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Benchmark LA4 and/or HPA4

216.228.191.161
Posted on November 18, 2020 at 14:41:30
Mike K
Audiophile

Posts: 13973
Location: 97701
Joined: September 23, 1999
 Any one own either of these and have an informed opinion? Both have been
exceedingly well received by the audio press.

Lack of skill dictates economy of style. - Joey Ramone

 

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RE: Benchmark LA4 and/or HPA4, posted on November 19, 2020 at 03:34:59
cawson@onetel.com
Audiophile

Posts: 2378
Joined: September 27, 2004
 I used to own the Benchmark AHB-1 power amplifier, but I've not heard the preamps you mention.

Despite the rave reviews of the AHB-1, in the most honest reviews there are "take care with matching" warnings subtly buried! I bought the amp before there were any worthwhile reviews on the recommendation of the owner of similar speakers to mine and I now appreciate these warnings (eg end of Stereophile's review)

The amp has some great features, it measures extremely well, is dead quiet and it has unusual features such as an adjustable gain switch. However the sound is what lets it down - it is drearily dull.

Occasionally one listens to an amp or speaker and the urge is to turn down the volume - not because it sounds bad, but because you'd rather listen to something more exciting and involving - the Benchmark is in this unfortunate group. After several weeks I sent it back to the dealer for a full refund and bought an amp where the temptation is to turn up the volume and party!

Benchmark is primarily a supplier to the professional industry where accuracy is top of the list of requirements. We audiophiles prefer to enjoy the finished music rather than to pick holes in and adjust the master recordings. Pro gear generally best avoided in the home.

It could be that Benchmark has learned a lesson from the AHB-2 (although it still sells well) and has designed these newer smaller products more with domestic listening in mind. A home trial recommended before you splash the cash. Peter

 

RE: Benchmark LA4 and/or HPA4, posted on November 19, 2020 at 05:43:59
Kal Rubinson
Reviewer

Posts: 12435
Location: New York
Joined: June 5, 2002
 I appreciate the reference to my review. Care with matching it to the system and, more importantly, to the needs and preferences of the listener is paramount.

That said, the AHB2 remains, to my continuing delight, the reference amp in my main setup since that time.

I might also have adopted the LA4 had Benchmark offered it in a 6-8 channel version. Of course, YMMV.

 

RE: Benchmark LA4 and/or HPA4, posted on November 19, 2020 at 06:28:43
cawson@onetel.com
Audiophile

Posts: 2378
Joined: September 27, 2004
 Hello Kal - Yes it was your first paragraph under "Listening In the Country" that I remember having read after buying my AHB-2. Matching is all-important. I'm very pleased your speakers are a good match for the AHB-2. Peter

 

Very helpful post. Thank you. , posted on November 19, 2020 at 08:24:13
Mike K
Audiophile

Posts: 13973
Location: 97701
Joined: September 23, 1999
 If you buy direct from Benchmark, you get a 30 day trial. I assuredly
would send back a unit for refund if I did not like it.

Lack of skill dictates economy of style. - Joey Ramone

 

RE: Very helpful post. Thank you. , posted on November 19, 2020 at 10:08:11
cawson@onetel.com
Audiophile

Posts: 2378
Joined: September 27, 2004
 That's a big advantage compared with when I bought my AHB-2. I was an early buyer in the UK and the dealer was 400 miles away, so bought unseen and unheard. This didn't concern me because I'd been convinced by a fellow Avantgarde owner that this amp was sooo good compared with many others (both SS and tube) that he'd had in his cost-no-object system.

However when push came to shove I discovered the reason for his enthusiasm. His speakers are 107 dB and he is obsessed with hiss and noise. Any hint of it, even with his head up against the horn, the amp is condemned. The Benchmark is so quiet he chose it above all others, seemingly not considering the degree of enjoyment that this amp delivered - or didn't!

I reviewed this amp here, so a Search may come up with my detailed remarks that were written at the time.

I certainly don't want to put off buyers, but I feel that I shouldn't keep my opinion to myself. I hope the units you are looking at will suit your system. Peter

 

RE: Very helpful post. Thank you. , posted on November 19, 2020 at 12:59:41
cawson@onetel.com
Audiophile

Posts: 2378
Joined: September 27, 2004
 If interested I've just dug out my 2015 AHB2 review for what it's worth. Lots of replies including at least one from Benchmark themselves, but I'm not planning on re-reading these dozens of replies - both praising and condemning my opinion!

