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Pete Riggle gave the unit extended and multiple spins as well. He described it as "exceptionally easy to listen to." When comparing the Pass with my 50wpc AudioSector Integrated ($1.150), we noticed that with the AS there was not as much spring in the step of bass lines and that the high end of piano keys was more clangy and etched. This tells us that the INT-30A is clearly more refined and why as a result Scheherazade easily became more mesmerizing. Pete also thought the AudioSector "delivered a touch of the old-fashioned sound of vintage push-pull; lively yet more opaque in the mids and not as tight in bass. But at its price point the AS clearly held on in terms of musical enjoyment." He and I agreed that the units shared many positive traits at volumes levels of 70-80dB; beyond that (and especially on big crescendo classical) the lead easily went to the Pass.
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Pete and Stephæn mining the zone. |
Next up was the 18wpc Melody i2A3 (which retailed for $2.999 in 2006). Again Pete captures the differences: "This is why we play tube amps; the difference is bigger than the Pass/AudioSector lineup. The push-pull 2A3s have the bounce of the bass and the midrange clarity of the Pass … though ... the big thing is the relaxation factor, which is subjective and can only be revealed by your body."
That description struck me as very familiar. Indeed. With the Melody there are more ambient layers of tone available; it has more physical essence than the Pass—call it musically vibrational bloom—where the INT-30A is more cogent and more convincing to the intellect and reason.
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So as I listened to Pink Martini’s neo-swing and Cuban-influenced "Soledad" from the album Sympathique, the Melody’s corporeal presence was communicated by how I was "touched" by the piano.
Throughout my time with the INT-30 it was simply a joy to turn on and get turned on in a different way. It was hard to spend less than a few hours with it. No matter what popped up on the music server in random mode, it was intellectually fascinating and emotionally gratifying. That’s a rare combination. |
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On Bruce Katz’s at first intimate and then swaggering "The Prowler" from the BluesQuest compilation, the piano goes from woody on the lower register intro to jangly on the full-bore chorus all with remarkable and evolving character while you enjoy a center seat to some terrific solo guitar work; the kind that persuasively goes from mumble and moan to growl and shriek.
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So here we are. You name it, it does it. Mostly. Which is saying a lot. One limitation, genre-wise, was some techno/club/trance-ish stuff. Witness Moby's not so popular yet unusually warm and soulful 18.
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While the INT-30 absolutely exploited the various numinous and ambient soundscapes, when it came to the hip-hop-ish "Jam for the Ladies" the bass was too … erm … tidy. I will try to explain. Pete calls the DIY 604 speakers "space machines that sweep you up and away with solidly soaked images.
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"There are
supremely smooth mids, agile and extended bass (down just 3dB at 25Hz) and a soundstage that extends into the neighbor’s back yard." This translates to one of those setups where visitors keep asking you to turn it up—until you point out that they are shouting at you. It’s as thought they don’t think a system is playing at an adequate volume until they hear distortion.
I used to laugh about that. Here however I think I experienced a comparable phenomenon with the INT-30 as I was missing some mumble and rumble that I usually hear in the mix. Can something be too smooth? Perhaps I really like it rough and grungy. In any case, more smut with my hip-hop please.
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One other thing: The Pass did remind me quite a bit of the Yamamoto A-08S as described by Srajan when he compared it to the Melody I2A3 back in 2006. Having acquired said I2A3 from him earlier this year, I made it a point to revisit that review. For those who don’t know, the Yammy is very much about speed, transparency and microdynamic finesse. Check. What really got my attention was his closing paragraph: "In fact, in the realm of tone, [the I2A3] exceeds the Yamamoto by a small but meaningful margin. That becomes apparent on upper piano ivories tickled very lightly, for example. Where the Yamamoto then focuses on the percussive elements only, the Melody manages to preserve a higher timbral aspect. It adds more tone to the tinkle."
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To my ears this description of the A-08S rings true for the INT-30 as well. And I can’t say it better than he did. I do hope I’ve made clear that while not entirely enamoured of its overall hue, the Pass is without a doubt emotionally accessible. From a more objective perspective it’s very well balanced—spatially, tonally and dynamically. So, my conclusions are all about my own preferences as revealed through my physical and emotional responses. In the end the Melody grabs my heart and hands whereas the Pass speaks to my head and heart. Getting back to where we started, for those whose values align with this narrative’s early positions on the definition of smooth, I’m confident that those traits will make it a superlative integrated for many.
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Quality of packing: Very good.
Reusability of packing: A few times.
Ease of unpacking/repacking: Effective.
Condition of component received: Unblemished.
Completeness of delivery: Everything needed to plug and play was there. Includes owner's manual, remote (with batteries) and power cable.
Human interactions: Easygoing.
Pricing: Having little experience with solid-state integrated units in the $3,000+ range, it’s hard for me to assign a value. That it contended with gear at twice its price bodes well.
Final comments & suggestions: None.
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