MASTERSOUND ICONA INTEGRATED AMPLIFIER REVIEW

The Icona integrated amplifier from the Italian brand MastersounD operates in Class-A triode mode or Pentode mode, doubling its 12W a channel output. Michael Fairbairn takes a listen to this £6950 amplifier from Italy.

I have a penchant for valve amplifiers with stylish design, and this beautiful example of Italian craftsmanship has it in spades.  I love Mastersound’s ethos and passion for making products built to last. The rich family heritage alone had me hooked. Surely, I was guaranteed to fall in love with this amplifier!

Last year, MastersounD celebrated their 30^th anniversary, with the current incarnation born in 2015 by Lorenzo and Luciano Sanavio, but its origins date back to the 50s. Their father, Cesare had developed his output transformer expertise for tube amplifiers as an electronics graduate, designed and installed commercial sound systems, as well as providing consultancy services in the HiFi industry. These days, they have their newest and largest headquarters in Arcugnano in the province of Vicenza, sharing a locale with another premium HiFi manufacturer, Sonus Faber. The latter is renowned for exquisite, premium loudspeakers. There must be something in the water!

In their own words, ‘If there is the opportunity to tap into Italian mastery every day, why not do it? “Made in Italy” is a label that is taken very seriously by MastersounD. ‘Experienced staff manufacture one by one, with extreme care, all the amplifiers, using the best components and processing available on the market to reach all standards required to be timeless pieces.’

BUILD QUALITY AND FEATURES OF THE MASTERSOUND ICONA INTEGRATED AMPLIFIER

I was already sold on the looks of the amp. The Icona is a thing of beauty with a layout that is very neat and symmetrical. On the front panel there are two rotary dials. The left is an input selector and the other is the volume control.  Both are a good, tactile size and have very smooth movement. There is a single red LED indicating power, with the actual on/off switch discretely placed under the right side of the unit.

The back features four gold-plated speaker inputs (separated for 4 or 8ohm load impedance), alongside 3 Line inputs and a Phono moving magnet socket. There is also a gold-plated grounding terminal, for use with a turntable. Finally, the power socket is a standard IEC input. The amp is Single Ended in Class “A” with output power of 2x24w in Pentode, 2x12w triode. To select between the two options there is a switch placed behind the tube housing, perhaps wisely to avoid accidentally changing between them while the power is on.  In Pentode mode, you get a bit more muscle and drive, while triode mode provides additional detail and depth. 

Three black, spherical transformer covers add to the gravitas of its already striking presence. One is for power; the others are for output. The chassis is finished in a lovely wood along each side, which offsets the other surfaces with a natural feel. I also like the script typeface alongside the inputs and dials, which is another bit of attention to detail that exemplifies the consideration taken in developing this piece of equipment.

A couple of my wittier, non-audiophile friends drew unexpected comparisons when I shared pictures of the amp. The first joked, “Better not take that sucker above 88pmh”, on account of the passing resemblance to the Flux Capacitor; the key component in Doc Brown’s Delorean time machine from Back to the Future. I have to say it’s a fair observation, owing to the distinctive Y or U-shaped metal housing cage that holds the 4 tubes in place (2 x ECC802 for pre – 2 x KT150 for power).  Also, it gives the amplifier an aesthetic that is equal parts futuristic and timeless. It is utilitarian, yet refined, while also managing to be retro-classic in the best possible sense. In my opinion, that’s quite an achievement and not one that often results in something that looks this cool.

The other irreverent comment about the Icona’s handsome looks was, “I’ll have a double shot, skinny latte, please.” I cannot deny the similarity in design to a high-end, elegant espresso machine. The finish of the housing is classy, utilising superbly engineered components and materials of the highest quality. 

Either way, humorous anecdotes aside, I believe the Icona would be a fine-looking addition to any living space, delightful as it is. I would also love to own a time machine, and a barista-grade coffee maker. I was more than content with having the MastersounD in my possession. 

SOUND QUALITY

My digital source was Qobuz on Roon and I streamed via Ropieee on a Raspberry Pi 3. I was also using a lovely Atoll DAC/Streamer, and a gorgeous pair of Blumenhofer FUN 13MKII floorstanders. Both bits of kit are from Carlo Marengo of Connecting Music Distribution and I have since bought the speakers, having fallen in love with them.

The MastersounD Icona is not all about the aesthetic. It produces a gloriously rich sound with lovely warmth and harmonics to die for. Not only that, but it can rock out too! Make no mistake, this is not just some gentle, laid-back piece of kit. It can do languid and chilled, without a doubt, but I also got a gutsy presentation from some seriously kick ass Hard Rock and Metal numbers out of this integrated. Imagine lifting the hood (bonnet doesn’t sound quite as cool in this context) on a beautiful, but unassuming-looking car, only to find that it has the engine of a much more powerful machine.

It handled those tracks with effortless control and delivered them with some clout. Admittedly, to get the full excitement, I found myself having to nudge the volume up a touch to get them to really sing. Once I found that sweet spot though, I was taken aback by the ability to pack such a punch. From that harder end of the rock spectrum, Gojira’s Another World gave me a surprise by how full, driving, and full of menace it could be. The bottom end was clear and articulate without any bloating. Tornado of Souls by Megadeth had excellent timing, stopping in all the right places with great accuracy. The kick drum on the Rust in Peace album is very recognisable, as it has a clicky sort of thwack to it, and it was recreated with the exact precision it should have.

