W klasyce przejrzystość i czystość zmieniają dotychczasowy obraz nagrań. Symfonika się otwiera i znikają przyciemnienia, zawoalowania oraz stłumienia. Dzieje się to samo, co w ciężkim rocku, a efekt jest jeszcze bardziej czytelny. Nie ukrywam, że przeze mnie oczekiwany i choćby dlatego mógłbym skonfigurować drugi system na Aesthetiksie, a potem analizować do woli meandry instrumentacji, form muzycznych itp., jednocześnie ciesząc się klarownością smyczków, całkowicie wolnych od nosowego zabarwienia. Jasnych, a przy tym mięsistych i gęstych. Kiedy zdecydujecie się na odsłuch Mimasa, weźcie ze sobą płytę Cata Stevensa. Piosenka „Moonshadow” pokaże jakość wysokich tonów – gitarę akustyczną, chórki doskonale operujące sybilantami, no i mnóstwo perkusjonaliów. Uderza ich realizm, dźwięczność i zróżnicowanie barw, a ogólnie – wręcz nieprawdopodobna klarowność realizacji, która przecież do audiofilskich nie należy.

Tego dźwięku nie da się zapomnieć. Raz usłyszany, na długo zepsuje humor, jeżeli wybierzemy inny wzmacniacz. Mimas wierci dziurę w duszy i pozostawia rozbudzone oczekiwania, których konkurencja raczej nie spełni, a już na pewno nie w tej cenie. Tym razem jestem skłonny uwierzyć, że „klienci prosili”, chociaż jak było naprawdę, wie tylko John – dziecko szczęścia.

Link do recenzji: Aesthetix Mimas – Hi-Fi i Muzyka

Its sonic character hints at midrange warmth and a sweetness in the treble, but that’s not due to a rolling or rounded top end. The amp is as extended as it is ripe with bloom. When I cued up “All My Trials” from PP&M’s In the Wind, Mimas produced an overall clarity, naturalism, ease, and immersion that seemed to beckon me into the recording studio. Mimas didn’t give me the sense that it was pushing music forward or backward, either. It merely expressed the landscape of the recording itself. During Dave Brubeck’s classic “Take Five,” the seated musicians simply owned their space, and music flowed with a communal energy and an airy ambience that filled every corner of the recording venue. The intimacy of musicians communicating in real time was as fully expressed as I’ve heard them on this LP. Mimas had an uncommon sensitivity with low-level delicacies, like the repetitive harp motifs during Vaughan Williams’ The Wasps Overture [Reference Recordings]. Mimas permitted these cues not only to capture my attention but to play out completely and sustain cleanly, even as they gently decayed into the concert hall’s ambience.

Bass response was as nimble as it was weighty, a little like a tap-dancing sumo wrestler. Kettle drums were thunderously impactful but maintained pitch without bloat. Each impact conveyed the tactile sense and flutter from the huge drumheads. And the amp never appeared to lose dynamic steam as the output ramped up. You might say that it shouldn’t have given its prodigious power, but ratings, schmatings—it really ends up being your own seat-of-the-pants impression that means something. In my smaller listening environment, the Mimas conveyed effortless power and control.

Mimas did not sound like it was under the sway of tubes or solid-state, either. There were no obvious fingerprints or colorations, tonal dips or peaks, treble grit or grain, or faltering in the lower frequencies. Yet Mimas communicated sonic elements that are often but not exclusively ascribed to tubes—that inimitable sense of midrange liveliness, textural complexity, and harmonic bloom. I was particularly taken by the way it captured the complex and shifting voices of stringed instruments—from sweet to astringent—as they ascended and descended through their ranges, an impression that played out when listening to Perlman performing the zesty Bruch Violin Concerto No. 1, or the mournful decaying resonances from Martin Zeller’s cello during the Bach Cello Suites. Orchestral images were rooted like oak trees within the soundspace and not prone to shift phantom-like outside an established position. The layering of strings, and the separation of winds, percussion, and brass sections remained rock-steady throughout.

These particular examples seem to suggest that the virtues of the Mimas came into strongest relief when listening to acoustic music, classical, or jazz. Frankly, this was mostly true as the more acoustic and naturalistic the recording, the more the amp’s charms were brought to the fore. Like all high-resolution electronics it rewards in accordance with the quality and complexity of the music being selected. However, Mimas reproduced all genres of pop music effectively too, from Def Leppard to Daft Punk, from pulse-laden dance music to the power ballads from 80s-era rock ’n’ roll “hair bands.” But it truly came into its own with full-spectrum music that was harmonically and dynamically uncompressed. 

