Choosing an amplifier is always a matter of finding the golden mean. You want it to be honest and detailed, but at the same time able to draw you into the music, rather than just demonstrating dry technical parameters. This is precisely the segment in which the Swedish company Primare positions itself, and its I35 model has already gained a reputation as a musical and sophisticated device.
But how will this amplifier perform when paired with different speakers? After all, speakers are the voice of the entire system, and their character can either reveal or hide all the best qualities of the amplifier. We decided to conduct a practical experiment and listen to the Primare I35 on four completely different pairs of speakers.
Our goal is to understand how versatile this integrated amplifier is. Will it retain its signature clarity and openness of sound with speakers of different characteristics? Will it reveal its own character, or will it simply obediently reflect the characteristics of each speaker? And, perhaps most importantly, will it be able to rhythmically and energetically control the speakers, making you tap your foot?
The Primare I35 amplifier proved itself to be a versatile and musical component that performs equally well with different speakers. On four different speakers — from strict studio monitors to warm floorstanding systems — it kept a clear rhythm, delivered sound cleanly and openly, without hiding any details. At the same time, it did not introduce excessive harshness or artificial coloration, remaining neutral but lively. The character of the sound depended on the speakers, not the amplifier — and that is its strength: it does not impose, but reproduces.
Hardware
Before we get to the most interesting part, let's take a look at the hardware. The new Primare CD35 player is positioned as a universal source and can be equipped with an optional Prisma module — a network player that combines all branded devices into a single ecosystem. In this configuration, we get not only a CD player, but also a multi-room device with support for Bluetooth, AirPlay, Chromecast, and Spotify Connect.
The design of Primare components has not changed fundamentally, but the internal contents have undergone a serious upgrade.
The build quality and design are still good.
A steadfast character
The Primare I35 integrated amplifier is based on a radically updated UFPD 2 module, which, according to the manufacturer, is “fully analog Class D amplifier technology.” Apparently, in Swedish audiophile circles, Class D is also referred to as a “digital amplifier,” since such clarification was necessary.
Dance electronic music performed by this system was accompanied by a soft, voluminous “club” bass, which, however, did not get out of control. In the Guru Groove Foundation composition, all the electronic and synthesized sounds played surprisingly analog, with no synthetic elements. The vocals did not dominate the overall sound, existing on an equal footing with the other instruments. Katie Melua's song “Shy Boy” sounded very lively and bright, with extremely focused, clear, and at times even cool vocals. Going through familiar tracks, I noticed that with Primare, the music sounds bright and open, unlike what usually happens with Dali speakers. Against this backdrop, Leonard Cohen's “In My Secret Life” came as a complete surprise, suddenly losing its characteristic languid thoughtfulness.
Like the CD player, the amplifier can be supplemented with a Prisma network module, as well as a DAC module with a USB port and a large set of SPDIF inputs. Interestingly, the DAC built into the amplifier is based on a different microchip: instead of ESS's Sabre, it features AKM's AK4497. This gives you more options when putting together your stereo system. But more on that another time.
The top hat-shaped volume knob is actually very convenient.
To test the set, we went to the AV Comfort salon, where four pairs of speakers were selected. The main selection criteria were cost comparable to the price of one or both components and minimal similarity between the speakers. The choice fell on the classic KEF R700 and Dali Opticon 6 floorstanding speakers, the anniversary retro Tannoy Cheviot speakers, and the ATC SCM19 gen 2 bookshelf monitors. The connection was made using Abby Road and Atlas cables with copper conductors to eliminate the possibility of sound coloration. One set of test tracks was used for listening, and the volume level was set using a noise meter each time the speakers were changed.
Setup on the TV
The first impression from listening to the system paired with KEF R700 was a high degree of detail and an open, free sound. The soundstage was wide and spacious. Objects were precisely localized in space, and depending on the nature of the mix, the main musical action either stretched out right in front of the listener, was located somewhere in the distance, or filled the entire room. The tonal balance tended towards neutral, but cool notes and light tones often slipped through. The upper midrange was lighter and brighter than usual, while the lower midrange and upper bass, on the contrary, lacked richness and density. I noticed these nuances in the male vocals, when Leonard Cohen's voice turned out to be unexpectedly open and light, as if he had decided to abandon his trademark velvety tone and adopt Tony Bennett's style of performance. I can't say that it turned out to be less soulful, but it wasn't what I had imagined.
The most popular and frequently encountered combination is Primare + KEF
The classic audiophile hits Dire Straits' “So Far Away” and Pink Floyd's “Money” sounded almost perfect, but on the second song, the character seemed more analytical, with an emphasis on detail. Metal and alternative rock pleased with a dense and energetic sound, although some hits sounded too academic and restrained for my taste.
At first, classical music seemed cool and even bland, but literally a minute later, I found myself completely immersed in listening and ready to continue for as long as I wanted. The same thing happened with jazz, especially when accompanied by female vocals.
