Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.
The German audio manufacturer Burmester Audiosysteme writes that their guiding philosophy is “perfection and perpetuity in sound and design.” That means they want to get things right, and they want to ensure their products do not wear out or become obsolete. As a result, they take their time developing new products, and then they keep them in production for a very long time.
Each unit is burned in at the factory for seven days, with over 300 computer-assisted measurements taken before and after the burn-in. A unit will not proceed to final testing if these measurements have changed over the burn‑in period. Test logs and measurements for each unit sold are archived so that any product can be restored to its original performance.
Dieter Burmester (1945–2015), a musician, founded Burmester Audiosysteme in 1977. He wanted to create audio components and loudspeakers that would reproduce music as naturally as possible. His first product was the 777 preamplifier, which he originally built to replace a faulty tube component he was using at home. The following year saw the appearance of Burmester’s characteristic chrome design, which has resulted in Burmester products being exhibited at the Museum of Modern Art in New York City. Several innovations followed: the first modular preamp, the first power amp with symmetrical signal routing, the first amp with DC coupling from the phono stage to the speaker terminals, the first remote-controlled speaker adjustment with relay-switched resistors, and the first belt-drive CD player.
Priced at US$25,000, CA$35,000, £15,500, or €17,900 (UK and European prices include VAT), the Burmester 232 integrated amplifier is a brand-new model for 2025. Those prices are for standard finishes—black and silver—and custom finishes are available for a surcharge. My review sample had a glossy red finish. Maybe the fit and finish were too good for me, since I left fingerprints all over the controls as I tested the many options. Nonetheless, I found it stunning to look at and operate. The 232 is part of the company’s Classic Line, with three other tiers above this series: Top Line, Reference Line, and Signature Line.
The 232 is available with optional modules that fit into expansion bays on the back panel. The MC phono module (US$5000, £2600, €3000) is based on the phono section in the Reference Line’s 077 preamplifier. The DAC module (US$10,000, £5100, €5900) offers a wide variety of inputs, Wi‑Fi and Bluetooth radios, and a Roon Ready streaming section that supports Apple AirPlay, Qobuz Connect, Spotify Connect, and Tidal Connect. For this review, Burmester provided a 232 amplifier with the DAC module installed, but not the phono module—which is fine, since I don’t own a turntable.
Command and control
The 232 comes with a remote control that I found simple and effective—I liked it a lot. It has 19 buttons that are well-labeled and logically arranged.
The front of the unit itself is beautifully designed, with a roughly square central section flanked by vertical, full-height heatsinks, which continue along the sides of the unit. The central section has a large control knob—called the rotary encoder—above which is a large LCD panel with a stack of four buttons on each side and several indicator lights. Those buttons are context-sensitive, with their purpose indicated by an icon next to them on the LCD panel.
The real magic is in the rotary encoder. It normally acts as the volume control, with a wonderful flywheel feel and faint, non-audible detents as you move up or down. If you turn it slowly, you get small steps, and if you move it faster, the steps increase in size. The volume is shown in dB or in Burmester’s 0–100 scale (your choice). The volume setting is also indicated by a red arc around the control knob. Perfect.
But the rotary control does more than adjust volume. Press and hold it to put the machine into standby or to wake it. Press it once to open the menu and confirm selections in the menu system, and turn it to scroll through the options; with the menu open, it clicks firmly between choices and stops at the end of the list. The setup menu also allows you to hide unused options, such as inputs you never use.
The menu system provides an uncommon range of control. You can adjust the gain of each input individually, control balance, rename inputs, and enable or disable the preamp and power-amp sections independently. At the top level, there are seven submenus: Device Settings, Inputs, Outputs, Messages, Maintenance, Information, and Bluetooth Settings.
Drilling down into Device Settings alone reveals just how comprehensive this system is. You can enter a username, assign a device name, set date and time, adjust display brightness and timeout, and configure energy-saving options. Smart Standby keeps the unit’s network connection active when switched off, while Auto Standby allows you to define an idle time before shutdown. In Network Settings you have the option for both DHCP and manual IP-address assignment, while Audio Profile lets you set a default start-up volume.
I won’t walk you through every submenu, but I have rarely encountered controls this comprehensive and yet this intuitive. The same parameters are accessible via the remote, the Burmester Conduct app, or the web interface. My review 232 unit came with an early firmware version. As firmware updates progressed during the review period, new options were added; I expect that this evolution will continue, especially as new streaming platforms emerge.
Connections
The standard version of the 232 has two pairs of balanced inputs, a pair of balanced pre-outputs, a balanced subwoofer output, and four very high-quality binding posts, to which I attached spade-terminated speaker cables. Also present are remote-in and remote-out sockets, a BurLink connection to link up with other Burmester components, slots for the optional phono and DAC modules, and USB ports and Wi-Fi antennas, ready for the DAC module.