For armchair astronomers, Mimas is one of Saturn’s moons. For me, it is the very definition of what I am seeking in an integrated amplifier—unalloyed transparency and musicality served up with rich reserves of power. I’m only guessing that Aesthetix’s line of top-drawer separates will sonically edge out the Mimas in picayune areas, or that there are loudspeakers that will make demands beyond what Mimas can deliver. But then again, I doubt if any speaker can make this amp sound less musical than it most certainly is. It’s an amp I can recommend with no reservations. Just another way of saying that I’m over the moon for Mimas.

Link do recenzji: Aesthetix Mimas – The Absolute Sound

Is the Mimas phonostage the end of the line in resolving power and musicality? A fair question. The answer is, first, no competitor I know of will embarrass it, and second, you’ll have to dig a lot deeper into the mid-four-figure phono preamp range to equal it. The Aesthetix modular phono card completes an already premium package in the integrated amplifier segment. I originally dubbed Mimas “the very definition of what I am seeking today in an integrated amplifier,” but now I’m happy to amend that characterization. Now, it’s also among the most versatile.

The Mimas’ rendering of soundstage dimensionality and immersion were exactly what I’ve come to expect from excellent analog. This was nothing like the collapsing constrictive soundstages that characterized inboard phonostages from the past. Images were reproduced with substance and transparency. Clusters of players—choirs, chamber groups, or jazz quartets, for example—were conveyed with superior separation and were also integrated easily within the auditorium environment. Orchestral layering and focus extended to near the back of the hall.

Beyond the pastoral calm and quiet this phonostage conveyed, the Mimas also had another, more assertive side to its personality. And, frankly, during the “Olympic Fanfare” from Winds of War and Peace [Wilson Audio], I was a little stunned by the resolution, fearsome bass reproduction, and transient fireworks springing from this classic piece of vinyl. Set against its noise- and grain-free silences was this phonostage’s most noteworthy feature—the ability to reproduce and resolve the widest dynamic contrasts, from the softest keyboard pianissimo to the most explosive orchestral tuttis. The track that comes to mind is the cratering darkness of Holst’s “Mars, The Bringer of War” [The Planets, LSO, Previn, EMI]. Through the Mimas phonostage, the full weight of brass and winds, screaming strings, and relentless percussion was brought to bear in the nightmarish soundscape of horror, loss, confusion, and grinding despair of armed conflict. Or, take Norah Jones’ quirky track “Sinkin’ Soon” [Not Too Late, Blue Note], with its pots-and-pans percussion, its burbling trombone accents, and gossamer backing vocals—low-level voicings that swing in and out at unpredictable moments and occupy oddball stage positions. Through the Mimas, the energy jumped from this playfully idiosyncratic track at all levels. While I haven’t heard every phonostage out there, it’s hard to believe that this unit left much, if any, resolution on the table.

Link do recenzji: Aesthetix Mimas Phono Card – The Absolute Sound

From Day One, Mimas became one of the high-end’s top integrated amps. And then it got better. And now, better still. I know that I’m restating the obvious when I say that the Aesthetix Mimas is what high-end audio is all about to me. A triumph.

In terms of sonics, Mimas DAC module couldn’t have been more satisfying. Bass extension was excellent while upper-frequency transients and top-end harmonics were open and unconstricted. This was especially noteworthy when playing back brass, particularly trumpet, which to my mind should always have an element of bloom and warmth to temper its piercing power. Images were reproduced with superb clarity and rock-steady stability. Channel separation was excellent. This DAC nails instrumental texture and timbre with a realism that touches the romantic heart and the clinical ear in equal measures. Fingernails fanning across the strings of a flamenco guitar or the reedy nasality of a solo oboe, the weight of a bass violin bow digging into the low E string, the mingling of horsehair and rosin catching the strings.

On well-recorded classical recordings like those from Reference Recordings (try the Copland “Fanfare” or the Vaughn Williams Wasps Overture), a sense of the dimensionality of the soundstage and of orchestral layering was imparted with clarity and laser-like focus. I could sense the width of the stage from the outside edges of the violin section to the line of upstage double basses at the other side of the proscenium—and straight back from the conductor’s podium, all the way to the percussion section. This level of clarity allowed me to orient myself as if I were sitting in the hall. For example, with a chamber quartet, not only could I distinguish the individual voicings of the violins, the viola, and cello, but I was also able to discern each performer’s position on the stage.

