analogue agli audiofili è praticamente inutile, vista la grande popolarità che questo marchio italiano si è conquistata in breve tempo sia nel nostro Paese che all'estero. Gli ampli integrati Puccini prima ed i lettori CD Paganini e Maestro poi si sono conquistati sul campo il rispetto e l'apprezzamento di tanti appassionati soddisfatti.Il segreto di tanto successo è merito dei progetti intelligenti, votati esclusivamente al buon suono, il rapporto qualità/prezzo, sempre molto elevato, ed una ricercata estetica che, pur senza sconfinare nel lusso sfrenato, li ha sempre distinti dalla massa anonima di apparecchi brutti e neri.Dopo anni di onorato servizio era però giunta l'ora per un ammodernamento dei cavalli di battaglia della Maison toscana, ovvero i due integrati Puccini e Puccini SE.Anzichè puntare su modifiche estetiche, all'Audio Analogue hanno messo mano al computer ed al foglio da disegno per migliorare radicalmente i due apparecchi. Così, il Puccini SE nuova versione è solo lontano parente della vecchia versione. Vediamo perchè.
Che c'è di nuovo?
Cominciamo dall'esterno: la prima novità evidente è la presenza di un bellissimo, inconsueto ed originalissimo telecomando in metallo lucido e dal peso consistente. Si possono regolare il volume, selezionare gli ingressi ed inserire un comodo "mute" per silenziare temporaneamente l'ampli.La foto non rende giustizia alla bellezza di questo oggetto, raramente ho visto un telecomando così bello, prezioso, ben rifinito ed ergonomico. Facile da usare, intuitivo e molto "solido". Una pecca, non attribuibile al telecomando, è il raggio d'azione un po' limitato. Per farlo funzionare a dovere occorre puntarlo con una certa decisione verso il sensore posto sul frontale dell'apparecchio, questo a causa della posizione un po' "incassata" del sensore stesso.Altra novità, la selezione degli inputs a relè, con due posizioni "up" and "down" che permettono di scorrere letteralmente la serie di ingressi a disposizione. Molto comodo e piacevole da usare. Un led rosso segnala la selezione dell'ingresso desiderato. Il funzionamento è assimilabile, se mi consentite il termine, a quello di un cambio sequenziale in campo automobilistico.Nuovo il selettore, nuovi anche gli ingressi. I "linea" passano da 3 a 4, compare un'uscita "pre out" che consente di utilizzare finali esterni più un interruttore inconsueto "tape off" che consente di "zittire" il "tape loop", per ottenere prestazioni sonore superiori.
Come buona tradizione Audio Analogue, continua ad essere presente l'ingresso per giradischi commutabile tra MM e MC, ormai una rarità su integrati di questo livello.Le uscite per le casse sono sdoppiate per rendere il biwiring più comodo. Il cavo d'alimentazione è staccabile e sulla stessa vaschetta IEC che lo ospita è presente il consueto interruttore d'accensione.Il Puccini è perciò nato per stare sempre in stand-by, ruotando la manopola del volume l'ampli si accende ed il passaggio di modalità da "stand-dy" a "power on" viene segnalato da un led apposito. Fin qui le novità "visibili".
All'interno, ci sono quelle più sostanziali ed interessanti. Intanto l'alimentazione, che ora si avvale di due toroidali da 200 VA l'uno, contro i vecchi 2 x 150 del vecchio modello. La capacità di filtro rimane invariata e si attesta su 37.600 uF, distribuiti su 8 condensatori (4 per canale).Cambia anche lo stadio d'uscita, che fa largo uso di componenti discreti, e la potenza che aumenta a 55 watt per canale (su 8 Ohm @ 1 kHz, era 50 watt nella vecchia versione) e 85 per canale su 4 Ohm. Cambia anche il dissipatore degli stadi finali, preso in prestito dal finale Donizetti precedente e facente uso di una notevole alettatura per migliorare la dissipazione del calore.In generale, in tutto il nuovo Puccini SE Remote sono stati messi al bando i circuiti integrati.Per il resto il Puccini è simile al suo predecessore. Aumenta un po' il prezzo, giustificato dalla presenza del telecomando e del più possente stadio finale e d'alimentazione.
Nota. Il vecchio Puccini NON è upgradabile alla nuova versione in quanto, come detto, si tratta di due amplificatori profondamente diversi.
La timbrica
Grazie alla Audio Analogue ho avuto la possibilità di provare il vecchio Puccini a confronto con la nuova versione, nello stesso tempo, per un paio di mesi, in diversi impianti. Di conseguenza ritengo di essere stato in grado di valutare quanto la nuova "edition" si discosti dalla precedente.Sono, in genere, sempre abbastanza scettico quando si tratta di provare delle "nuove versioni" in quanto spesso si tratta di prodotti partoriti da manovre dettate da scopi commerciali e poco più. Conoscendo la serietà dello staff Audio Analogue, comunque, c'era da stare un po' più tranquilli.Nonostante questo, l'ascolto del nuovo Puccini SE Remote è stato una bella sorpresa. Non solo il carattere del vecchio Puccini SE è rimasto intatto ma, in diverse aree, è stato notevolmente migliorato.Resta così quel modo gentile di proporre la Musica, con tatto e dolce controllo, senza aver voglia di strafare, ma il tutto ora è impreziosito da una gamma medio-alta dalla grana finissima, setosa ed armonicamente rifinitissima. È proprio la ricchezza armonica della gamma alta a far segnare i maggiori punti a favore di questa nuova versione rispetto alla vecchia.Se pensavate che il vecchio Puccini SE fosse raffinato sul medio-alto, beh, questo nuovo fa meglio, molto meglio. Ha una grazia sconosciuta al precedente tanto da far apparire l'estensione verso l'alto persino maggiore. Difficile a credersi, probabilmente è l'effetto pscicoacustico causato dalla maggiore ricchezza armonica, ma la sensazione resta CONCRETA.Anche tutta la gamma media trae giovamento da questa cura e si conferma chiara, precisa ed assolutamente poco affaticante.Scendendo verso il basso non si può non salutare con piacere l'inalterato carattere "muscoloso" del medio-basso e del basso. Anche qui, la nuova versione si distingue dalla vecchia per via di un comportamento nettamente più lineare, privo di gonfiature ruffiane che ogni tanto facevano capolino nella versione precedente la quale, intorno ai 150-200 Hz, mostrava una sorta di gradino che faceva apparire il basso più "grosso" di quanto in realtà fosse, per mimare il comportamento di certe amplificazioni valvolari old-style.Tutto ciò è assente nel nuovo Puccini, ora più lineare ed equilibrato, apparentemente meno "cattivo" sul basso, in realtà solo più corretto. Basta ascoltare il basso più profondo (sotto i 100 Hz) per capire che il nuovo progetto si spinge meglio e con più sicurezza in questi terreni un po' tabù per tutti gli ampli integrati di fascia media o medio-economica. Scende di più e meglio il nuovo Puccini, pur apparendo, ad un ascolto distratto, meno possente della versione precedente.