Last Day of Magic by The Kills was every bit as raunchy, upfront, and lively-sounding as I hoped. It’s got a ramshackle sound that borders on that, ‘could fall apart at any moment’ sort of feel to it. The amp kept everything from spilling over into a chaotic mess though, and it was a thoroughly dynamic and engaging listen. 

Since the fairly recent resurgence of The Black Crowes, I have been revisiting their classic, The Southern Harmony and Musical Companion album (remastered 2023 version). The whole album was captured in a matter of just a few days, and it came across perfectly like that in all the best ways. In particular, Hotel Illness was just downright enjoyable. The arrangement was very cohesive, with excellent mid-range saturation. The vocals and drums were presented with such honesty and with that live feel. The guitars were crisp and full of sizzle and the bass was smooth and creamy. I kept coming back to this track the most during my review period. It gave me a renewed passion for the band. I can only consider that high praise indeed.

Wild by Spoon is a track that’s not a million miles away from the Crowes with Stones-esque swagger. I played this on repeat, and even found myself dancing along at times (ahem…that’s most unlike me!) because it was such an infectious energy to revel in. The pure feel just overtook me again.

In triode mode, I opted to try out gentler, acoustic tracks such as I Will Follow You into the Dark by Death Cab for Cutie. It’s a favourite of mine, with a sweet sentiment, and I was delighted by the lush delivery. Hurt by Johnny Cash is one of his most intimate and stripped-back performances, capturing the fragility of the man at that latter time in his life. Every ounce of that delicate performance was eked out here. MasterSounD says, ‘The listeners should feel immersed in the music, absorbed in the execution of the piece enjoying the details of the voices and of the instruments in the most natural way, feeling emotion.”  Based on these two tracks, I can honestly say they nailed it.

Silent Lucidity by Queensryche is a rousing power ballad with a superb mix, that’s more in the vein of 80s Pink Floyd, for example, than the likes of Whitesnake. The Icona gave me the soaring sense of scale, depth, and spatial separation of the luscious arrangement. Michael Kamen’s orchestral parts were simply epic and the grandiose vocal harmonies were exquisite, enveloping you in a comforting audio blanket. Geoff Tate’s baritone lead vocal had a rich timbre, sitting in the centre of the soundstage, inviting you right into the track. It was a simply fantastic and joyous experience.

QUIBBLES

If pushed, I would have to say that the price tag, just shy of £7k, may be a touch steep for some. In some cases, you could argue that the phrase, “You get what you pay for”, doesn’t always ring true. Strictly speaking, the price tag needn’t dictate that cost equals the quality. In this case though, that old saying is entirely apt.

CONCLUSION

I am already a convert for integrated tube amplifiers, having been somewhat spoiled in that department, as the proud owner of another Italian piece of HiFi engineering; a Pathos Classic One MKII integrated amplifier. Tubes will continue to form part of my setup, in one form or another. I just need to have them in the mix. The Icona has all of the gorgeous harmonics and warmth of my own reference amp. Overall, despite its surprising control over the rock/metal, I would say that the Icona shows off what it does best when handling the mellower end of the spectrum.  

As a side note, I recently treated myself to the best pair of shoes I’ve ever owned. They fall firmly in that category as another fine example of entirely handmade, artisan-made footwear from Italy.  The Icona may well be the valve amplifier equivalent of those.  Something to be proud of, to cherish, and which give you that sense of knowing that you have invested your hard-earned money wisely in a product you will continue to enjoy for years to come.

AT A GLANCE

Build Quality And Features:

Superb finish and aesthetics. Expertly built components, such as transformers that are wrapped by hand, one at a time

One bonus is the option to switch between triode and pentode, giving you flexible control, depending on your preferred choice of musical style or genre

You get a simple matte black remote with two brushed silver buttons for volume control and a single LED and I appreciated how unfussy it was.

Sound Quality:

Equally at ease with mellow arrangements and tracks that need to be delivered with a rousing attack

Value For Money:

Great value for such handcrafted excellence. It’s a long-term investment, not some mass-produced, disposable kit that you might live with for just a relatively short time before built-in obsolescence kicks in.   

We Loved:

The amp is a statement piece, without being overtly ostentatious or needing to rely on many bells and whistles to get your buy in. The sound quality is refined and incredibly natural.

We Didn’t Love So Much:

At points, there is a fine line between the right level of volume to eke out a bit more excitement from heavier rock tracks and tipping into a slightly brittle top end with a touch of break up. That being said, I’m talking about the odd section here, or there and not as a general rule of thumb.  Overall, I wasn’t afraid to push both the amp and my speakers, and was rewarded with excellent results.

Elevator Pitch Review: If I were in the market for a replacement for my Pathos amplifier, with another tube amp, I wouldn’t hesitate to give the Icona a new home. It has been a joy, and I will be a bit sad to see it go.  Oddly, as it has such a charismatic presence, it will be unusual to look over and not see it occupying the space atop my HiFi rack, in which it fits so resplendently. 

Price: £6,950

Michael Fairbairn

SUPPLIED BY CONNECTING MUSIC DISTRIBUTION

SUPPLIED SPECIFICATION

Single Ended in Class “A”

Power: 2x24w (2x12w triode) class A
Tubes: 2 x ECC802 – 2 x KT150
Input: 3 Line + Phono MM
Output: 1 Line (fixed) + 1 Preamp
Input imped: 50k ohm
Load Impedance: 4 – 8 ohm
Bandwidth: 20 hz / 37k hz 0 db
Automatic Bias
Output Transformer: MastersounD
Supplied with remote control
Negative Feedback: 0 dB
Consumption: 225w
Dimensions: 49 x 33 x 23 cm
Weight: 22 Kg