Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.

I recall having a conversation with a good friend soon after he purchased his first sports car, a new Porsche 911 Carrera S. His wife had agreed to the purchase on the understanding that their two kids would be able to fit in the car, which of course reduced the range of models he could consider. “The sports car needed to suit the family’s needs,” I remember him saying.

This interaction came to mind shortly after Doug Schneider asked me if I’d be interested in reviewing the R 2500 R ($18,800, $19,720 with optional phono stage, all prices in USD) from T+A Elektroakustik, which is based in Herford, Germany. This elegant component combines a CD player, FM tuner, integrated amplifier, DAC, and network streamer in one chassis.

After I described the R 2500 R to my wife, she said she liked the idea of replacing my rack of components with an elegant one-box solution. For her, the cherry on top was the built-in CD transport. The R 2500 R addressed my love of high-performance audio and my wife’s aesthetic sensibilities, much as that Carrera S addressed my friend’s wish for performance and his family’s need for space.

T+A, the company says, is short for Theory and Application. As I discovered by watching Doug Schneider’s SoundStage! Icons interview with company founder Siegfried Amft, the brand’s full name provides useful insight into T+A’s history and ethos. During the interview, Amft outlines his career arc, starting with his interest in audio as a teenager, and continuing to his university studies in Hanover, Germany, where he focused on plasma physics. Amft also studied electroacoustics with none other than Fritz Sennheiser, the founder of Sennheiser Electronic.

Amft had many options when he finished university, but he chose to form his own company. Following its founding in 1978, T+A first focused on loudspeakers before moving into electronics a decade later, and soon became Germany’s leading high-end audio brand. Not only is T+A highly regarded in its home country, it has a growing following in North America.

Description

The R 2500 R has a gorgeous minimalist industrial design. There are two color options: silver or black. My review unit came in silver, adding a nice flair to our shared space, which is filled with mid-century modern furniture. Measuring 6.5″H × 18.1″W × 16″D and weighing 30.8 pounds, the R 2500 R looked a bit imposing on the top shelf of my Modernica Case Study storage unit. But I found it surprisingly light for its size. Compared to the R 2500 R, my Simaudio Moon 760A power amplifier felt like a piece of solid tungsten.

The entire case is made of thick-walled aluminum, with its components machined from solid metal blocks and extrusions. The external case is smooth to the touch, courtesy of the hand-brushed anodized finish, with tapered edges adding to the sleek feel.

I’m a sucker for any amplifier with a vintage aesthetic, so excitement welled up in me when I saw the VU meters bouncing to my favorite tracks. Also drawing my eye was the display screen to the right of the VU meters. I found the green text very easy to read from my listening position approximately 10 feet away.

On the left side of the front panel is a small power button and a large multifunction knob that’s used for menu navigation, source configuration, playback control, and other functions. Below the knob are four buttons for selecting the built-in streamer, disc player, radio, or external source components.

Under the display screen is the slot for the CD transport, which accepts CD-DA, CD-R, and CD-RW media, and supports CD-Text. To its right are the CD-eject button and buttons that call up the unit’s tone-control, digital-filter, and configuration menus.

The large volume knob on the right side of the front panel has the most satisfying tactile feedback I’ve ever experienced. It operates a resistor-ladder network that adjusts output in 1dB increments. To the right of the volume control are buttons for enabling output to the A and B speakers (the R 2500 R lets you connect two pairs of speakers), and for enabling the preamplifier outputs. On the bottom-right are a 4.4mm Pentaconn balanced headphone output and a powered USB Type-A port for connecting an external drive loaded with music files.

The R 2500 R can accommodate a wide range of source components. It has three sets of line-level analog inputs: one balanced (XLR) and two single-ended (RCA). The second set of RCA inputs can be upgraded for vinyl playback with an optional phono module: the PHE P/PA R MM if you have a moving-magnet cartridge, or the PHE P/PA R MC if you have a moving-coil. My review sample came with the MC module installed. There are three HDMI ports: two of them for connecting sources like a Blu-ray disc player or set-top box, and the third for connecting to the HDMI ARC port on an HDTV. This passes video from components connected to HDMI1 and 2 to the display and also enables the R 2500 R to serve as an audio receiver for the TV. There’s also a USB Type-B port for connecting a PC or Mac; a second USB Type-A port for connecting an external drive; one coaxial (RCA) and two optical (TosLink) S/PDIF inputs; an ethernet port for hardwiring the R 2500 R to a network router or access point; terminals for Wi-Fi/Bluetooth and radio antennas; two R2Link ports for integrating the R 2500 R with other T+A components for total system control; a three-prong IEC power inlet; and two sets of speaker binding posts, marked A and B.

