Here’s where things get a bit ranty again. The Prisma part of the deal invites some tough questions about the way other brands get music into their system. Basically, unless you are trying to send digital audio via semaphore or smoke signals, Prisma will cope. End of discussion and no qualification needed. Which kind of makes those discussions that take the “well, it doesn’t do X because we think Y” line of reasoning sound like excuse creation. I get it when licenses are involved, and I get it when it comes to digital formats (a product might end up down a sonic wrong turns as a result of opting to support a specific and rare format), but when it comes to acquiring music from a range of places, if the system can’t do it, it’s the system’s fault.
Staying in rant mode for a moment or two longer, some of this is simply ‘not invented here’ syndrome. Chromecast is a fully developed platform that works extremely well. There are more people at Google working on obscure bits of back-office code on Chromecast than there are members of staff in most high-end audio companies. And yet, we frequently re-invent the digital wheel either because of reluctance to pay Google (or similar) its pound of flesh, or the even less comprehensible notion that ‘well, we know better’. While it’s good to have that design and entrepreneurial zeal, sometimes it pays to just use the thing that actually works.
That’s what Prisma does – it works!
Here’s how it works. On the one hand, you have Google Home. This is either an app that came with your Android or Google device, or it’s an app you download from Apple’s app store. Then you download Primare’s app. If your I25 is wired into a network, you get the three to handshake. If the I25 is on a wireless network, you need to set the Wi-Fi password on the I25. If you don’t have a Tidal, Spotify Connect, Deezer, or Qobuz account... get any one (or all) of them. You might also want to consider using Roon in a ‘one app to rule them all’ way (but without any orcs or eyes of fire in the sky). If you have a tablet or a smartphone, the I25 Prisma will turn that into your musical home almost overnight. If you don’t have a tablet or a smartphone, there’s this whole thing called the 21st Century you should try... you might like it!
Operationally, the Primare I25 Prisma has that understated Nordic design down to a tee. Unlike its bigger brother, there’s just the one dial and three small buttons, with a central monochrome display. This display can be somewhat small when dealing with track replay on a display that is less than 2cm tall across a room, but that’s what apps are for, in which case it can be turned to just a larger volume display! The amp comes with an elegant all-black remote handset, and two stubby aerials for the rear panel. The first box ticked.
Sonically it’s extremely good. There’s a clarity, openness, and extension to the top end that is reminiscent of more expensive audio equipment, and is the antithesis of the notion of ‘digital sound’; this is clean and extended, but not hard-edged or bright, unless you push it beyond its limits. At the other end of the frequency range, the bass is excellent, having both a healthy weight to it and a good sense of beat. This seems independent of input, so if you play ‘Something Better Change’ by The Stranglers [No More Heroes, United Artists], all that raw energy comes across evenly whether it’s a ripped CD stored locally or played via Tidal. Jean-Jacques Burnel bass lines are always crisp and here they came across as being a little thinner than usual, but they aren’t the deepest bass lines around, and they still had some fierce energy behind them.
Stereo separation, in particular, was very good, with the music sitting in three-dimensional space between and slightly forward of the loudspeakers. There was also some layering and depth to the image, giving something of a ‘third row of the stalls’ feel to the image, especially with classical music.
The dynamic range of the I25 also sets a high standard to beat for the price. It’s full of energy, although not to the point of running away with itself. There is always a sense of control and order to the sound of the I25, but within that control, there’s a lot of dynamic energy, both in terms of the big orchestral swells and the ability to pick out fine musical nuances in a piece of music. This makes Joyce DiDonato’s voice on the Stella di Napoli compilation [Erato] both beguiling and compelling, as it has almost weapons-grade force at times and yet subtlety that can move you to tears. Box two... ticked.