Country of Origin
This review first appeared in January 2025 on fairaudio.de. By permission of the author, it is hereby syndicated from the German original to reach a broader English audience. Ed.
Reviewer: Michael Bruss
Analogue sources: Drive – J.Sikora Initial Max with aluminium base and regulated power supply; Pro-Ject Carbon Debut EVO; Tonearm: Kuzma Stogi Reference S12 VAT ;Cartridge: Transrotor Figaro, Ortofon 2M Bronze, Ortofon 2M Red Other: FM tuner: Grundig FineArts T2
Digital sources: D/A converter: ifi iDSD nano, Norma Audio REVO DAC module; CD player: Technics SL-G700 Streamer: Métronome DSS 2, Cambridge CNX (V2) Computer/media player: Nucleus by Roon, MacBook Pro
Integrated amplifier: Audio Hungary Qualiton X200 KT150, Linn Classik Movie II
Preamplifiers: High level: Norma Audio REVO SC-2 Phono amplifier: Linnenberg Bizet (MC), Norma Audio PH3 (module)
Power amplifiers: Norma Audio REVO PA-150
Speakers: ATC SCM50PSL, Divine Acoustics Bellatrix, JBL 4309, Argon Audio Forte A5
Headphones: Denon AD-H7200, Teufel Real Blue PRO, Beyerdynamic Free Byrd
Headphone amplifier: Meier Audio Corda Classic
Cables: Speaker cable: Ortofon Reference SPK Black, Kimber Kable 12TC All Clear, Audioquest Rocket 22, Fastaudio Black Science SPK NF cable: Gutwire EON-Z, Ortofon Reference 7NX-705, Graditech Kide 1 & Kide 3, Audioquest Yukon, Audioquest Mackenzie, fastaudio Black Science NF Digital cable: Supra Cables Sword Excalibur USB, AudioQuest Vodka & Cinnamon Ethernet, Graditech Kide Digital RCA, AudioQuest Carbon RCA Power cable: Supra Cables LoRAd 2.5 SPC, Gutwire SV-8, Gutwire G Clef 2, AudioQuest NRG-2 Other: Ground cable Gutwire Ultimate Ground
Rack: Roterring Belmaro 33 custom
Accessories: Power filter: Supra Cables LoRad power strip MD08 DC 16 EU Mk 3.1 Other: Audioplan PowerStar S4, bFly PowerBase M, bFly BaseTwo M, YDOL Relax 60 and fastaudio absorbers, Acoustic System resonators Silver & Gold, The Gryphon de-magnetizer, Audioplan Sicomin antispikes and device feet, bFly Master absorber feet, Solidsteel SS6 (speaker stands)
Size of the listening room: Floor area: 24.5 m² Height: 2.7 m
Review component retail: €17'990
Already the branding raises expectations. The new Audio Analogue Maestro 2.0 integrated amplifier not only means to meet them with fine workmanship and impressive physical presence but above all, sonics. The €18K tariff definitely puts it in the investment-for-life category. Let's check then whether this powerhouse lives up to its name. Not that I had real doubts. This Italian brand is known for attention to detail with an excellent rep for good sound. After testing the top integrated ABsolute (€20'500), my colleague Dr. Martin Mertens secured it a permanent place in his rack. Already the predecessors of the Maestro 2.0 convinced many enthusiasts to do the same. Now the most current generation once again promises "the best of tradition and modernity". The simple design catches the eye. It looks solid and timeless; almost inconspicuous. We shall return to this word. It's certainly intentional. The real highlights hide behind the façade. The Maestro 2.0 is a classic integrated amp whose purist focus counters present 'more' trends. It refrains from incorporating DAC or network functions to concentrate on pure analogue gain. The five inputs—3 x RCA, 2 x XLR—include no digital, phono, fixed or variable pre-out nor HeadFi. That's what I call uncompromising even brave when most competitors cater to deep multitasking these days.
But that won't dissuade the typical Audio Analogue customer who like a diehard darkroom photographer has zero use for Photoshop or Lightroom. Behind the sober exterior of the Maestro 2.0 hides a powerplant. With output power of 2 x 200 watts into 8Ω—50 watts more than the Maestro Anniversary—and 600wpc into 2Ω, we're promised excellent load stability. On the more subtle no less important side, there is a S/NR of 102dB. This indicates a low noise floor which lets micro detail separate fully out from the background. In contrast to the larger ABsolute integrated, the Maestro 2.0 isn't switchable between pure Class A and Class AB operation but always works in the latter mode. However, it's a fully symmetrical dual-mono circuit for minimized interference/crosstalk and maximized channel separation with no global negative feedback. To shun feedback is not without controversy. Depending on a brand's design philosophy, respective advantages and disadvantages get framed differently. Low negative feedback can sound more relaxed, natural and organic. It's said to make playback more emotional and dynamically coherent. This may be because such amplifiers don't run rapid signal changes through a loop with a small time delay. Opponents of global negative feedback also argue that fine resolution often preserves better when small signal changes are not "corrected” after the fact. Last but not least, common opinion claims that amplifiers without global negative feedback may better deal with difficult loads because they are less prone to instabilities when feedback loops interact with back EMF.
Conversely, the lack of global negative feedback has its own challenges. Distortion can increase which must be compensated by more careful circuit design and better parts which mean higher costs. Response may be less linear, output impedance higher so damping factor lower. Audio Analogue believe that the Maestro 2.0's "no feedback" aural advantages come without significant penalties. A look under the hood reveals PCB meticulously assembled for short signal paths to minimize losses and interference. Distortion of 0.15% at 100W into 8Ω/1kHz is the official figure. This cleanliness is particularly important for complex orchestral recordings or delicate chamber music, say our Italians. Yet signal processing remains purely analogue with high-precision relays, resistors of military standards and audio-grade capacitors so oversized as to never get embarrassed on performance or reliability. The optimized power supply aims at accurate transient reproduction and is true dual mono starting with the twinned 670VA toroids. Here many competitors of 'dual mono' cheat and start their channel separation only past a single AC transformer. Filtering relies on a seemingly modest 33'600µF capacitance with 35V/µs slew rate. All important functions can be controlled with the metal remote and operating the Maestro 2.0 is intuitive as expected. Basic information such as input source and volume displays with small white LEDs. Otherwise the front of the Maestro 2.0 is dominated by the central rotary push button. This multi-purpose controller feels robust and controls volume and input selection. The assigned functions are intuitive but the manual is essential to learn of the deeper menu layers. These include switching input #3 to amp-direct for use with a separate preamp; and altering the attenuation taper of the volume control from linear to exponential to cater to high-efficiency speakers. Just so, already step one past zero occurs at a fairly high level. That's beyond background conversations on such a speaker even with the optimized taper.
Build quality is of the highest standards as expected. The solid aluminium housing not only looks chic but shields against EMI. Cooling comes from large vertical bores which also provide a visual anchor. The front panel is a solid slab of thick aluminium. On the back speaker terminals from Propeller Post sport easy-grip wings and gold-plated RCA promise longevity. The included power cord from parent company Airtech is far nicer than typical generics. I evaluated the Audio Analogue with the first of the four gain curves. My €4'500 Métronome DSS 2 streaming bridge suppled digital data to a €6'890 Norma REVO SC-2's optional €1'575 DAC1-SC2 module all wired up with Graditech Kide cabling.
