Audio Note Jinro Integrated Amplifier
About Audio Note Amplifier
About Audio Note Jinro
Audio Note Jinro Reviews
‘During its time in my home, the Audio Note Jinro behaved flawlessly: no hum, no crackle noises, no service interruptions. And the curtains never once caught on fire.
I loved the Audio Note Jinro. Its overall sound was very subtly sweet, with a midrange that was a bit soft—timbrally, but not temporally—with an abundance of that often-noted-yet-never-explained “SET sound” that allows solo voices and instruments to stand musically and spatially proud of the rest of the mix. The Jinro played melodies with unsurpassed flow and momentum, including those in Elgar’s Sospiri, recorded by Paul Goodwin and the English Chamber Orchestra (AIFF file ripped from CD, Harmonia Mundi HMU 907258), and allowed even the most up-tempo music—the Replacements’ Sorry Ma, Forgot to Take Out the Trash (LP, Twin Tone TTR 8123) comes to mind—to sound nearly as propulsive as through, say, a Naim Nait. Yet the Jinro distinguished itself by allowing notes a realistically generous amount of natural decay—again, without the slightest sense of rhythmic lagging.
To some observers, I suppose one or another of those qualities is attributable to one or another departure from perfectly flat frequency response: a point of view to which anyone is entitled, wrong though it seems to me. That said, it struck me that the Jinro worked with my Audio Note AN-Es to produce the most timbrally realistic performance I’ve heard from those speakers. The brass instruments in Sir Adrian Boult and the London Symphony Orchestra’s great-sounding recording of Vaughan Williams’s Job (LP, EMI ASD 2673) sounded just plain right; and in the recording by Nicole Henriot-Schweitzer, Charles Munch, and the Boston Symphony Orchestra of Ravel’s Piano Concerto in G (LP, RCA Living Stereo/Classic LSC-2271), the piano had all the sparkle and purr one could hope for, without the thinness or the downright mechanical quality with which lesser gear imbue it—especially in the second-movement waltz. Similarly, the opening brass and the energetically bowed cellos in Holst’s A Fugal Overture, performed by Sir Adrian Boult and the London Philharmonic Orchestra (LP, Lyrita SRCS 37), were gutsy and richly textured through the Jinro–AN-E combination, but not overly so.’ Reviewed by Art Dudley at Stereophile.