The R 2500 R’s built-in streamer supports Apple AirPlay 2, Spotify Connect, and Tidal Connect. The companion T+A MusicNavigator app, which can be used for Wi-Fi setup, provides access to Airable podcasts and internet radio, Amazon Music HD, Deezer, Highresaudio, and Qobuz. You can also use the app to stream locally stored music from an attached USB drive or from a NAS drive with UPnP support. Playback of locally stored music can also be controlled from the knob on the left side of the front panel or from the remote handset.

Via optical and coaxial S/PDIF, the R 2500 R supports PCM audio to 32-bits/192kHz and DSD64 (using DoP). The USB DAC input can accept PCM to 32/768 and up to DSD512. Via Wi-Fi and ethernet, it can accept PCM streams to 32/384 and up to DSD256. The R 2500 R also has Bluetooth connectivity with support for the SBC, AAC, aptX, and aptX HD codecs.

The DAC section has separate paths for PCM and DSD. PCM streams are handled by eight 32-bit Burr-Brown devices, while DSD streams are processed by T+A’s own True-1-Bit converter. This is a compelling feature for listeners whose music libraries include DSD-encoded albums. For PCM streams, listeners can choose from four selectable upsampling filters. I tried them all, and preferred the OVS Bezier filter, which T+A says offers “perfect ‘timing’ and dynamics for PCM playback.” There are also two non-oversampling options for listeners who are using an application like Roon or Signalyst HQPlayer to perform upsampling. And there are two converter modes for DSD playback, but as I did not play any DSD source material during this review, I did not compare these settings.

On to the amplifier. It’s a class-AB dual-mono design specified to output 140Wpc into 8 ohms or 250Wpc into 4 ohms. T+A does not specify class-A bias power rating, but I was assured by James Shannon, T+A’s export sales manager, that the R 2500 R would likely stay in class-A mode most of the time when powering my Klipsch Forte III loudspeakers. When listening to dynamic genres like hip-hop and dance music at high levels, the output stage would likely slide into class-AB mode, he added. Typically, peak levels during my listening sessions are between 80 and 90dB. And, of course, my Klipsch speakers are very efficient. Specified sensitivity is 99dB (2.83V/m). During my listening, I rarely saw the VU meters on the R 2500 R swing past the 1W mark!

The R 2500 R features T+A’s High-Frequency Sinusoidal Power Supply, which is said to combine the sonic advantages of traditional linear power supplies with the stability of switching power supplies. According to T+A, this design “can provide large amounts of current inertialessly, even with suddenly occurring, strong musical impulses.” So it proved in my listening—dynamics and driver control were consistently outstanding.

My experience with the headphone output was similar. T+A supplied a 4.4mm-to-6.35mm adapter so I could listen through my Audeze LCD-2 Closed-Back headphones. These are known to be demanding ’phones, but the R 2500 R drove them with blissful authority and clarity.

Setup

I did almost all of my listening through my Klipsch Forte III loudspeakers, which I connected to the R 2500 R using Kimber Kable Ascent Series 8TC speaker cables. I eschewed Wi-Fi and instead connected the unit directly to my network router via ethernet. I used the T+A MusicNavigator app for firmware updates and system configuration, but not for music playback, as I stream mainly using Roon.

When I was conducting this review, the R 2500 R had not yet been certified by Roon Labs as a Roon Ready device. That posed a challenge, because I use Roon to stream music from my Innuos Zen Mk3 music server to my Simaudio Moon 390 streaming preamplifier, controlling playback from my iPad. But there was an easy workaround: I connected my Innuos server, which I use as a Roon server, directly to the R 2500 R’s USB DAC port with an AudioQuest Coffee USB cable, and controlled playback from my iPad as usual. Such a workaround is no longer necessary—the R 2500 R is now officially Roon Ready. I’m the only Roon user in my household, but other family members appreciated being able to stream music to the R 2500 R from their smart devices via AirPlay, Spotify Connect, Tidal Connect, and Bluetooth.

For vinyl playback, I used my reference analog setup, which comprises a Pear Audio Blue Captain John Handy turntable, Pear Audio Cornet 1 tonearm, and Hana ML moving-coil cartridge. As mentioned, my review sample had the MC phono module preinstalled. Before playing records, I popped the lid off the R 2500 R to make sure the settings for input sensitivity and impedance matched my cartridge’s requirements. The default settings were a perfect match for my Hana ML.