Dinamica
Tutti i Puccini si sono distinti dalla concorrenza per un certo aplomb signorile, dinamicamente suadenti anzichè cattivi, hanno sempre cercato, anche in questo, di "mimare" alcuni comportamenti che nell'immaginario audiofilo sono da attribuire agli ampli a valvole.Per capirci, anche questa nuova versione mantiene i connotati dinamici della precedente, risultando un pelino più "consistente" per via della maggior riserva dinamica consentita dai trasformatori d'alimentazione più grossi. Veloce ma senza fretta, solido ma non cattivo ne' esplosivo. Tuttavia, accoppiato a diffusori "cattivi", riesce persino a picchiare veramente forte (mi riferisco ad esempio della prova che ho eseguito coi nerboruti Klipsch RF-3 da 98 dB/w/m) ed a far sussultare divani, vetri e quant'altro.Il suo terreno di caccia preferito è però il microdettaglio, il cesello del particolare, la grazia del porgere la Musica con eleganza, senza mai esagerare. Il Puccini SE sa dare impatto e vitalità ai generi musicali più vivaci, ma lo fa con grazia.
Immagine 3D
Manca, come è ovvio che sia, il "respiro" e l'immagine ampia di una grande elettronica, ma il Puccini sa il fatto suo, proponendo un soundstage proporzionalmente corretto anche se non gigantesco. A voler muovere un appunto, si direbbe che l'altezza della scena resta un po' limitata rispetto alle altre due.La grazia e la ricchezza armonica del medio-alto consentono tuttavia una buona capacità di mettere in luce molti particolari, anche se i contorni degli interpreti e degli strumenti tendono a restare "morbidi" anzichè netti ed incisi.
Consigli d'uso
Si tratta di un amplificatore piuttosto universale, capace di trovarsi a suo agio con la maggior parte dei diffusori in commercio. È pur sempre un piccolo integrato, non chiedetegli l'energia e l'autorità tipiche dei grossi finali a stato solido, specie con diffusori difficili. Diciamo che non ha avuto problemi a sonorizzare ambienti anche abbastanza grandi con diffusori di bassa sensibilità, senza mai andare in affanno.Il suo temperamento vellutato potrà pertanto "addolcire" diffusori un po' aggressivi sul medio-alto oppure assecondare caratteri un po' tendenti al morbido, se questo è il tipo di suono che andate cercando.Il "tape off" è meglio tenerlo sempre inserito ed il cordone di alimentazione è opportuno sostituirlo con qualcosa di speciale. Anche uno dei nostri cavi d'alimentazione autocostruiti andrà più che bene.Non posizionatelo mai in luoghi inaccessibili, pena la scomparsa di funzionalità del telecomando. Tenetelo sempre in stand-by, sarà pronto a dare il meglio di sè già dai primi minuti, senza eccessivo warm-up.Il grande dissipatore consente un ottimo raffreddamento dell'apparecchio, che infatti scalda abbastanza poco. I piedini in gomma, funzionali, potrebbero essere sostituiti con altri più efficaci (vedasi accessori vari, commerciali o autocostruiti, proposti su queste stesse pagine).L'uscita "pre out" può essere utile qualora si volesse tentare un potenziamento dello stadio d'uscita con un finale esterno. Lo stadio phono, configurabile MM o MC grazie ad uno switch interno, è una manna per tutti gli audiofili con la necessità di ascoltare ancora il giradischi. La qualità di tale stadio è tale che rende inutile l'acquisto di un pre fono esterno, a meno che non si voglia spendere cifre elevate (intorno al milione e oltre).
Lamentele
Dal punto di vista costruttivo, lamento l'infelice posizione del sensore di ricezione del telecomando, che obbliga a puntare lo stesso verso il frontale dell'apparecchio pena la mancata risposta ai nostri comandi.Il telecomando è bellissimo, ma i tasti sono piccoli e dal funzionamento talvolta incerto, avrei preferito qualcosa dal feeling più "concreto" e "deciso". Talvolta si ha il dubbio se la mancata operazione sia dovuta al puntamento sbagliato del telecomando o ad una errata pressione del tasto.L'esemplare in prova presentava un avvertibile ronzio dei trasformatori toroidali, niente di fastidioso, probabilmente eliminabile con interposizione di silent-block tra gli stessi ed il cabinet.
Dal punto di vista sonoro, l'impostazione timbrica deve incontrare il vostro gusto. Se siete abituati ad amplificatori dal piglio aggressivo probabilmente troverete questo Puccini un po' troppo morbido. Però, non fatevi trarre in inganno da un ascolto distratto, ricordatevi che ciò che sembra entusiasmante ascoltato per mezz'ora normalmente diventa insopportabile dopo tre ore di ascolto continuato.Il Puccini invece si lascia ascoltare con piacere e senza alcun fastidio, anche ad alto volume, per molte ore di seguito.Coi generi musicali più vitaminici (parlo di metal, techno etc.) un piglio più cattivo sarebbe preferibile, comunque. Alcuni concorrenti sono più "vitaminici" in questo senso (penso a NAD, Rotel, AMC, Densen...)
Conclusioni
Non una semplice ed ingannevole operazione di facciata, la nuova versione del Puccini SE è un sostanzioso passo avanti rispetto alla vecchia versione, da tutti i punti di vista.Ciò, anche a causa della presenza del telecomando, ha contribuito ad un aumento del prezzo, ma, essendo aumentata sensibilmente la qualità, il rapporto qualità/prezzo di questo integrato rimane sostanzialmente immutato e quindi ottimo come nel caso della prima versione.Oltre al suono, la presenza del telecomando e dell'ingresso per giradischi (ormai una rarità) ne fanno una delle scelte obbligate in tema di integrati di fascia media per chi non volesse sacrificare ne' comodità d'uso ne' ascolto del buon vecchio giradischi.Non ho dubbi che il nuovo rampollo di tale nobile stirpe italiana saprà bissare i già lusinghieri successi, in Italia ed all'estero, che il suo predecessore ha riscosso negli anni precedenti.In conclusione, i complimenti a tutto lo staff Audio Analogue per essere riusciti nell'arduo compito di migliorare un prodotto già molto buono ed i ringraziamenti per averci concesso i due integrati in contemporanea per questa prova "comparativa".