High detail is the main feature of both the acoustics and the components.
The Primare + KEF combination clearly preferred clean and beautifully recorded audiophile recordings. Interestingly, the system tried to extract maximum detail and nuance even from deliberately dirty mixes. When playing ZZ Top's album La Futura, the sound picture was transparent, every note and every overtone was audible during the solos, and the rhythm guitars were clearly defined in space and did not try to fill the entire space around them. The energy and drive were definitely conveyed, although one could complain about a certain lack of “meat.”
The amplifier could have been a standalone source, but not this time!
The car is full of obstacles with different coefficients of absorption and reflection of acoustic waves. Moreover, the degree of absorption and reflection varies for different frequencies. The sound coming from the speakers in the car interior depends on dozens of factors, including the material of the seat and interior upholstery, which partially absorbs and reflects acoustic waves. As a result, the bass is drowned out by low-frequency extraneous noise, while the high and low frequencies reach peak values due to the vibration of hard materials in the car (plastic, metal). Using an equalizer, it is necessary to “cut” these peaks in the high and low frequencies, compensate for the lack of mid-range frequencies, and make a wide frequency range audible.
The interior is full of barriers to acoustic waves in the form of seat backs and the driver. Extraneous sounds penetrate the car: the engine, noise from under the wheels and mechanical parts of the vehicle, reducing acoustic comfort.
Don't expect miracles from an inexpensive radio, spending hours trying to achieve crystal-clear sound. Such a solution will not protect you from extraneous noise. Even common Pioneer radios are mainly equipped with a 5-band EQ.
The listener is shifted from the center of the acoustic space located in the center of the interior.
From an acoustic point of view, the car interior is a bad place to listen to high-quality music. And the problem is not only the cost of the equipment used.
After listening to KEF, the Dali Opticon 6 speakers do not impress with their detail, but they have another advantage—a more saturated midrange/bass range and a comfortable, warm sound character. Adriano Celentano's voice was reproduced with richer and more accurate timbre. ZZ Top recordings demonstrated an excellent balance of resolution, warmth, and drive; the solo guitar sounded less than perfect in terms of detail, but the melody and energy were conveyed superbly. Classic rock sounded good, but the system lacked a little aggression and expression with heavier music — the music sounded too restrained and cautious. Amon Amarth was the best-sounding band in this genre, primarily thanks to the clearly structured melody of the guitar parts, while the vocals sounded insufficiently convincing.
The Primare and Dali system is a battle of opposites. Spoiler alert: everyone wins.
I liked how the Primare and Dali combination worked with classical music. The system conveyed the scale and atmosphere of the hall. The violin sounded smooth and comfortable; female vocals were delivered easily, accurately, without intrusiveness or excessive brightness. The “Dance of the Skomorokhs” from Rimsky-Korsakov's The Snow Maiden played loudly, with good macro dynamics, accurately conveying the mood of the composition.
When listening to jazz, the double bass parts sometimes lacked control, the lower notes were blurred, and the upper bass lacked precision and clarity at the moment of attack. But overall, the sound was comfortable and even relaxed.
The build quality and design are still good.
Katie Melua's “Shy Boy” sounded very lively and bright, with extremely focused, clear, and at times even cool vocals. Going through familiar tracks, I noticed that with Primare, the music sounds bright and open, unlike what usually happens with Dali speakers. Against this backdrop, Leonard Cohen's “In My Secret Life” came as a complete surprise, suddenly losing its characteristic languid thoughtfulness.
The dance electronic music played on this system was accompanied by a soft, voluminous “club” bass, which, however, did not get out of control. In the Guru Groove Foundation composition, all electronic and synthesized sounds played surprisingly analog, without any synthetic elements. The vocals did not dominate the overall sound, existing on an equal footing with the other instruments.
The top hat-shaped volume knob is actually very convenient
Based on my impressions of listening to the Dali Opticon 6 in other systems, I can say that when paired with Primare components, they sounded more open and expressive in the upper midrange. This system performed best with academic music, uncomplicated jazz, and classic rock. Electronic dance music sounded a bit peculiar, but quite pleasant.
Resilient character
Tannoy Cheviot is the next pair of speakers in the test, possessing not only an extraordinary appearance and rich pedigree, but also a unique character that does not combine well with all components.
I started the test by listening to male vocals, as Tannoy speakers should be talented in this area. I had no complaints about the sound of Adriano Celentano's voice: perhaps the upper overtones were a little bright, but overall the tonal balance was even. Leonard Cohen's voice also sounded natural and did not cause any complaints. However, another problem became apparent: the lower bass sometimes began to hum noticeably.