The Aesthetix Mimas gives the lie to the notion that only dedicated separate components can offer stellar levels of transparency and resolution. However, beyond its enthusiastic musicality, the brilliance of Mimas’ modular design is its ability to grow with the changing desires of its users. Should you want to begin spinning vinyl or improve and expand your digital audio options or both, Mimas will be there. And consider this, during the time I’ve spent with Mimas, Aesthetix added both phonostage and DAC capability without taking up a single additional square inch of my precious rack space or listening-room real estate. Enthusiasts in smaller rooms, take note.

Link do recenzji: Aesthetix Mimas DAC Module – The Absolute Sound

When I used the Aesthetix Audio Mimas as a full-functioning integrated amplifier, the strengths of its tubed preamp stage and FET power stage seemed to balance each other out, delivering gratifyingly neutral and flowing full-range sound whose beauty extended through its excellent bass, convincing pace and drive, and delightful touch of radiance. When I used the Mimas solely as a preamp, its sound was brighter and warmer, with increases in transparency, color saturation, three-dimensionality, and the glow often associated with tubed products. In both cases, musical flow, hard-hitting bass, and tonal beauty together drew the Mimas's bottom line.

Reviewing a piece of audio equipment in the context of a much more expensive system runs the risk of emphasizing its shortcomings; well-chosen, more expensive components that are synergistically matched certainly should sound better. Nonetheless, I was delighted by how fine the Mimas sounded in my reference system, and how well it fared in another system with more comparably priced equipment. While I may have wished for more clarity and silence between notes—whether it was Miles Davis or Debussy or Whistler's Mother who said, "Music exists in the space between the notes," it's a truth that has always spoken to me—the Mimas came across as an anything-but-lightweight baby that sang out strongly and packed a mean punch while glowing like a champion. There is something quite special about its sound that deserves a strong recommendation, and that will surely win the hearts of many discriminating audiophiles.

The first thing that stood out was the excellence of the Mimas's bass. I'd made a few changes in cables, equipment supports, and power conditioning since reviewing Verity Audio's Monsalvat Amp-60 stereo power amplifier ($58,000) for the May 2019 issue, but I'm 95% certain the Aesthetix Mimas did a better job of handling the Wilson Alexia 2s' impedance dip in the bass. Yes, the D'Agostino Progression monoblocks ($38,000/pair) produce even more bass, but for an integrated amplifier that costs less than a fifth the Progressions' price, the Mimas fared very well. The pounding bass drums in Mahler's Third shook my space and made a substantial mark in the Berg. There was nothing sluggish about the sound of this integrated amplifier.

I packed up the Mimas, took it along with me to the living room of my friend Gary Forbes, and plugged it into his system: Immedia RPM-1 turntable with SME 309 tonearm and Lyra Delos cartridge, EAR 834P phono stage, Avalon Acoustics Arcus loudspeakers, nondescript wiring—save for the single power cord and pair of interconnects, all Nordost Odin 2s, I'd brought over to provide some sonic consistency with my own system (and which Gary asks to borrow whenever I'm not using them). The Mimas replaced Gary's older VTL TP2.1 preamplifier and ST-150 power amp.

After the session, Gary sent me a note. I'll quote a few of his comments in much the same way that advertisers often use comments from reviewers: "I...have never heard it artic- ulated so forcefully and tunefully." "I was able to hear deeper into the recording, with lifelike image size." "I heard more body than head. RT's searingly beautiful solo...floated well beyond the speaker's confines." "Listening . . . through the Mimas was like enjoying a vanilla-bean affogato on a summer afternoon—sweet, refreshing, and ready for another."

Link do recenzji: Aesthetix Mimas – Stereophile

'Trans-Island Skyway', a masterpiece of funk, treated me to some of the richest bass I've ever heard from a hybrid. With ears used to all-valve sound, one tends to anticipate a certain sacrifice when solid-state stages interfere, but Aesthetix has found a near perfect balance, even if its tuning is slightly on the dry side.

Where the solid-state aspect showed its command was in the crispness of the percussion, such as the backing in 'Tomorrow's Girls', which was taut, fast and punchy. Even better were the moments in the song when the backing vocalists spread out across the room.