Several weeks ago we 56;StageDudes got to discussing how much an entry-level system should cost. Eventually we decided that $1000 per component, or $5000 for a system, was the dividing line between mid-fi and hi-fi -- at least until someone reminded us how the Real World works (I think it was dB, who seems to retain close ties to reality, if not exact normality). In that far-away land, people eat, raise kids, have house payments and otherwise spend money that has nothing to do with audio. In short, unlike many audiophiles, they can57;t claim either Conrad or Johnson as a tax deduction. In that spirit, dB posited that $2000 for a system is the absolute upper limit we should consider. As for myself, while understanding his point, I57;m not sure I agree.
Of course dB is right about the Real World. To the vast majority of people, even $2000 for a two-channel system is pushing it. A personal example: Several years ago a good friend of mine called from Vegas after he had hit two slot jackpots totaling $1500. He was excited because, "Now I can get a good stereo." To him, $1500 was more than enough to accomplish that goal. In the end, I was unable to help him try and fit a stereo into that budget because, on the way home from Vegas, he stopped at Circuit City and picked up a complete Kenwood surround system with enough left over to upgrade the VCR. And, according to dB, while that57;s not a high-end system, that57;s the way normal people act. On the other hand, I know college students who, having been exposed to the good stuff and in spite of their limited means, have put together solid, $4000-$5000 systems. And that extra $2000-$3000 really does make a significant difference.
To these ears, those extra dollars may be the most important spent on a system. There are very, very few competent $500 speakers that I57;d take over a competent $1000 pair, but there are some superb $1000-$1500 models that more than hold their own with speakers twice that price. In short, to me the steepest and most satisfying part of the diminishing-returns curve is the $2500-to-$5000-system range. Not to beat a dead horse, but I find that systems of less than $2000 can be musical, or fun, or accurate over a small window, but no more than that. Also, where they err is either in terms of an unacceptably large sin of omission (for example, no bass), or sins of commission that are too egregious to live with. But double the budget and the improvement is both significant and obvious. Still, even a budget as high as (remember, we57;re talking real world here) $5000 needs careful shepherding if it is to return full value. And to do that I often find myself looking at integrated amps to base a high-value high-end (don57;t you like that phrase better than "entry-level?") system around. By combining amp and preamp and eliminating an interconnect, more dollars can be conserved for high-quality source and speakers. All of which brings us to the Audio Analogue Puccini SE integrated amp.
Enter stage right
While Audio Analogue is a new entry in the US market, they have been around for a bit. Founded in 1995, they are headquartered in the Tuscany region of Italy. Still, it wasn't until CES 57;98 that I first heard of them. There, besides meeting North American distributor Richard Kohlruss, I also had the fortune of meeting one of the designers, Federico Paoletti. There are many ways to tell if you are talking to "real people" at audio shows, and Federico showed me one of the best. Even though we discussed at length his products and design philosophies, we spent almost as much time talking about his newborn son. Now that57;s what real people talk about. (Not that you should buy your audio equipment from real people, but then maybe you should. It would make for a nicer world).
What sonically struck me when I entered the Audio Analogue room at CES was how cohesive and vibrant the sound was. Full of tonal shading, it was also of a single fabric top to bottom. And dynamic! The swings were superb given show conditions. And the look matched the sound. As I listened, I put a price on the gear -- $2000-$3000 per component. Was I shocked to hear that the preamp was $895 and the power amp only $1095! So, being the sly reviewer scum that I am, rather than deciding which of the two to ask for, I asked to try the integrated amp, figuring that by doing so I could listen to a combination of the preamp and power amp.
Actually, the Puccini integrated comes in two flavors, the Puccini ($795) and the Puccini SE ($1150), with the difference being a second transformer in the SE model (notice that the reviewer-scum instinct made me ask for the SE version). This results in a power-amp section in the SE that puts out a conservative 50W into 8 ohms, as opposed to the 40W of the standard model (the SE is also rated at 80W into 4 ohms). That second transformer also moves the weight from 15 pounds to nearly 22. Both models, in fact all the Audio Analogue components, share elegant family looks, including 3/8"-thick faceplates. Finish is either satin black or brushed aluminum. The aluminum finish especially reminds me of what Jeff Rowland would put out if he were to design to for a price point about 50% lower than he does.
Both integrated amps share the same input and output features and looks. Amazing at this price point, the preamp section is full featured, so all you vinylphiles can rejoice. And even better, the gain on the phono stage can be adjusted for MM or MC cartridges. The other line inputs are designated tuner, CD, video, aux and tape. Outputs are tape, and to facilitate easy biwiring, dual pairs of CE-approved binding posts per channel. The only thing missing is a pre-out/main-in setup.
Besides a rotary volume control and source-selection knob, which are mounted on the right side of the panel, the front fascia also has two lights on the lower-left corner. The first is a green power light. The second light indicates standby if you are in standby mode, which mutes the output to the speakers while keeping the amp circuits warm. Other than a company logo and model name in an elegant script, that57;s it for the faceplate as well as our tour of the Puccini. Next stop, the listening room.
Enter the listening room
Most of you know the drill by now. New components break in and warm up in my office system. This gives each piece a low-pressure introduction to the Warnke household. It also creates odd combinations. For a brief period, the source in the back room was my portable CD player while the speakers were Dunlavy SC-IIIs. Odd bedfellows indeed.
After a relatively long break-in time in the office, mostly due to other review components occupying the main room, I moved the Puccini SE into the reference system. There it was reunited with the Dunlavy speakers, but was paired with the Theta Miles CD player. Taking an $1150 integrated amp and making it the meat in a $8200 component sandwich can be careless, or folly, or genius -- if it works. In this case you can call me Einstein.
Yes, this setup was, and is, a serious high-end system. Both the Theta and Dunlavy pieces are detailed and grain-free. So too the Puccini SE. In fact, the almost complete lack of any top-end colorations in this setup was astounding. And relaxing. I spent far too much time just listening without critiquing. Well, any time spent as a critic, as opposed to listening, is the actual waste. But by spending so much time merely listening, the review was delayed a bit.
