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Every now and then...

...an audio product actually performs the same, even when used in completely different rooms and systems. Looks like your CJ MF2250A and mine were consistent.



In the 2000s, I worked in property management. Eventually, when word got out that I was an audiophile, others who liked music and video games joined in. One of my colleagues tinkered in our music studio. From that experience, he did not feel the need, in his own home, for balanced XLRs. Moreover, he loved the champagne-gold faceplates of Conrad-Johnson gear.



Try not to lift the amp by its heatsink fins. They can scratch or cut your hands. When the room is quiet, place your ears near the amp. You might hear some low-level buzzing or hum. Also, give the amp a few inches of clearance, to allow for ventilation (though the MF2250A does not run hot).



My colleague said, "If you want to double down on what the MF2250A does," use Hi-Fi Tuning Gold fuses.

The Kimber Silver Streak interconnects and 4TC speaker cable were nice matches for the MF2250A. The placement of the binding posts does allow you to route the speaker cable away from the interconnect and powercord.



The MF2250A was not a good match for speakers which curtail the treble. Such was the case with the treble-challenged original Sonus Faber Concertino. Same with the Totem Model 1 Signature, which rolls off the top octave. OTOH, the MF2250A mated well with the otherwise boom-&-sizzle ProAc Response One SC.

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