All electronic components were connected to my AudioQuest Niagara 1200 power conditioner, which was connected to a wall outlet with an AudioQuest Storm Series Thunder power cable. A Shunyata Venom HC power cable was used for the R 2500 R.

Sound

After a long day in the office, I like to listen to something warm and relaxing. A favorite track is “My Offer” from Leven Kali’s 2019 album Low Tide (16-bits/44.1kHz FLAC, UMGRI Interscope / Qobuz). With its ease of delivery, the R 2500 R had me rooted to the back of my couch through the whole song. “My Offer” consists of two sections, blended as perfectly as Edo Sashimono wood joinery, with a gently swinging instrumental section leading seamlessly into Kali’s vocals. The keyboard strikes had convincing timbre and precise attacks followed by delicate decays. The R 2500 R delivered the melodic horns with gently infectious rhythm. The double bass anchoring the horns had excellent texture and grunt, and never sounded muddled. When Kali begins singing just before the three-minute mark, his vocals filled the center of the soundstage, which extended well above my Forte III loudspeakers and far out to the sides. Elements like guitar plucks had clearly discernable locations.

I found this track telling because I was able to listen without feeling an urge to be analytical, even though the R 2500 R’s presentation of the high frequencies was so detailed. Prominent high frequencies often create an impression of highly resolving detail retrieval, but this generally causes listening fatigue for me. The R 2500 R delivered this R&B tune with a balanced sense of ease, yet provided an opportunity for me to listen critically—without risking fatigue.

On weeknights, I need to relax, and choose my music accordingly. But on weekends, I like to hit the dance floor—at a wedding or during a night out. A few years ago I discovered hip-hop artist Freddie Joachim’s single “Nucleus” (16/44.1 FLAC, 723249 Records DK / Tidal) courtesy of Roon Radio. The track starts with a barely audible stroke of the keyboard. The gentle increase in volume creates an impression that Joachim is blending the track in with a DJ mixer—a pleasant thought. I was impressed by the R 2500 R’s easeful authority and control over the Forte III loudspeaker drivers when reproducing the forceful beats of kick drums, which begin about 45 seconds into the track. They give me chills every time I listen to this song. But my favorite element is the interaction of the guitar and a reverberating tap that starts after the 45-second mark. The R 2500 R separated these two sounds beautifully, making it easy to discern exactly where the guitar was in relation to the tap. That tap begins on the right side of the soundstage, then sweeps across to the left. The soundstage width extended well beyond the outer limits of my Forte III loudspeakers during this sweep. The delicacy of the sweeping tap, combined with the noise of cicadas chirping deep within the soundstage, showed how transparent the R 2500 R could sound.

Switching to CD, “C’est Magnifique” from Melody Gardot’s album Sunset in the Blue (Decca B0032924-02) was pure sonic bliss. This track features António Zambujo singing the chorus with Gardot, providing a beautiful contrast. Each artist’s vocals were easily discernible, sounding crisp and smooth. The gorgeous decays of the guitar plucks seemed to hang in the air deep within the soundstage. The entire presentation had a striking sense of clarity.

When I inserted Jimmy Heath’s album Love Letter (Verve B0032225-02) into the CD transport, I went straight for my favorite track, “La Mesha,” featuring Wynton Marsalis. The original song is by Joe Henderson, but I love this version just as much for Jimmy Heath’s masterful tenor saxophone. Once again, the R 2500 R created an expansive soundstage—very wide and very high—which provided a great sense of space. I especially loved the way the R 2500 R presented Kenny Barron’s fluid yet crisp strokes on the piano during his solo. The strokes and ensuing decays had striking realism, with completely convincing timbre.

I’ve been on the hunt for a CD player or transport for some time, for one major reason: I want to be sure that I can still find a favorite song or album if it’s suddenly removed from streaming. So I really appreciate the fact that the R 2500 R has a built-in CD player. This also provided an opportunity to satisfy my curiosity about the sound quality of CDs compared to file-based playback. I ripped the Gardot and Heath albums to my Innuos server, then compared the CDs and ripped files. Depending on your prejudices, you may or may not be surprised by what I heard.

Compared to the CD, the ripped file of “C’est Magnifique” seemed slightly compressed. I got the sense that the entire presentation was focused into a tighter space like a closing iris, diminishing the space between the instruments. The woodwinds of the Royal Philharmonic Orchestra lost the snap and speed I heard from the CD, and had less dynamic swing. John Leftwich’s bass had less grunt and presence.

