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April 2008 edition of HFN carries a group test of 5 x Class D amps...

Posted by DevillEars (A) on April 26, 2008 at 08:24:41

In Reply to: RE: REVIEW: Jeff Rowland Continuum 500 Amplifier (SS) posted by AbeCollins on April 26, 2008 at 07:30:55:

... representing a cross section of Class D technologies:

1) Channel Islands Audio D100 (UcD-based + linear power supply)
2) Flying Mole MA-S160 (bespoke + switch-mode power supply)
3) NuForce Reference 9 v2 (bespoke + switch-mode power supply)
4) Rotel RB-1092 (ICEpower + switch-mode power supply)
5) Trichord Research D300 (UcD-based + linear power supply)

Tested by Andrew Harrison with:

- dCS Verdi transport & Purcell upsampler
- MSB Power DAC Gold 4
- Linn LP12 + Vector Link upgrade
- various phono stages
- Music First Reference passive pre-amp
- B&W 802D speakers

Interestingly, at the start of the testing, the reviewer noted:

"Initial sessions were slightly disappointing - across all the amplifiers, albeit to differing degrees - until I revised the test system. First was a fundamental change of speaker cable, from the reference Nordost to wiring of different design and performance."

and:

"But the change that really improved the sound of all five amplifiers was to run them through a heavy-duty mains filter, in this case an Isotek Titan."

Focusing for the moment on the Rotel with its ICEpower technology, the comments included:

"A wide soundstage, almost widescreen in feel, was the Rotel's first impression, although this was not backed up by as much stage depth. In some respects this was probably the most two-dimensional performer on this track (Pink Martini's 'Amado Mio'), with a mildly mechanical feel to the sound. Instrument placement also seemed suspect. The track's acoustic guitar appeared unsure whether it should be fore or aft in the mix and seemed less rooted over time."

(Pink Floyd's 'The Wall'):

"As the crowd roars between numbers, the Rotel was less ready to show the sense of stadium acoustic through its relatively letterboxed soundstage, although in the lateral plane it gave good account stereo width, subjectively one of the widest in the group. Low-end weight and drive was good, with less convincing replay at high frequencies where cymbals and acoustic piano were more MP3-like in presentation."

(Anathema's 'Alternative 4'):

"A reassuring depth and solidity to the bass was found with the Rotel in place, though harmonies could sound like one voice and the lead vocal was sapped of humanity. This wasn't helped by a sterile midbank that also found a just-recognisable violin almost drowned out by guitars later in the track."

(Kayah & Bregovic's eponymous album):

"Altogether less successful here was the Rotel, which once again impressed with its agile and profound bass communication, while depriving much of the 'music' of the music. Kayah's voice was set further back in space, emotionally bleached, and no longer a lady in love. Acoustic guitars were pulled artificially forward, sounding crisp and metallic..."

The text of the subjective reviews showed somewhat mixed feelings about the Rotel which didn't quite match the final review sound quality scores.

The final verdict across the five amps? Sound quality scores as shown:

1) Channel Islands Audio D100 (72%)
2) Flying Mole MA-S160 (66%)
3) NuForce Reference 9 v2 (69%)
4) Rotel RB-1092 (75%)
5) Trichord Research D300 (78%)

PS: HFN is a UK-based publication and may just have allowed some pro-Brit bias to come through...

Anyway, I thought the subjective findings on the ICEpower bass performance might be of interest to you given your experience with the Bel Canto amps.

In my system, the D700's are particularly well-controlled by the JRDG Model 201s - the bass is well-extended and extremely taut with no "flab" or "overhang" - its almost like the 201's have the D700 testicles in a vice-like grip and are quietly insisting that they behave... :-)

Some albums that illustrate this bass control and extension:

- Saint-Saens Symphony #3 ('Organ') - Philadelphia Orch/Ormandy (Telarc)
- Holly Cole - 'Holly Cole' (2007 vinyl)
- Almeida/Brown - 'Moonlight Serenade' (Jeton Direct-to-Disk Vinyl)

On the Organ Symphony, the second track contains some seriously deep notes at fairly high levels and these come through clear and well-defined.

On the Holly Cole album the one track features a Bass Saxophone and this, at one point reaches deep and is close-miked - perfectly reproduced down to the lip/reed interface.

The Jeton vinyl album is a marvellous pressing and features Ray Brown on Double Bass using a bow rather than plucking it on the title track. The level is also fairly high and the bowed double bass comes across cleanly.

So, I guess that Bel Canto was either on the fritz or, as previously mentioned, not ideally-matched in terms of cables/speakers or may even have needed a mains filter...

Just thought you might be interested...

:-)

DevillEars

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