Adding the phono module provides one pair of balanced inputs for a moving-coil cartridge (moving-magnet and moving-iron cartridges aren’t supported). Burmester supplies RCA-to-XLR adapters, but there are no unbalanced analog inputs at all. Given the company’s clear preference for balanced connections, it is surprising that the only headphone output is unbalanced.
The real fireworks are reserved for the optional DAC module. This is not merely a DAC but a full streaming platform, supporting both wired and wireless operation, including Bluetooth, Wi‑Fi, ethernet, and local storage. Inputs include USB‑A (× 2), ethernet, microSD, HDMI ARC, USB‑C, optical S/PDIF (TosLink), coaxial S/PDIF (RCA), and AES/EBU (XLR). The Burmester Conduct app (iOS and Android) controls all functionality. As mentioned, the module supports Qobuz Connect, Spotify Connect, Tidal Connect, and Apple AirPlay. The Conduct app allows playback from local storage via USB and microSD and from network storage via UPnP. Internet radio is also available through the Conduct app, and the module can be used as a USB DAC. The module is Roon Ready, though it can also connect to a Roon server via USB‑A. I used both methods, but preferred Roon Ready, as it allowed me to control volume using the side buttons on my phone. The DAC module also offers optical and coaxial S/PDIF outputs.
The internals
Power-supply voltages for the left- and right-channel audio circuits are generated by separate windings on a toroidal transformer. Discrete control circuits are then used to generate the voltages for the input stages. Separate transformer windings with regulation and filtering are used for the preamp and DAC module, minimizing mutual interference among analog, digital, and high-current stages. A total of 100,000µF of capacitance is arranged in a decentralized topology, improving transient response, reducing supply impedance, and improving stability. Auxiliary supply rails for the non-audio-critical functions are fed by switch-mode power supplies.
Burmester uses high-quality operational amps in the preamp section, and the volume control is implemented using a programmable gain amplifier. Although balanced connections are provided, the signal path is unbalanced.
The power-amp section has four stages, operating mainly in class‑A mode up to around 8W. Four bipolar transistors per channel are used in the voltage-amplification section, and another four in the final current-amplification stage. Global negative feedback is applied.
The DAC module employs a single ESS DAC chip. At present, no oversampling or upsampling is offered, but users will be able to select both options following a future software update. The next update will provide five preset filter options, but currently the filter is not selectable.
The Burmester 232 is rated at 155Wpc into 4 ohms and 95Wpc into 8 ohms, with a damping factor greater than 1000 and a power bandwidth from below 10Hz to above 110kHz. THD+N is below 0.0048% at 50W into 4 ohms, channel offset is below 0.1dB, and the unweighted signal-to-noise ratio is better than 120dB at 1kHz and 50Wpc into 4 ohms.
Setup
I tested the Burmester 232 using an EMM Labs XDS1 SACD player as a digital source, plus a Roon Nucleus One server (US$599.99, not including storage) connected to Qobuz and controlled by the Roon app on my iPhone. For most of my critical listening, I bypassed the 232’s DAC module in favor of my EMM Labs DV2i streaming DAC‑preamp (US$35,000) in fixed-output mode, connected to one pair of the 232’s XLR inputs.
The 232 was driving a pair of YG Acoustics Hailey 2.2 speakers (US$55,800/pair), which are not an easy load, requiring a lot of current into a low impedance. All cabling was Nordost Valhalla 2, with the exception of the EMM OptiLink cable between the two EMM Labs components.
I received the amp just before flying to Europe, and it ran in my absence for 12 days straight before any serious listening. After extended and demanding testing, the unit was warm to the touch, but never hot. For this review, I created a playlist of jazz, classical, and pop selections that I knew would reveal the Burmester 232’s capabilities to me.
Listening
I started my critical listening with “Kickin’ It for You” by virtuoso jazz clarinetist David Krakauer and his band Ancestral Groove, from their 2014 album Checkpoint (24‑bit/48kHz FLAC, Label Bleu / Qobuz). The tune’s full funkiness shone through, aided by a remarkably clear bass, a fluid midrange, and a stable image. From the same album, “Krakowsky Boulevard” sounded just as dynamic and colorful as it did when I heard Krakauer live recently in Toronto, with the beauty of his tone intact. A strong start for the Burmester.
Joshua Redman’s 2005 album Words Fall Short (24/96 FLAC, Blue Note / Qobuz) was recorded to a very high standard. With the 232, Redman’s saxophone emerged from the mix with surprising richness. Although this was digital streaming, with no tubes in the playback chain, the sound was delightfully warm—and that was a common thread through most of my listening tests.