This highlighted another aspect of the sound that ensured I wasn't going to be distracted by the superlative bass during the listening sessions. This unit conveys air and space, even the artificial layout of a studio-sourced recording, with so much grace, such aplomb, that I began musing about how it's not just the Mimas's conventional, wholly-acceptable-in-domestic-conditions 434mm girth that deals with literal space concerns. Its soundstage is one that ignores walls.

Being in a maudlin, soppy mood on my late mother's birthday, I subjected myself to 'My Yiddische Momma' and 'Mom-E-Le' to see how long it took me to well up and reach for the Kleenex. Two seconds – that's all. Thank goodness I wasn't listening while writing or I'd have shorted my computer keyboard.

Piano so far stage left that it was in another room. Connie just to the left of centre. Slight echo filling the area of this voice-and-piano-only intro. Then the strings… oy-oy-oy, such rich, cholesterol-laden schmaltz like you've never heard.

Mournful, dark, so poignant that the sense of loss and love caused me to blaspheme (in musical terms): here was a singer who could wrench as much angst and aching longing from a lyric as, yes, Aretha Franklin. 'Mom-E-Le' proved to be just too much, as I am not prone to weeping uncontrollably at 11am.

For those of you not in touch with your inner Oedipus, the texture of the strings – even via a cheapo CD – was reminiscent of the finest RCAs, which led me to my trusty Otari reel-to-reel. But instead of some silky soul challenger, I turned instead to the rousing masterpiece that is Hail, Sousa! [Vanguard Stereolab VTC1650 [7½ips/¼-track] which boasts 'The Largest Band On Records – 100 Men Strong'.

Link do recenzji: Aesthetix Mimas – Hi-Fi News

The overall resolution is very good as expected from a high-end amplifier, with just a touch of rounding on transients and aforementioned smoothening of the textures. In result a bow on the cello was fluid rather than raspy, like from the perspective of auditorium rather than a close-up microphone. This softening (or perhaps I should call it ‘vinylizing’) of the program material was very attractive and enabled long listening sessions. The treble were crisp but never aggressive and the Aesthetix Mimas was able to illuminate the hall’s ambience in orchestral recording with ease. Yet again, it was a bit different way that I am used to. With good recordings I could sense the bloom in the concert hall, how the sound mass was reflected from far away walls, when the symphonic climaxes abruptly stopped. However, with solo instruments, like with Orchestrio Zurich’s Mussorgsky on Accuphase SACD sampler there was less of the instrumental ‘exhaling’ and the whole atmosphere sounded darker and warmer. I account this may be due to slightly compromised signal-to-noise ratio of the Aesthetix Mimas.

The important message to the readers of this review is: all the above is nit-picking that evaluates the Mimas against the best amplifiers I heard. When I stay in 10k€ category then I can’t find a fault with this Aesthetix. On top of that, this amp’s imaging capabilities were top-notch. I believe it has something to do with the preamplifying vacuum tube stage – the soundstage was generous and with its tangibility it stayed on the tips of my fingers. Images were lifelike and holographic as if my speakers had become omnipolar. This made me reach for requiems and other choir recordings and stayed immersed for hours.

The Aesthetix Mimas is a reasonably priced amplifier for all who are looking for all-in-one type of integrated that makes no excuses. I did not have any problem to drive the impedance of my rather sensitive Wilson Audio Sasha W/P speaker in large room at high listening volumes, however, certain cautiousness is recommended for less sensitive speaker in big spaces as the Mimas power rating may become bottleneck in dynamic transient peaks, though I am not sure if this can ever really happen, looking at the lab report of HiFi News & Records that measured max power output of 230W/385W into 8/4 ohms. Then I am conquered and can just declare the Aesthetix Atlas is among the best integrated amplifiers I have ever heard in this price range.

Link do recenzji: Aesthetix Mimas – Audiodrom

After several weeks of testing in four different systems, from entry-level to high-end, and after also putting it to the test by some other passionate audiophiles that we invited as listeners for blind testing, we feel the Aesthetix Mimas proved that it was more than just another integrated amplifier. It proved that it carried the DNA of a true dedicated power and a preamplifier, combining control, stability, and dynamic authority with harmonic richness and presence that made instruments and voices sound physical, realistic, and engaging. It was not flawless. The very top octave and the transient snap of kick drums still reminded us that heavyweight monoblocks hold an edge. Yet the Mimas maintained stability, dynamic strength, and tonal balance under pressure, and delivered music with coherence and emotional weight.