Jazz compositions rich in double bass parts helped us figure this out. By comparing them, we identified two nuances: first, the acoustics have more bass than usual, and second, the degree of bass control is inversely proportional to the tempo of the music. The slower and calmer the melody, the clearer each note is. Speed up the tempo, and the lower bass begins to hum quietly. It is important to note that this only applies to the lowest notes. In the rest of the range, there are no control issues at any speed. Rage Against the Machine and Amon Amarth sound fine in terms of energy, tempo, and detail. The upper and middle bass are rapid, precise, and extremely focused, the slap is excellent, and the fast bass drum beats sound clear and elastic.
We have seen and heard these speakers much more often in combination with tube amplifiers.
The Primare + Tannoy Cheviot combo did not falter even with more experimental genres. It played Alex Clare's debut album very well — clearly, in detail, rhythmically, and quickly. In other words, everything was in its place.
When listening to classical music, we liked the sound of the opera vocals — lively, exciting, and expressive. Violin concertos sounded good — fast, bright, sharp, but comfortable and not too harsh. However, symphonic works lacked macrodynamics. At times, I wanted to increase the volume myself to increase the scale, and in quiet moments, on the contrary, to decrease it.
31. An Ordinary Miracle (1978)
The set didn't quite work with dance music: the overly intimate and neat sound of the speakers with excessively soft highs stifled dance hits in their infancy. And instead of a dance floor atmosphere (with a wide and open sound), I invariably got a cozy home atmosphere. In general, no matter how hard Primare tried, the character of the Tannoy Cheviot did not change fundamentally. However, the presence of Primare in the system was still noticeable. Compared to some components I am familiar with, this combination produced a slightly faster and more open sound. The presentation of the music became more focused, with more attention paid to detail, although the speakers' signature manner of highlighting the main tones and melodic lines remained.
To the studio!
While still in the process, I studied how the ADC works with both the standard cartridge and the replaceable one. Overall, everything is extremely simple; even someone who has never seen a record before could handle the digitization task. The software is simple, convenient, and easy to understand. It writes in both hi-res and DSD, but there is one caveat: what is the point of the sound produced by the player, especially in the form of heavy DSD files? Finally, as I was finishing the test, I put on a record with a recording of Carmina Burana. No, I wasn't expecting any miracles, I just needed to complete the planned test program. One thing pleased me — the player played this complex recording with roughly the same style as the others. It was no worse than could be expected (not every system can handle this record), but just like the others. It's listenable, but there are still quite a few questions about the sound.
In digital devices, processing is performed using mathematical methods, while analog devices introduce more changes to the sound, but the sound becomes lively and realistic.
I put on Pink Floyd's “The Wall.” Overall, it's listenable, but the sound is constricted. The attack is weak, and the fullness and volume could also be greater. Nothing outstanding in terms of dynamics. It's been a long time since I've had such a discrepancy between expectation and reality in my tests. It would seem to be a serious manufacturer, with a fairly ambitious claim in terms of functionality and a frankly attractive player, but everything turned out differently.
I was impressed by the audiophile-quality jazz recordings. Evie Sands' composition “While I Look At You” sounded perfect — transparent, accurate, and at the same time extremely realistic, lively, and expressive. The system demonstrated impeccable bass control and absolutely natural piano sound on Laura Fugy's track “Let There Be Love.” The vocals were open and light, and every instrument and every note was precise and clear.
Balanced switching is the only right solution in the case of Primare.
Based on my impressions of listening to the Dali Opticon 6 in other systems, I can say that when paired with Primare components, they sounded more open and expressive in the upper midrange. This system performed best with academic music, uncomplicated jazz, and classic rock. Electronic dance music sounded somewhat peculiar, but quite pleasant.
As befits solid, expensive components, the 35 series devices have interfaces for automation systems.
Alex Clare's “Up All Night” sounded comfortable, without any harshness, overly bright accents, or muddiness in the midrange. Moreover, the depth of the soundstage was clearly noticeable, which can only be heard on a high-resolution track with a smooth tonal balance.
Of all four systems, this one, in my opinion, offered the best combination of precision and musicality. I often wanted to listen to the test tracks until the very end. Primare's contribution in this case was due to the high quality of the equipment. Without the proper level of resolution and dynamics, such a result would not have been possible.
Testing the Primare I35 on different speaker systems clearly demonstrated its main strength — versatility. This is not an amplifier with a single, pronounced, and intrusive character. Its task is to faithfully and accurately convey the essence of the music and the characteristics of the speakers themselves.
That's why it sounded different with each pair of speakers, while retaining common features: clarity, detail, and excellent bass control. It doesn't color the sound, but allows you to hear your speakers in the best light, whether it's British restraint, German precision, or Scandinavian airiness.
In conclusion, the Primare I35 is a sensible and reliable choice for those who appreciate musicality without unnecessary pomp. It will be an excellent foundation for a system that will bring joy for many years, without tiring the listener and revealing new details in familiar recordings.