“Blue Monk” is my favorite track from Thelonious Monk’s recently unearthed Palo Alto live album (24/192 FLAC, Impulse! / Qobuz). At first, the percussion sounded a little tizzy on this amateur recording, which was made by the caretaker at a high-school gig. But as the members of the quartet each took their solos, a lot more detail emerged and that slight edge disappeared. I heard no signs of compression on Ben Riley’s exceptional drum solo.
Likewise, I found no fault with how the 232 handled Diana Krall’s rendition of “Temptation” from The Girl in the Other Room (SACD, Verve 0602498620465). I could hear all sorts of low-level detail behind the strong bass and voice.
The Burmester repeated this level of excellence on the Rolling Stones classics “Sympathy for the Devil” and “Street Fighting Man” from Beggars Banquet (50th Anniversary Edition) (24/192 FLAC, ABKCO / Qobuz). Mick Jagger’s voice was ideal, Nicky Hopkins’s piano contributions had great presence, and the drive and pace were electric. The way it all hung together, with everything in its place in a large image, pressed all my buttons.
The Burmester’s warmth was evident in the 2019 mix of “Something” by the Beatles, from Abbey Road (Super Deluxe Edition) (24/96 FLAC, Universal / Qobuz). The deep bass really kicked, while the dynamics and level of detail were extremely high.
The Spanish ensemble Cuarteto Casals has released a stunning cycle of Dmitri Shostakovich’s string quartets. Part of the second volume of this cycle (24/96 FLAC, Harmonia Mundi / Qobuz), String Quartet no. 8 in C Minor, op. 110, is one of Shostakovich’s most profound and popular works. I enjoyed the wonderful rich string tone the Burmester conveyed here, in a recording that offers power, realism, and atmosphere in equal measure. The image size and depth were ideal.
Turning to a much larger-scale work, Carlo Maria Giulini left us a fine recording with the Chicago Symphony Orchestra of Anton Bruckner’s Symphony no. 9 in D Minor (24/192 FLAC, Warner Classics / Qobuz). Fed by the EMM Labs DV2i, the Burmester 232 delivered real weight, incisive brass, a warm acoustic, lovely color, and lots of details, with the listener positioned mid-hall.
Comparison
For comparison purposes, I used the EMM Labs DV2i in variable mode, and connected it to my 140Wpc Soulution 511 stereo power amp (US$39,975).
On the Joshua Redman album, I heard slightly more detail on low-level percussion through my EMM Labs DV2i streaming preamp and Soulution 511 power amp than I did through the Burmester 232 fed by the DV2i in fixed-output mode. On “Blue Monk,” the EMM-Soulution combo provided additional resolution, dynamics, and image size; nonetheless, this track still sounded sensational through the Burmester 232. But on Diana Krall’s performance of “Temptation,” the EMM-Burmester combination outperformed the EMM-Soulution pairing by offering a longer sustain of harmonics. Bravo!
Similarly, on “Something” from the Beatles’ Abbey Road, I preferred the warmer signature of the EMM-Burmester setup over the cooler-sounding EMM-Soulution combination. But as much as I enjoyed the warmth of the 232, I frequently noted a subtly greater articulation and purer sound with the Soulution 511 powering the YG speakers. Such was the case with Jeff Buckley’s acclaimed cover of Leonard Cohen’s “Hallelujah” from his 1994 album Grace (24/192 FLAC, Columbia Records / Qobuz). The Burmester 232 was more beautiful-sounding, but it also displayed slight sibilance and at some points an over-reverberant sound.
On both classical selections—the Shostakovich string quartet and the Bruckner symphony—I preferred the warmer presentation of the EMM-Burmester combination to the cooler feel of the EMM-Soulution setup.
Headphone performance
I tested the headphone output of the Burmester 232 using Sony MDR‑Z1R headphones (US$2099.99) and their supplied cable. The 232 ran close to my Benchmark HPA4 headphone/line amp (US$3499), the former sounding a little warmer and slightly less revealing. But when I switched to Kimber Kable Axios Cu balanced cables, the Benchmark—with its balanced outputs—drew well ahead, the result not just of the balanced connections, but the superior quality of the Axios cable itself. So Burmester, bear this in mind for the future, and add a balanced headphone output.