In the end, we feel the Mimas somewhat behaved like an Atlas and Calypso in one chassis, retaining their essence without compromise. It was able to scale with systems of vastly different value and character, never feeling out of place and never losing its ability to involve the listener. For anyone considering an integrated amplifier that can live comfortably at the heart of a serious high-end system, the Mimas is a piece that deserves the utmost attention.

Across all four systems, ranging from a modest 10.000€ to 70.000€, the Mimas consistently demonstrated:

• Strong, controlled bass with excellent articulation and composure at any power level.

• Good kick transients, but a tad slow when compared to the ultimate speed and snappiness delivered by some of the very best high-current monoblocks…. Which is not a fair comparison, but we’ll keep it here nonetheless!

• A harmonically rich, highly emotional, charming, and deeply physical midrange presentation.

• A treble that was smooth and articulate, with absolutely no sibilance trace, though slightly polite in the very top octave, suggesting a more laid-back character.

• Wide, deep, and engaging soundstage with precise imaging.

• Superb dynamic range and rock-solid stability, delivering full coherence and authority under demanding conditions.

• Transparency to source, reflecting the character of different sources without imposing a fixed signature.

• In areas like power delivery and emotional connection, its performance came remarkably close to that of higher-priced discrete components.

• The highly appreciated option of tube rolling allows you to fine-tune the amplifier’s tonal balance, offering a degree of customization rarely seen in integrated amplifier designs.

Link do recenzji: Aesthetix Mimas – Sound News

Dear reader, do you know what Mimas is like? It’s like settling comfortably into an Alcantara leather recliner, lighting up a Montecristo No. 5 cigar, and taking a puff—only you will know what’s happening inside your soul at that moment. That’s Mimas.

I wonder how tightly I kept my eyes closed while listening to this record, almost to the point of pain, and only from there, from the listening chair, but transposed into a seat at the London House, I “see” the three jazzmen positioned on the club’s stage in the middle of the restaurant between its tables, Ed on the left, Oscar in the middle, and Ray on the right, this being their preferred layout, thus finding them positioned on almost all their concerts and recordings. It’s interesting how well we can distinguish the three in terms of their positions, and it’s also interesting to realize that there are pauses between songs, maybe they are even recorded on different nights, which we can figure out by observing Ray Brown’s position, which changes from one song to another, with only the piano and drums remaining fixed in the same place.

Mimas was adamant in delivering all these details I mentioned above, the liveliness of the recording, its “time-travel” quality and, without a shadow of a doubt, the joy of singing so true with Ed Thigpen, Ray Brown and the colossal Oscar Peterson.

But how does it sound? In a word: superb—truly high-end. Compared to DACs typically integrated into high-end devices, Mimas’ DAC stands out by delivering a superior sound quality, easily surpassing the built-in options you’ll find in amplifiers or preamps from other brands. Mimas’ DAC has organic bass, a distinct refinement of the highs, and a touch of magic in the mids. Of course, a separate DAC can offer countless advantages in terms of matching and optimization, but it’s certainly appealing to have everything in one box—to avoid the cable mess and matching headache. Ideally, that’s how it should be, but in practice, we demanding audiophiles have found that separate components offer a bit more refinement, even at the cost of more complex optimization. But Mimas’ DAC changed my perspective a little bit—I could easily live with this DAC, as its refinement is enough for me. Please note that you’ll need a truly top-tier external DAC to outperform the one in Mimas. Well done, Aesthetix.

Link do recenzji: Aesthetix Mimas – Silviu Tudor

Link: Aesthetix Mimas – Absolute Sound – Golden Ear Award 2023

Link: Aesthetix Mimas – Stereophile – Recommended Components 2022

Link: Aesthetix Mimas – Hi-Fi News – Outstanding Product

Link: Aesthetix Mimas – Absolute Sound – Product Of The Year 2019

Link: Aesthetix Mimas – Absolute Sound – Golden Ear Award 2019

Link: Aesthetix Mimas – Absolute Sound – Editors Choice 2022

Link: Aesthetix Mimas – Absolute Sound – Golden Ear Award 2020

Link: Aesthetix Mimas – Stereophile – Recommended Components 2022

Link: Aesthetix Mimas – Stereophile – Recommended Components 2021

Link: Aesthetix Mimas – Stereophile – Recommended Components 2021

Link: Aesthetix Mimas – Stereophile – Recommended Components 2020

Link: Aesthetix Mimas – Stereophile – Recommended Components 2020

Link: Aesthetix Mimas – Stereophile – Recommended Components 2019