Similarly, “La Mesha” lost a slight bit of its magic when I played the ripped file. The locally stored file seemed a tad rushed, lacking the ease of the CD playback. Kenny Barron’s piano solo sounded a wee bit veiled in comparison to the CD.

While noticeable, these differences were not large—the ripped files and CDs both sounded amazing. Given the fact that the CD and ripped files were played through the same DAC and amplifier, I can think of only two factors that might account for these differences. The interface between my server and the R 2500 R could have introduced timing errors, or there could have been small differences in level that manifested themselves as qualitative differences.

What about analog? An LP I was itching to hear through the R 2500 R was After Hours by the Weeknd (Republic Records B0031991-01). On the opening track, “Alone Again,” I became immediately aware of how quiet the T+A phono stage is—I heard no hiss or noise at all. The deep synth notes on this electronic-inspired pop song had visceral impact. The Weeknd’s vocals were dead center on a soundstage that had greater height than I’d previously experienced on my reference system. Through the R 2500 R, the high frequencies on this complex song were very prominent, such that instruments and electronic effects were clearly delineated.

At this point I decided to switch gears, and plunked Samara Joy’s album Linger Awhile (Verve Records B0036472-01) onto the ’table. Played through the R 2500 R, “Can’t Get Out Of This Mood” had excellent instrument separation and a well-defined soundstage. Joy’s vocals sounded smooth, with a touch of sweetness. I especially enjoyed Ben Patterson’s piano solo, with the keystrokes having good timbre and decay. The dynamic swings were quick and effortless, helping to create the illusion of a live performance.

Comparison

With my reference components—Simaudio’s Moon 390 streaming preamplifier ($6400) and 760A power amplifier (discontinued, $8500 when available)—the presentation of the higher frequencies on “Alone Again” by the Weeknd was gentler. There was a greater focus on the midrange frequencies, and slightly more guttural bass than through the R 2500 R. The soundstage did not soar as high, but vocals had greater center focus and clarity through the Moon components. Overall, the Moon pairing had a warmer sound. But the noise floor on the phono stage was noticeably higher on quiet portions of the song.

Samara Joy’s vocals on “Can’t Get Out Of This Mood” sounded warmer on my reference components than they did through the R 2500 R, but with less high-frequency presence. The differences were especially noticeable when I cranked up the volume. I’m partial to a warm sonic profile and sensitive to prominent high frequencies, so at high levels I found my reference components more comfortable to listen to. Don’t misinterpret me—I’m not saying the R 2500 R sounded harsh, just that it delivered more detailed highs than my Simaudio components.

Conclusion

I enjoyed my time with this high-performance, all-in-one component. The R 2500 R looked gorgeous in our mid-century modern home. Its beautiful casework became a topic of discussion with many of my guests. The R 2500 R’s curb appeal is truly world class.

The R 2500 R is an amazing option for anyone looking for a reasonably powerful amplifier—more powerful than most people will ever need—that’s capable of playing music from every conceivable source with high fidelity and style. I found it effortlessly dynamic and able to produce deep, visceral bass. The sound was highly resolving, especially in the higher frequencies. It’s worth keeping that characteristic in mind so that you can match the R 2500 R with speakers that meet your sonic goals.

. . . Killain Jones
killain@soundstage.com

Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.

Associated Equipment

• Speakers: Klipsch Forte III
• Headphones: Audeze LCD-2 Closed-Back
• Streaming preamplifier: Simaudio Moon 390
• Power amplifier: Simaudio Moon 760A
• Server: Innuos Zen Mk3 music server 1TB
• Turntable: Pear Audio Blue Captain John Handy with Cornet 1 tonearm and Hana ML moving-coil cartridge
• Cables: AudioQuest Coffee USB cable, Kimber Kable Select KS 1116 balanced interconnect
• Speaker cables: Kimber Kable Ascent Series 8TC
• Power conditioner: AudioQuest Niagara 1200
• Power cords: AudioQuest Storm Series Thunder (for conditioner), Shunyata Research Venom HC v2 (for T+A), Shunyata Research Venom NR-V12 (for preamplifier), Shunyata Research NR-V10 (for power amplifier), Shunyata Research Venom V14 (for music server)

T+A Elektroakustik R 2500 R streaming CD–receiver
Price: $18,800; $19,720 with optional phono stage
Warranty: Three years, parts and labor

T+A Elektroakustik GmbH & Co. KG
Planckstrasse 9 - 11
D-32052 Herford
Germany
Phone: +49 (0)5221-7676-0
Fax: +49 (0)5221-7676-76

Email: info@ta-hifi.de
Website: www.ta-hifi.de