Preamp performance
It’s unlikely anyone would buy an integrated amp and use it as a preamp only, but I tested the 232 this way too. I fed the balanced line-level outputs into the Soulution 511 power amp and compared that to feeding the Soulution directly from the DV2i. This was really close. Both the 232 and the DV2i offered reference-class performance. I noted some additional warmth through the Burmester preamp section, along with a slight loss of detail on percussion instruments. On some tracks, I preferred the Burmester. Clearly the 232 has a very fine preamp section, and its volume control is of exceptionally high quality. It easily surpassed the Benchmark HPA4 in this role, with much greater warmth, image size, and tonal color, while fully equalling the level of detail and dynamic range.
The DAC module
I appreciated the DAC module’s rich feature set, which includes Roon Ready certification, support for multiple streaming protocols, a flexible user interface, and a well-designed mobile app. But I’ve been spoiled by the performance of the EMM Labs DV2i, and I’ve heard other superb DACs from Chord, dCS, Meitner, and MSB that brought music to life in a way this module did not. For example, the Meitner MA3i DAC (US$11,500) offers similar streaming abilities but boasts sound quality approaching that of its big brother, the EMM Labs DV2i.
On the plus side, with the Burmester 232’s DAC module, resolution was quite high, the transient response good, and the frequency response even and extended. But the image depth, location and tonality of instruments, dynamic range, and sheer presence were not sufficient for me to relax and enjoy the music as I could through the other inputs. I would never have mistaken it for live music, which is what I am looking for in SoundStage! Ultra reviews. It’s an open question whether promised software upgrades for upsampling, oversampling, and filter selection will improve the sound, or at least make it possible to fine-tune the sound to your own preference.
I have yet to review a modular integrated amp whose DAC module reaches a very high standard. On a positive note, DACs are getting better all the time, and I hope and expect Burmester will offer an upgraded DAC module in the future. Until then, you can use this module, or an external DAC of your choice.
My recommendation
The Burmester 232 is one fine integrated amp. It looks like a million dollars. I found it a joy to use, and it operated flawlessly throughout the review period. On the whole, I don’t think the DV2i‑232 combination was quite as revealing as the DV2i-Soulution 511 setup, nor did it have the same dynamic headroom for high volume levels or treacherous loads. However, the basic version of the 232 integrated is much more modestly priced than the Soulution 511 power amp.
Within its power limitations, the Burmester 232 rendered music marginally more beautifully than the Soulution 511. Its reflexes and dynamic range were excellent, with a full frequency response—including truly great bass performance, which is a rare commodity. Its imaging was first-class, although those images were not as wide and deep as those of the DV2i-Soulution 511 pairing. I could listen for long stretches, captivated by the 232’s musicality. There was no trace of amplifier noise, distortion, or compression to detract from its performance. It was a great partner for the reference-level components in my system.
My only real issue was the sound quality of the optional DAC module, using the current software version. As an analog integrated amp, the Burmester 232 joins the exceptional Soulution 331 (US$38,975 base, US$50,475 with DAC and phono options) among my top recommendations.
The Burmester 232 is not for you if you’re looking for the biggest bang for the buck (or the pound or euro). It’s also not for you if you’re driving very inefficient speakers to high volume levels. Its power envelope is strong, but not unlimited.
So, who is this for? I think it’s for someone with fairly deep pockets who loves music dearly, who really appreciates exceptional engineering, and who wants something of quality that will last forever—and for which the manufacturer will provide support and upgrades over time.
Whether you’re a headbanger, a classical-music aficionado, or crazy about jazz or folk, this amp has the sound quality we all hope to experience, and it will bring you superb sound, a touch of the very highest end. I’d keep it if I could. It has all the power I need, and I already have an exceptional DAC. Don’t tell anyone I said so, but you may love this particular amp even if only tube gear has impressed you in the past.
. . . Phil Gold
philgold@soundstage.com
Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.
Associated Equipment:
- Loudspeakers: YG Acoustics Hailey 2.2
- Music server: Roon Labs Nucleus One
- SACD player: EMM Labs XDS1
- Streaming DAC-preamplifier: EMM Labs DV2i
- Preamplifier: Benchmark Media Systems HPA4
- Power amplifier: Soulution 511
- Power, interconnect, and speaker cables: Nordost Valhalla 2
- Headphones: Sony MDR‑Z1R
Burmester 232 integrated amplifier
Price: US$25,000, CA$35,000, £15,500, or €17,900 (UK and European prices include VAT) for basic version in standard finishes. Bespoke finishes available at extra cost. MC phono module available for US$5000, £2600, or €3000. Streaming DAC module available for US$10,000, £5100, or €5900.
Warranty: Five years, parts and labor
Burmester Audiosysteme GmbH
Wilhelm-Kabus-Straße 47
10829 Berlin, Germany
Phone: +49 30 7879 68 0
Email: mail@burmester.de
Website: www.burmester.de