The midrange was also relaxed, while at the same time very communicative. You may not always put those two terms together, but I do. Overly hyped and etched systems may deliver the details of a recording, but unless that information is natural and not just a hi-fi artifact, communication is restricted to Joe Friday mode (just the facts ma57;am). The Puccini SE scores very well in the detail category, falling just short of what I get through the Audible Illusions L-1 and Warner Imaging VTE-201S combo, but also is possessed of the naturalness that marks the great components.
Bass in the above setup was tight and punchy, although not as powerful as when the Dunlavy speakers are powered by the Warner amp or the Blue Circle BC6. Extension was as deep as the SC-IIIs would go, and as deep as the Kharma Ceramique 2.0s would go as well when I put them in the system. But on the Kharmas, the little Puccini SE did get just a bit plummy at the deepest frequencies. For perspective, while short of perfection, I would call the control on the bottom very good for an integrated amp of $1150, much less an amp that includes its own preamp.
Dynamics were lively, but as I mentioned above, lacked the full force of some of the more powerful and more expensive amps I have on hand. But more important, the micro level, the very life of live music, was expertly rendered. Staging was also very good to superb, only slightly breaking down when pushed by both large ensembles and high dB levels.
Enter the heart
Still, all these facts miss the real Puccini SE. Coherence and system synergy are often overlooked and underappreciated. Reviewers, like many audiophiles, can become so caught up in the micro detail level -- "Amp A not only allows me to hear the squeaks of the chairs in the violin section, it differentiates between the metal-legged chairs of the woodwinds and the wooden chairs of the brass section; while amp B goes that one better, allowing the oaken sound of those wooden chairs to fully develop, placing me not just at the conductor57;s side, but actually under those selfsame chairs" -- that the focus of why we listen is lost. The Puccini SE returns this focus to its central place.
The detail of the Puccini SE was such that I felt I was hearing everything that happened at a recording session, but the naturalness of expression was also such that I felt as much as I heard. Listening to the title track of new Cowboy Junkies disc, Miles From Our Home [Geffen GEFD-25201], I felt as well as heard the loneliness of the road and desire for both love and home in Margo Timmins57; voice. The quiet and resigned fear in "Good Friday" from the same CD was palpable in my listening room.
The coherence with which the Puccini SE speaks was especially agreeable when listening to the recent Mobile Fidelity release of a live session by Harry "Sweets" Edison and Eddie "Lockjaw" Davis (In Copenhagen [UDCD 696]). With Kenny Drew on piano, the group alternates between ballads and mid-tempo tunes. The live recording is very good to superb, and the playing cooks. The Puccini SE placed me in Copenhagen (fortunately it was July so I didn57;t need a jacket) with an ease that astonished.
Enter the mind
For $1150 the Puccini SE is more than a bargain; it57;s a steal. In the context of a $5000 system, it both delivers as much or more quality than anything it would be paired with, and frees dollars to spend on those other components. On an absolute scale it is detailed but relaxed, an open and yet sweet performer. The bass is very good, but is also the weakest part of the amp. Staging is better than you should be able to get for the price, while dynamics of the micro type are superb, and of the macro variety are punchy if ever so slightly short of full impact. The feature set is complete in every way but two: I57;d really like to see pre-out and main-ins so there is an upgrade path, and a remote would be nice. But if either of those toys would upset the perfect balance of the Puccini SE, I57;d pass on them.
This integrated amp is very affordable in audiophile terms, even perhaps too cheap to be taken as seriously as it deserves. But over in the Real World, dollar figures account for something altogether different. They should account for more here in AudioLand as well. In this day of $15,000 speaker wire and $20,000 CD players, it is nice to find something that is affordable, sensible and also magical. The Puccini SE gets my heartiest endorsement and recommendation. Check it out. Simply put, it raises the bar for everyone else.
A COMMON feature I observed among Italian hi-fi equipment, especially loudspeakers, is that many of them exhibit a high level of finish. And their looks are often backed up with an equally high standard of sound quality. The product for review, Audio Analogue Puccini Special Edition, shares such a trait. Perhaps it is the Italians’ flair for doing this that makes some of their products so irresistible.
Features
Proudly bearing the words “Handcrafted in Italy” in its manual, this 9.8kg integrated amplifier is fitted with a 1cm silver aluminium-alloy faceplate together with two machined-aluminium knobs to exude a simple, elegant and luxurious finish.
Power is rated at a modest 55 watts per channel into eight ohms or 85wpc into four ohms. The Special Edition employs independent power supplies for each channel, with two toroidal transformers totalling 300VA with 40,000 uF filter capacitance and eight power transistors to exert better control of loudspeakers to cope with the demands of music.
It is well equipped too, with a phono stage, pre-out and eight pairs of binding posts to facilitate bi-wiring. Components employed included 0.1% tolerance metal-film resistors, polypropylene/polystyrene capacitors and gold plated connectors. Even the remote control is given special attention by the manufacturer, beautifully encased in a brushed metal enclosure – something that eludes many of its pricier rivals.
Performance
For comparison, my trusty Bryston 4BST power amp was used together with a Sony CDP 707 ESCD player. Interconnects were Kimber Kable Silver Streak with XLO and AudioQuest powercords. The Puccini was initially hooked up with the Sonus faber Minima and later changed to the Magneplanar 0.6, with cables alternating between AudioQuest Midnight and Kimber Kable 4TC cables.
The speakers, with their less-than-friendly sensitivity, would prove to be an interesting test for the amplifier’s load-handling ability. My doubt later turned into surprise, as the Puccini’s 55 watts could adequately drive these speakers to sane listening levels without running out of breath.
Audio Analogue recommends a 100-hour burn-in period and 40 minutes of warming up for best performance.
I do not know to what extent the Puccini Special Edition is better than the basic version as the latter was not available for comparison. As an indication, Audio Analogue proclaimed that the Special Edition is said to “dramatically increase drive, punch and soundstage.”
Personally, I believe the Special Edition will captivate with its substantial, smooth character although at times, it seems to be more restrained than I am accustomed to. Vocals, including instruments, rarely sound thin or clinical, for they are projected with an appealing sense of body, imparting the musicians a more palpable presence.
