It has real authority, certainly, but one can easily hear the separation between the wind chest chuff of the organ and the actual bass note.
Equipment Used For This Evaluation
In order to provide some context for this review, let me list the equipment set up used here
Turntable – Thorens TD160 MK II ‘Super’ with custom power supply.
Arm – Mayware Formula 4 uni-pivot low mass arm. (A present from my late friend, the great J. Gordon Holt).
Cartridge – Sumiko Songbird high output moving-coil.
Phono Stage – Clearaudio Nano V2.
Music Server Client – Auralic Mini.
Digital Disc Player – Oppo 103.
DAT Recorder/Player – Otari DTR-8.
Reel-To-Reel – Revox A77 ½ track, 15 ips /7.5 ips (38 cm/sec/19 cm/sec).
DAC – Denafrips Terminator +.
D to D converter – Denafrips Gaia.
Speakers – Martin Logan Aeon i electrostatic hybrids factory upgraded to Xstat specs from the Vista model.
Headphones – Stax SR-L 300 electrostatic phones with HiFiMan amp/energizer.
Cables – I don’t do “cable swapping” as I know that when cables change the sound, it’s because cables are passive and cannot add anything to the sound, they can only attenuate something. They sound different because different cable models subtract different things from the overall presentation. On the other hand, I do strive to use good quality cables of the correct type and impedance. My interconnects are, for unbalanced connections, either from MyCableMart.com or Blue Jeans while my balanced cables are from Mogami and Belden. For speaker cables I use two 6 foot runs of “Silverback” (12 Ga, OFC, 256 strand) speaker cable terminated with high quality banana plugs from Sewell Direct.
Right off the bat, let me say that this is a magnificent performing amplifier. It is almost unbelievably fast and transients sound more real than I remember ever hearing them. I have two other integrated amps, a Harman Kardon HK-900 (dual mono 150 WPC) and a Krell KAV300i (also 150 WPC) and this amp slays both handily.
Specifically, The EX-M1+ has a damping factor of more than 2000! This is practically unheard of, even in amps costing many times the Kinki Studio’s very reasonable (some might actually say cheap) price of US$2898. The amp also boasts a signal-to-noise-ratio of 103dB. This produces an amp that makes NO sound of it’s own. Not any hum, not any hiss. Even with sensitive speakers such as Klipschorns, when no program material is playing you hear nothing, even with the volume advanced to what would be, ear splitting volume if music were playing. In other words, dead silence! This lack of background noise makes the top end of the Kinki incredibly transparent. When switching from one’s old amp to this new one, the quiet can make you think that the amp is not working, which can be startling. It’s as if you’ve been driving on a long trip and decide to pull into a service station to clean your windshield. After miles of watching the road through a film of grime, when you get back in the car and on the road, you are taken aback by how much clearer the view is. This is the effect with the EX-M1+. It is so much cleaner and clearer than the presentation to which you are used to listening, that it is startlingly addictive. When I first hooked the amp up, I couldn’t stop listening to it. I pulled out every CD, every Tidal® source and indeed, every record that I could find which would show the amp to good effect and was amazed by the sound over and over again. I heard details that I have never heard before, and listened to ambience die away into silence as if hearing it for the first time (which in many cases, I was!).
Soundstage on this amp is exemplary, no doubt due to the amps dual mono nature. Channel separation is superb so image specificity is exceptional, front-to-back is excellent as is image height. Images are extremely stable – even when listening to records. And that soundstage performance carries over to headphones as well.
I was once recording engineer for a large metropolitan symphony orchestra, and have many master tape copies (to DAT) of those performances. I used two Sony C37P cardioid microphones in an XY configuration suspended from overhead, and slightly behind the conductor. The result is a true stereo presentation with pinpoint image specificity. This type of imaging is rarely available on commercial recordings, as most classical record producers prefer (for some reason) to use omnidirectional mikes (which must be wide-spaced to achieve separation between left and right.) This does not result in the best image specificity due to the lack of phase coherency between the mikes. When I play these recordings through the EX-M1+, the instrumental images are so palpable that it gives me goosebumps. I can literally close my eyes and point to every instrument in the ensemble. While my dual-mono Harman Kardon amp can do this to an extent, the Kinki amp renders these instruments in a much more three dimensional space. The HK reveals the images in bas relief, while the Kinki Studios amp fleshes them out, completely separating the instruments from their background.
Also, partially, I think, to the low noise floor, the top end presentation of this amp is neither too hot nor too cool but like Goldilocks’ porridge, I found that with this amp, it’s “juusst right”. On the relatively new release from Brubeck Editions records of the album “Time OutTakes”, we are treated to alternate takes from the famous 1959 album “Time Out” sessions. This new mastering of cuts captured at the same time as those in this jazz classic, we can see how recording and mastering technology has improved in the ensuing 62 years. For instance, Take Five, probably one of the most famous jazz tracks ever released, begins on this take, anyway, with rim shots and cymbal brush strokes from drummer Joe Morello. On other amps it is hard to distinguish that the rim shots are simultaneously accompanied by the brushed cymbals, and even though I have owned the original release of this famous album for many decades, I never noticed this (and frankly I’m not even sure it’s there on the released take!). But the Kinki’s clean, incredibly quiet top end makes it instantly apparent what’s going on here with this percussive introduction to Take Five.
Moving to the midrange, it is, compared to my Harman Kardon HK900, a bit on the cool side and I could wish for some more warmth, but it may be because I’m used to much warmer mids on my reference amp. On the Verve album, “Getz/Gilberto”, Astrud Gilberto’s voice on the famous cut The Girl From Ipanema seems to have stepped back a couple steps from the virtual “stage apron” in order to give us her breathy and sexy Portuguese accented English lyric.
The bottom end of the EX-M1+ is beyond reproach. With a damping factor of 2000, one would expect this amplifier to grab the woofer with it’s teeth and hold on like a snapping turtle (am I mixing my metaphors here? Turtles don’t have teeth, but they are tenacious) and it does! The bass is articulate, well controlled and deep. When the organ speaks It’s full C Major chord in the second movement of Saint-Saens “Organ Symphony #3 in C minor” (Michael Stern, Kansas City Symphony, on Reference Recordings) It has real authority, certainly, but one can easily hear the separation between the wind chest chuff of the organ and the actual bass note. Most amps can’t do this as well as the Kinki Studio amp because the bottom end is not that well controlled. This is impressive.
Another reviewer/designer friend of mine (who’s ears, I trust) had occasion to compare an EX-M1+ to the $40,000 D’Agostino integrated amp and said that the Kinki was “at least as good”. High praise indeed, but I can’t really vouch for it because I haven’t heard it, but if they are even comparable then the Kinki Studio EX-M1+ is punching W-A-A-Y-Y above it’s weight class! At this price or at even twice this price this no-frills amp just has to be highly recommended! I’m keeping this one.
It is only 𝐔𝐒$𝟮,𝟴𝟵𝟴.𝟎𝟎 for 𝐄𝐗-𝐌𝟭+𝗜𝗻𝘁𝗲𝗴𝗿𝗮𝘁𝗲𝗱 𝗔𝗺𝗽𝗹𝗶𝗳𝗶𝗲𝗿!
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Reviewed By: George Graves@ Audiophile Style