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I started with the monos hooked up to the Supratek Sauvignon. The sonics showed fair dynamics and potent bass. The tonality was very appealing, with the amps imparting a harmonic texture and richness that is usually associated with superb class A amplifiers and good valves. Although the bass registers were ample, the Sasha’s woofers were controlled well if with a very slight overhang, enough to impart a sense of warmth and largesse to Rock and Jazz’s electric and acoustic bass respectively. There were no imbalances or anomalies in the midrange registers while the highs were rendered with air and delicate detail.


The bells that chime gently midway through "Nublado" on Sera Una Noche emanated from the mix unexaggerated and unimpeded by lack of resolution. They projected into the room with realistic decay and harmonic proportions. Just prior when a large drum is struck it hits powerfully and images within a deep soundstage to be shrouded in ample ambient information. The Control preamplifier proved harmless in terms of its influence on transparency. Barring its slight input switching and unmuting delay it stepped out of the picture. Ultimate dynamic expression was a tad diminished when compared to the Supratek (this being one of the latter’s unrivaled strengths). Impressive imaging with precise instrument localisation were very strong though. The pre/mono combo placed information in well-focused pockets within the soundscape.


Cat Power’s brief and utterly distinctive version of "New York, New York" takes off with a massive drum intro. While the Pure Audio team’s rounded low end provided a sense of heft and depth to the drum assaults, the subsequent snare was a tad further back and subtly less snappy than over my reference gear. This is not a bad thing in terms of musical enjoyment and involvement where the combo’s more subtle handling of dynamics in the mids/upper mids made music less upfront, more laid back and some would argue more natural. Chan Marshall’s vocals came across with good presence and well controlled sibilance and her trademark ‘throatiness’ was well-balanced – neither too much chest nor insufficient windpipe.
Phono stage
I was very pleased with the combo’s handling of Ferruccio Spinetti’s bowed bass on Musica Nuda’s "Eleanor Rigby" from their self-titled release. Bow and string exhibited good textural tonality and bow hair and rosin detail. Also impressive were the various acoustic instruments on Mocca Flor, Quadro Nuevo’s Oriental/Tango melanges. Even the textural palette of what sounds like a didgeridoo on the intro of "Miserlou" was abundant, with modulations of air and amplitude reproduced clearly and crisply.

Conclusion. Look through various Internet show reports—there seem to be an ever-growing number of audio events worldwide—and you see new companies daringly offering potentially great performing audio gear styled audaciously bold. In a crowded market these companies look for a point of difference, a black-box variance, a new aesthetic sensibility. Pure Audio’s three components so far comfortably fit this new vanguard of stylistically intrepid spirit. But it’s not just about style here. The Control preamp and Reference monos are also beautifully assembled, contain quality components and have been expertly built by a team with an established rep in high-end audio. Given reasonably efficient speakers and mid-sized rooms this combo will provide a slightly sweet but not too syrupy sound with a generous low end and excellent tonal and textural articulation. Reincarnation may have produced a different perhaps more unencumbered version of what went before. Plinius still operates as a successful company of course and remains a powerful entity all of its own. But the new Pure Audio venture will perhaps allow its designers a freer hand to expand their ideologies, to express their views with conviction and to launch themselves assertively into the unpredictable waters of high-end audio once more. As our friends across the pond would say, choice ‘bro!
Pure Audio responds: Many thanks Edgar for your comprehensive review of our first two products. Our reward is always in the enjoyment others get from our designs. We would like to add two small comments to your review if we could, in order to clarify a couple of points. Firstly the attenuators as noted in the review are 32-step designs using Vishay-Dale resistors. However the front panel potentiometer only provides control for these, with all of the action residing on the stacked circuit board assembly shown at the rear of the preamplifier. This way the signal path is kept very short. Secondly regarding the auto signal selection, our recommendation is that the primary digital source be connected to Line One as this is a default direct connection with no signal switching required for connection. Next we suggest vinyl sources are connected to Line Two which is optimised to switch right when the stylus touches down in the groove, thus ensuring no interruption to the music. Alongside these recommendations the use of the 12V trigger connection between preamp and power amps will ensure that they are brought out of standby and into class A immediately when the preamp volume control is rotated up from zero. When these recommendations are followed there is no interruption of the music and the system will seamlessly respond to your intentions.
Gary Morrison
Pure Audio website