It sounds smooth, but this is not achieved at the expense of obscuring the details on the recording. The Puccini exhibits little glare or hardness, and seems to imbue music with a “softened” quality. The Bryston, in contrast, is harder. For instance, vocals appear more stiff and indifferent. The trade-off for the smoothness, unfortunately, is the subtle loss of energy to the music, resulting in fast-paced music losing some of the liveliness.
Audiophiles will marvel at the amp’s ability to throw a deep, clear soundstage with the images firmly planted within. The sense of space or “air” around the instruments is well presented too, giving a sense of spaciousness for a more three-dimensional effect.
The lower frequencies are adequately controlled and distinguished to avoid becoming muddled. It is substantial and low enough to give orchestral pieces a weighty presentation without sounding tinny.
However, moving on to faster sounding tracks, such as Norton’s Boogie from the album Mississippi Moan (AudioQuest Music), reveals a slight lack of propulsion, especially in the lower frequencies, to really push the track along for that energetic feel. The amp seems to be a bit too shy or restrained, soaking up the enthusiasm as a result.
The Magneplanar turns out to be a better match than the Sonus faber. As with many amplifiers, finding the right speakers to go along is important.
The Puccini is no exception. The panel speaker, with its better coherence, agility, albeit lean nature, is nicely complemented by the Puccini’s character to better help flesh out the music. The lack of propulsion in the lower frequencies, evident in the Sonus faber, is much less noticeable with the Magneplanar. The panel is now transformed into a fuller sounding speaker.
As a result, vocals now do not sound as congested and veiled compared to the Sonus faber.
Conclusion
As a whole, the Puccini Special Edition is easy to like. Despite its flaws, it does not prevent me from an enjoyable listen. Bear in mind that the obviousness of its weaknesses will, to a certain extent, depend on the loudspeakers it is used with.
Within the context of my system, the Puccini is a competent amplifier when partnered with the Magneplanar. Coupled with its classy finish and a moderate price tag, audiophiles should not ignore it when looking for an amplifier within the price range.
Pros: Elegant build for a moderate price; well equipped; sounds smooth without sacrificing detail; helps to project instruments with an appealing sense of body.
Another Review by Arvind Kohli :
Introduction
For most people afflicted with this hobby, the primary focus is the enjoyment of music. Occasionally, you get sidetracked and become single-minded about collecting equipment, and I admit to such lapses myself. But after a while, the assortment of possibilities, hair-splitting over performance and outrageous costs become bewildering. You quickly return to your senses and pull out some of your favorite recordings and get back to what it is all about, the music.Often, I get so involved with an album that I must incessantly listen to it for days on end, and cannot bear to part with the music even when at work, doing chores around the house, or reading in bed. Eventually, you realize a second system is needed, even if it is not all that your main system is, but you feel like you need something that will provide enjoyment while you attend to other matters of life. For these secondary setups, I find there is a great selection of integrated amplifiers that make a lot of sense. They cost less than separates, generally have better components than budget receivers and save on space. It is a great concept that attends to the need for good sound, while addressing many real world constraints. I feel integrated amps are the answer for most secondary systems, and even primary systems where space and budget constraints do not allow for separates.Company profileAudio Analogue was founded in 1995, and is mostly family owned. It is located in a small town, Monsummano Terme, in the Tuscany region of Italy. This is somewhere between Florence and Pisa. The original Puccini integrated amplifier was designed by Federico Paoletti and Santo Prattico, who are no longer with the company. Subsequent refinements to the Puccini were made by Marco Manunto, including the review model. According to Richard Kohlruss, the North American distributor, the design process at Audio Analogue is slow and deliberate. The approach can be considered to be driven by the ear, where all prototypes and subsequent changes are finally judged by a critical listening process.Product IntroductionAudio Analogue introduced the original Puccini in 1995 and has introduced a couple of upgrades and refinements since. The standard Puccini (40 wpc) retails for $695 USD, and the remote version goes for $895. The SE (Special Edition, at 55 wpc), reviewed here, is currently only offered in a remote version, for a retail of $1,295. Due for release soon is the Maestro Integrated, weighing in at 115 pounds with an estimated MSRP of $4,495 USD.Audio Analogue also makes one preamp, two power amps, and two CD players. Obviously, they do not believe in creating an assortment of products or changing models every year as a ploy to generate sales. And if you wonder how an imported, audiophile grade unit like this can sell for so little, this is part of the answer. The constant introduction of new models bears a significant overhead cost that eventually the consumers pay for. All things being equal, a manufacturer that offers more models and changes them more often will charge more for the same product. When evaluating a piece of audio equipment, I try to look into the strategies and behaviors of the manufacturer, because it will reveal how efficiently they pass on a product to the consumer, i.e., with minimal unnecessary cost. I applaud Audio Analogue for controlling their overhead costs related to product diversity and introduction. General Motors could learn a lesson here.SetupBurn-in was recommended at 100 hours, and I ran it for at least as much before settling in for any critical listening. I did not hear a noticeable difference before and after the burn-in period, but was not doing any critical listening early on.My primary listening room is 16' by 16' by 8'. For casual listening, the speakers were placed so that there were 70" between the tweeters and 128" from the tweeters to the listening position. For critical listening sessions, all three points were about 70" from each other, and well away from room boundaries.The secondary setup is somewhat compromised, with about 72" between tweeters and 130" from my ears. The speakers were also less than 12" from the back wall, with a 24" deep cabinet between them. This certainly is not an ideal setup, but is more representative of real world applications.The OutsideThe Puccini SE is available in a Satin black or Silver Aluminum Alloy faceplates (the review sample was silver). It looks absolutely fabulous, with a minimalist design that is very appealing to the eye. The faceplate is 3/8" aluminum, and the rest of the case is made of steel. The full function remote is a sleek and heavy piece, in a silver finish brass case. The remote was very easy to operate and did not need you to look at the buttons to operate it after the initial use. It does not get simpler than five buttons.
