This review first appeared in the April 2018 issue of high-end hifi magazine of Germany. You can also read this Genuin Nimbus review in its original German version. We publish its English translation in a mutual syndication arrangement with the publishers. As is customary for our own reviews, the writer's signature at review's end shows an e-mail address should you have questions or wish to send feedback. All images contained in this review are the property of fairaudio or Genuin - Ed. 

Jörg Dames
Linnenberg Telemann DAC, Electrocompaniet ECD 2 DAC,  Fonel Simplicité CDP, Auralic Aries and SOtM sMS-200 streamer, laptop with JRiver MC
Preamps: MTX Monitor.V3b-4.2.1, Funk LAP-2.V3
Integrated amp: Abacus Ampino
Power amp: Bryston 7B³
Loudspeakers: Sehring 903, Quadral Megan VIII
Cables: Speaker - HMS Armonia, WSS Platin Line LS4, Real Cable BW OFC 400, HMS Fortissimo; Analog interconnects -  Straight Wire Virtuoso; Digital -  BMC Pure USB1, AudioQuest Carbon, Boaacoustic Silver Digital Xeno; Power - Furutech FP-S022N, Tellurium Q Black, Quantum-Powerchords, Swisscables Reference
Power delivery: HMS Energia MkII
Equipment support: Lovan Classic II
Sundry accessories: HMS Energia MkII AC filter, AudioQuest Jitterbug
Listening room: 29m², 3.3m ceiling
Review component retail price: €7'950

Not for beginners! Today that would make for a brilliant headline. Why? If you can do without showy thumb-thick face plates, engraved branding, a colourful display or chromed trim and don't think twice about forking over €8K for 8kg worth of transistor stereo amp from a boutique maker… you must pack abundant self-confidence and have unshakeable faith in your own critical listening skills. More than usual, what comes out the rear gets even more important with such an understatement amp. That raises expectations. Justified? We'll find out.

The Genuin Nimbus is certainly low key but finely put together. Our female photographer who after four years with fairaudio has developed a certain pain threshold when covering interconnects that cost more than her lenses, guessed that this €7'950 machine should demand several thou. In fact, she actually called its cosmetic reductionism chic. And inspected up close, the Nimbus does know how to please. Be it the fascia curving back at the bottom, the quality if sparse i/o socketry, the tight tolerances, the expert surfacing of the 4mm aluminium chassis, the nicely damped lid, the cleanly deburred heat sinks with less than average ringing or the three spring footers… nothing seems unduly exciting or luxurious yet speaks to top-quality tooling.

In fact, my ace Bryston 7B³ monos feel a mite rustic by contrast. Their finned edges are sharper and, like their entire chassis, ringier. Material transitions are coarser or exhibit larger gaps, the speaker terminals are simpler (not that any of it influences my daily interactions with the Canadians).

A special touch for the Genuin Nimbus is an acrylic terminal plate with XLR inputs and single-wire outputs. That bit of plastic recalled my old Audiomeca CD player where acrylic became a deliberate antidote to chassis resonances. Gerd Sauermann, the key developer of the Nimbus, explained his preference with a reduction of electromagnetic interactions for the wire which routes through the chassis to the i/o connectors.

Apropos Sauermann, fairaudio readers might remember our 2011 review of his stereo amp then under his own name [right]. How time flies and tech moves on. Sonically I really enjoyed that amp and the swappable front plates were a great idea, too.