The front panel sports two knobs on the right side, one for volume control and the other for source selection. The power switch is actually on the back of the panel, and it is recommended to be left on, unless you will not be using it for several days or an electrical storm is expected. The volume control keeps the amp in standby at its lowest setting, and the amp powers on as you turn up the volume dial. One small LED on the left side indicates power on if green or standby if red. Now that is keeping it simple, just the way I like it. No tone controls, balance, hyperdrive, or rinse cycle. However, there also is no headphone jack for those of you that must have one.
six gold-plated RCA inputs including phono and one set of fixed level RCA outputs for a tape loop. The phono output is factory set to MM (moving magnet), but can be set to MC (moving coil) by the user, simply by switching a jumper on the inside. There also is a ground post for the phono connection. A pre-out for subwoofer or external power amp is also standard. You also find two pairs of five-way speaker binding posts, to allow for simple bi-wiring. The binding posts are normally spaced to allow for a molded pair of banana plugs. All connectors are gold-plated. The rear also has a tape switch, which is recommended to be kept off if the tape-out jacks are not used. This prevents signal loss by needlessly sending a signal to those outputs. All in all, I was extremely impressed by the elegant, simple and thoughtful design of the Puccini SE. There is a strong emphasis on providing quality components and features instead of a lot of them. I really wish all products (not just audio) were designed with such priorities.TechnicalThe Puccini SE packs quite a bit into that sleek little case. I noticed the dual transformers were rated at 200 VA each. What caught my attention was the dual-mono design, which is not really heard of at this price point or anywhere near it. The heat sinks are cleverly placed between the transformers and the rest of the circuitry, very clever. I added total capacitance up to 37,600 µF (with eight capacitors at 4,700 µF each). The fuses on the power rails added up to 6.3 amps per channel (4 fuses at 3.15A each). Each channel has four bipolar devices in the output section. Again, these specs are very impressive, especially considering the price point. This is about what you would find in some high-end power amplifiers, whose power rating is claimed to be about twice that of the Puccini SE.Rated power is 55 wpc into an 8 ohm load and 85 wpc into a 4 ohm load. The unit is not rated into 2 ohms or lower and is not recommended for such loads. The amplifier is based on a class A/B design.The SoundI had absolutely no complaints with the sound. Bass extension and control may not have been quite as ironclad as the 250 wpc Bryston 4B, but this is not exactly a fair comparison either.Although, only rated at 55 wpc the Puccini had no problems filling up my 2500 ft2 room. But that was while driving the efficient and magical Triangle Titus XS. When driving the less efficient Dynaudio Contour 1.1, at higher levels, the Puccini started to run out of steam. But keep in mind this is my bedroom, I would not normally listen to music at anywhere near that level. The application of most secondary systems would be to enjoy music at much lower levels. I was looking for detail rather than decibels, and the Puccini delivered in spades. Zia Mohiuddin Dagar is an immensely contemplative piece of work, and is meticulously recorded by Nimbus (NI7048). It occupied me for several weeks, as I listened to it evening after evening while I tried to catch up on my stack of reading. Even on the lowest setting on the Audio Analogue Puccini SE, I often felt so immersed in the music, that I put aside my reading. Soundstaging was impeccable, even with the less than ideal setup in the secondary system. I know firsthand that the Titus is a soundstaging champ, but even the best components will only sound as good as the weakest link in the chain. In instances where I experience excellent results, I believe each component must be credited with at least the full value of the experience. With the Puccini SE in my system, I was completely satisfied in terms of imaging and detail.With the amp in standby mode, I was able to hear a slight mechanical hum, only within a couple of feet of the unit. Richard explained that modifications have been designed into current production, by adding resin to the transformer. This is an unusual experience for Audio Analogue and is probably caused by bad AC from my walls. Nonetheless, Audio Analogue has rectified the problem for those few customers that had this problem in the past. Overall, I could not have asked for a better unit for a secondary setup. All the money saved on frills and massive power seems to have paid off by putting into quality of design and components. The sound is as refined as I have ever heard. I was able to pick out all the nuances and detail of recordings that I have been able to hear in my main system. I would not use it to DJ a house party, but then again you would not use a Ferrari to haul lumber either.ConclusionThe Puccini SE is an excellent example of the argument for quality over quantity. It does not have a lot of features, power, or cosmetics. What it does have in each of these departments is unquestionably quality. I never found myself wanting for more power or features, but instead enjoying the quality of the experiences that were delivered.Now, $1,295 is not pocket change for most of us working stiffs, but it is very competitive for a high-end integrated. If you consider the component, finish, and sound quality, you have exhausted any arguments against the Puccini SE. I would couple it with high resolution loudspeakers that do not dip much below 4 ohms, although it respectably handled the Dynaudio Contour 1.1 that does dip down to 3.6 ohms. Investing in a nice front end and quality wiring would also be appropriate and well justified. I highly recommend this product.
n the early developmental stages of my particular case of audiophilia nervosa, I had a tendency to get overly excited about almost any audiophile-quality product that came my way. This newly discovered world of arcane, precious objects (toys, some would say) sucked me into its sonic vortex, and it soon became clear that I would never be quite the same. As time went on, and I steadily traversed the audiophile learning curve, my sonic priorities became well-formed and my biases began to emerge. Now that the rose is off the bloom and audiophile reality has set in, I can focus clearly on the glut of products currently on the market, and discern the good from the bad and the ugly. Let me begin by saying that Audio Analogue's Puccini integrated amplifier falls firmly in the first category.
Another one:
Dolce i CantabileChristopher Tocher takes a look at Audio Analogue's Puccini Integrated Amplifier
The Puccini is a substantial box weighing in at 15.5 lbs. The fit and finish is unbelievably fine when considering the product's relatively low price. Simple in its design, the Puccini is aesthetically pleasing, with its brushed, matte silver faceplate and beautifully machined control knobs, and relatively small in size (17 ½" wide by 3 1/3" high by 14 ½" deep), making the Puccini easy to place in almost any setting.
The Puccini features six source inputs: MM/MC phono, CD, tuner, video, aux and tape. While it would have been nice to hear vinyl through the Puccini (the inclusion of an on-board phono stage makes the product particularly LP friendly), my digital-based system only allowed for audition of the amplifier's line level inputs. One of the more interesting features of the Puccini is its standby/volume indicator. When the volume control is turned fully counter-clockwise, the standby circuit is automatically engaged, muting the amplifier's outputs [a similar feature is employed in the latest batch of preamplifiers from Audio Research - Ed]. When the volume is increased, there is a four-second power-up delay before sound is realized.
The Puccini's high quality RCA input sockets are all gold plated and offer a firm grip, making system setup a breeze. Speaking of setups, mine was as follows: A Primare D20 CD player (full review forthcoming) drove the Puccini, which in turn powered a pair of ProAc Tablette 50 loudspeakers through a short run of van den Hul Clearwater cable. At 40 Watts/channel, the amplifier's output power was more than sufficient in this context. All components were blissfully compatible, producing no hum, hiss or other audible oddities.
It is interesting that Italy's Audio Analogue chose Puccini as the name of their excellent entry-level integrated amplifier. Giacomo Puccini composed in the verismo style, a form that highlights real life scenarios, eschewing the soap opera hyperbole of many of his predecessors. This lifelike musical image best explains the qualities of the Puccini amp. The Puccini has more than life, it has heart. It demonstrated the essential vitality of the music most beautifully. Despite being put into service only once prior to my audition (at the recently-held Toronto audio show), the Puccini came alive almost immediately, and only improved with time (be advised that Audio Analogue recommends a burn-in period of at least 100 hours).
My auditioning of the Puccini ran the musical gamut. From Claudio Arrau's magnificent traversal of Franz Liszt's twelve Transcendental Etudes (Phillips 416 458-2) to Chris Isaak's Heart Shaped World to the music of Sarah Vaughan, Lhasa, and Granados, the Puccini proved riveting. The diminutive Italian integrated made it possible for this listener to picture himself sitting in the front row of the concert hall listening to Arrau caress the ebony and ivory of his Boesendorfer. In each etude, complete clarity was achieved in the bass register, and the treble produced an almost effervescent quality that had a sharp bite to it without destroying the overall tonal effect. The variability in the sound of popular recordings was presented faithfully by the Puccini. Isaak's analogue-recorded Heart Shaped World fared particularly well, bringing the singer's velvety vocal texture to the forefront and highlighting his every inhalation and use of falsetto. Live recordings were also a treat. Sarah Vaughan's Embraceable You on Laserlight highlighted her distinct tone and passion, while managing to capture the clinking of glasses in the audience! Subtleties are often difficult to achieve from a mid-range integrated. Overall, I found the Puccini both supremely musical and consistent in the beauty of its sonic presentation.
Audio Analogue has a winner here in the Puccini. Although not auditioned, I feel confident that the upgraded version, the Special Edition, is also a must-listen for anybody wishing to own a fine sounding integrated for a relatively small investment. Whichever you choose, rest assured that you will have your audiophile spirits lifted by the Puccini's ability to bring your music to life like few other products in its price range. Bravo Audio Analogue. Encore!
Another one:
Review
A pretty diamond kind of tune
After getting entangled with some tough, new and spunky gadgets at the CES, ANTHONY LIM finally settles down to tango with a fine Italian. But does his wife know about it? And will this lead to a soap opera conclusion? Tune in to this week's episode of 'Anthony takes on a Puccini'
THE point is, with audio componentry, what in the world does one expect for three and a half grand? Perfection? Don't think so. A certain amount of excellence? Perhaps.
Perhaps, because at this kind of dosh level, which to the general public represents the upper middle class (and a lot of Thomas De La Rues), the audio realm has precious little in the way of gems, and more often than not the plunge into the basket will get you a rock than a diamond. Indeed, at this price segment, I've heard enough audio equivalents of floozies trying to pass off as respectable upper class ladies, some with the kinda crap you wouldn't even see fit to put in a cistern.
Sometimes though, a product more than worthy of three bats of an eyelid comes along, and even goes so far as to deliver all the promise from the hype. In this case, it happens to be the Audio Analogue Puccini SE integrated amplifier, an evolution of the highly rated Puccini (reviewed AudioFile #39, May 1, 19'97). Actually, all the above, and more.
De innards
Physically, the SE version of the Puccini is no different from the standard one; from a few paces up front, you wouldn't be able to tell them apart; move in closer, and the only giveaway is the smallish italicised "Special Edition" legend on the front panel denoting the SE's status.
Move inside, however, and the differences start to pop up like jack, most notably the inclusion of a second double-secondary toroidal 150VA transformer (the standard makes the journey with only one) and twice the number -- eight -- of output transistors. Besides the SE's uprated power supply current handling capacity, other added toppings include higher quality metal-film resistors in certain areas, along with higher grade caps.
Wattage goes up, 50 on tap from the SE as compared to the 40 of the standard. Like the standard Puccini, the SE has six inputs, including an internally switchable -- via jumper leads -- MM/MC phono stage (factory set to MM). Bi-wiring, a feature now fast going out of fashion, is provided for with a second set of speaker output terminals; the standard Puccini had only a single set.
Toffee Bear's tea-time break companions
Sony CDP-X3000, Philips CD850 Mk II CD players; Rega Planar 3 turntable (with RB300 tonearm and Rega Elys cartridge -- later substituted with a Sumiko Blue Point Special); Audiolab 8000A amp; Monarchy Audio Delux-18 DAC; Apogee Stage, Unity Audio CLA3, DCM TimeFrame 400 II speakers.
Sound
I remember the first time I heard the standard Puccini in Kuldeep's stately mansion, and how I wasn't swept off mah feet with its workings. "Not enough drive," I said. I was also unimpressed with its ability to depict a soundstage, which I thought rather closed in (and I'm not the only one to think so. Shah's review of the Bellini/Donizetti pre-power combo a few months ago also alluded to the rather narrow stage those amps threw); the K-nine didn't think so. Plus points, though, that kept the amp in the game were an innate sense of musicality, an inherent smoothness and a midrange palpability you'd expect to find in a component costing much more.
To be fair, the Puccini was a 2 1/2 grand job, and really, you can't be getting the world for 2500 skins. But, what if you add a thousand clams? Would that turn the tricks right? That intrigue was what set me off for the SE when it came in for review.
Did it ever. All the familiar plus points -- not unexpectedly -- popped up pronto when I fired up the SE. The resultant sound quality had oodles of smoothness (it is smoother across the entire band, compared to the standard), with little detrimental effect to the mids; indeed, the progression in refinement enhances the expressive qualities of the mids further. And yes, the musicality was there. All this, with more fire in the belly.
Make that a roar of flames. Drivability is well and truly up, and while it isn't up to making the SE a champ doing highly resistive loads, driving a pair of on-loan Apogee Stage speakers -- not the easiest of transducers to work into -- proved a revelation.
I know, some of you might be thinking it overkill, this rather lopsided price point combination (the Stage costs four times as much as the SE), but the Puccini SE and Stage did get on fabulously. The Apogee is a superb beast, getting everything from the mids up absolutely -- and I do mean absolutely -- right fundamentally; the coherency and neutrality of the midband is world class, and the treble has that shimmering, delicate quality dynamic drivers can only dream about. Best part, it has workable bass, tuneful at that.
I'd been listening to the Stage with a variety of amplification before the SE made its entrance, with mixed results; as such, I wasn't prepared for the gelling, when it came. Not that I minded; the Stage's sonic honesty provided an invaluable platform to assess the SE's workings.
The Puccini's treble is remarkable for the unit's price, being extended and lacking obvious grain, though what got me was the SE's ability in turning attack and decay aspects into a real adventure. The lack of artificiality in the upper frequencies makes for a refreshing change in an price arena generally noted for a healthy amount of treble pyrotechnics.
Both Kuldeep and Shah rate the AA midrange highly, and I have to stand in line with them and wave my hands along in this regard (not that I wouldn't have done so alone anyway). The SE will easily show a clean pair of heels to most of the competition; fluid and always engaging, yet never synthetic, I think that what's on tap here wouldn't be out of place in an amp twice the price. Excellent, really, for a three and a half grand job.
It is, however, the bass quality that gets the biggest -- and most instantly obvious -- shot in the arm, with the seemingly lack of pace in the standard version disappearing en masse in the SE. The general reticence Kuldeep noted in the standard Puccini is a bye-bye thing, and overall, helps the integration between the midband and lower frequencies no end. All this, however, doesn't mean that the SE is a bass box waiting to happen; no, the volume and slam aspects are still a far way away from even giant-killer status. But make no mistake, the SE can finally tango at the bottom.
All, of course, is not completely picturesque, or else we would have a perfect product, and we know that doesn't happen. There's still the issue of soundstaging, and this one simply refuses to dry up and leave town. As is fast becoming apparent in all Audio Analogue designs, the staging the SE threw up was nice, but certainly not stunning. Depth is good, but the "flaw," if you will call it that, is a lack of width; from left to right, the stage plies its trade well inside the edge of the speakers (this isn't just the case with the Apogee, in case you're wondering), and while not detracting from the enjoyment on the other aspects of the SE's musical workings, does make for at least one area where "audiophiles" are going to find it a li'l bit uncomfortable. The solace is that there is less of the narrowness here compared to the standard version.
There is also a tendency to sound confused with explicitly complex material, and the added ability to push is still tempered by an inability to play hardball, as in do the rocket thing. At average to medium listening levels, the amp musters through comfortably, displaying nice turns of speed and authority. Turn the knob really up, however, and clutter starts to take over. If that doesn't do you in, then the quickly progressive hardening of the sound (the entire stage also moves forward) will. It would seem then that the lady can now dance, but she won't do the boogie.
Conclusion
So, what we have here, ladies and gentlemen, is a cultured, refined and educated sort, but one that can let her hair down, in areas that matter. No, she won't ever be the ruffian sort or the wildest thing since Typhoon Sara, but would you really want that on a daily basis?
Think of the Audio Analogue Puccini SE as a heady mix, part sophistication, part vamp. Yes, she does have her limitations, but don't we all? Heck, if this one was a lady, you wouldn't just want to bring her home to meet mom, you'd be bagging a real catch if you made her yours, period. And that, simply put, is my call on this one. I don't think an extra thousand bucks ever got more results than what it got here with this gem.
Model: Audio Analogue Puccini SE integrated amplifierPrice: RM3,500Review sample courtesy of MUSIC BY DESIGN SDN BHD (03-264-8818), Lot F126, 1st Floor, City Square, Jalan Tun Razak, 50400 Kuala Lumpur.
For: Musical, with a highly civilised and coherent sound; in effect, a Puccini standard all grown up.Against: Slightly closed in soundstage; can't play hard and loud.
And now, our sultan of suave, N. RAMA LOHAN, has his say:
HAVING read enough about Audio Analogue's integrated amp, the handcrafted Puccini, and being very curious, I brought into play some of my best-known persuasive skills (Yes, we've all seen him in action with the ladies! -- Ed.) to give this darling a demo at my place.
Yup! I took her home, to my place .... Sure, and I watched every move in that excellent soundstage she delivered. Being tasteful is really an artform and somehow, the people at Audio Analogue seem to do it with a breeze.
A striking fascia of silver encased in black, the Puccini is all tube tone ... well, almost. You'd easily notice the painstaking effort involved in replicating the warm tube tone, and on most occasions, this Italian femme fatale passes the test with flying colours ... but there are also the moments, very few, where she falters.
The amazement of it all is that this amp is minus the glass thingamajigs, being transistor-based. Okay, enough introductions since Anthony's responsible for bombarding you with the specs.
Having immersed myself in the analogue format not too long ago, it was only natural that I checked out the phono stage on this Italian beauty. Giving you the option of switching between moving magnet (MM)and moving coil (MC), it was the MM that took the test drive while hooked to a belt-driven Rega Planar 3 turntable. Test equipment included a Sony CDP-761E CD player, Kimber Kable KC1 interconnects, van den Hul Magnum speaker cables and Spectrum Audio 105cd speakers.
Nicky James' Thunderthroat was all warm, crisp and clear. His vocals segued into the mix of acoustic-based instruments with a fluidity that was absolutely breathtaking. Particularly realistic were the breath nuances, which were well projected. Vertically, the height passed off as accurate and depth was decent, a tad too shallow, but passable.
The sound of acoustic guitar strings rang out with such honesty and even the finer details of finger squeaks were pretty apparent. It was at around this point that the Puccini's soundstage began to give its weaknesses away. Fairly well defined the instruments were, but there seemed to be a little cluttering -- some instruments seemed too close to one another, crammed if you'd like.
Next for the test was 10cc's I'm Mandy, Fly Me. The stereo distribution was excellent here as the auto-harps, one panned extreme left and the other extreme right, breathed in with such vigour. The bass drums sounded tight and punchy and the tonal quality of the cymbals were well replicated. Again, the bass response was taut.
Compact disc software included material by the Dirty Dozen Brass Band and Jethro Tull. The intricacies of jazz were marvellously delivered as the Puccini regurgitated the sounds of wind and percussion instruments. Bass delivery was just right, never at once below par or overpowering. Finger and gut contact was unbelievably realistic.
On Bouree, Ian Anderson's flute accents were given the appropriate prominence it deserved -- played right upfront in the mix. The space before and behind the flute projection points provided a well-spanned soundstage, which is rather ironic, considering the way it functioned with other pieces of music.
The Puccini is a smooth operator. It delivers almost every form of music with utmost precision and authenticity, and the price ... few other integrated amps would come close. If you had to tag a single intrinsic quality to this amp, it has to be its ability to give music a sense of realism.
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