This review has been somewhat overtaken by events as I've had at least a dozen solid state amps in my system before finally being convinced that you can find as good-sounding a solid state amp as a SET for horn speakers. Peter

 

Yes. Very helpful post. Thanks., posted on November 20, 2020 at 14:52:20
AbeCollins
Audiophile

Posts: 46280
Location: USA
Joined: June 22, 2001
Contributor
  Since: February 2, 2002
 I was considering trying the AHB2 amp someday because of its compact size, good reviews, and reasonable price for audiophile gear. And the tech marketing behind them looked good.

Your comments reminded me of Bryston and Mytek. Both brands serve the pro audio market and they spec extremely well on paper. But to me, they both sound clean, lean, analytical, clinical, and not musical enough for me to enjoy. Is this what "accurate" sounds like? Is this what "neutral" sounds like? If so, it's not for me.

I tried a couple "tubey" sounding preamps ahead of my Bryston mono blocks but no amount of tube rolling trickery could bring the sound into the realm of musical enjoyment. On the other hand my Pass X150.5 and even the bargain Odyssey Stratos were heavenly when driven by a tube preamp.

The lesson: Stay away from brands that cater to pro audio? I don't know. Go figure. YMMV.



 

RE: Yes. Very helpful post. Thanks., posted on November 21, 2020 at 05:38:26
cawson@onetel.com
Audiophile

Posts: 2378
Joined: September 27, 2004
 I think you've summed it up about right. Pro gear is designed to highlight flaws in the recording (perhaps even to sound bad!) so the engineer can fix them with his magic.

We, as listeners of the end result don't want any remaining flaws to be highlighted - we just want to enjoy and be excited by the music the performers (and engineer) have created for us.

Perhaps ATC (at least their larger speakers) could be added to your list. I bought Active 50s in about 2000, but I didn't enjoy them.

 

RE: Yes. Very helpful post. Thanks., posted on November 21, 2020 at 13:00:45
Kal Rubinson
Reviewer

Posts: 12435
Location: New York
Joined: June 5, 2002
 "I think you've summed it up about right. Pro gear is designed to highlight flaws in the recording (perhaps even to sound bad!) so the engineer can fix them with his magic."

But, he is listening and "fixing" them on his pro gear and will get them to sound right, how can he know how it will sound on the infinite variations of non-accurate but "musical" amps and speakers. Moreover, how can he accomplish the task so that it will sound right on any but a small sub-set of all the possible "musical" systems out in the wide, wild world?

 

RE: Yes. Very helpful post. Thanks., posted on November 22, 2020 at 05:15:36
cawson@onetel.com
Audiophile

Posts: 2378
Joined: September 27, 2004
 Well, if the engineer was listening to flattering and exciting speakers he would be leaning back with his feet on the mixing desk and wallowing in the music! No, he needs a speaker that will shout out the places that need his attention.

It's only when it sounds "good" through his monitors that the master will be sent to the CD pressers, etc. Then we can listen via our audiophile speakers to exciting and thrilling music without a hint of any such problems the engineer had to cope with. ;-)

Don't get me wrong, the AHB2 is a great amp, but I found it dull and uninvolving compared with several others of comparable price.

 

Seems illogical to me. (NT), posted on November 22, 2020 at 05:27:28
Kal Rubinson
Reviewer

Posts: 12435
Location: New York
Joined: June 5, 2002


 

Chasing the illlusion, posted on November 22, 2020 at 09:45:40
AbeCollins
Audiophile

Posts: 46280
Location: USA
Joined: June 22, 2001
Contributor
  Since: February 2, 2002
I think the point is moot if we concede that there is no such thing as "neutral" or "accurate" reproduction of sound in music. All we can hope for is the most pleasing sound to our own ears, and that will mean a different selection of gear for each individual.

As an example, the studio engineer might be using smallish monitor speakers and "tuning" the sound for tiny modern playback devices like smartphones and internet connected speakers while many audiophiles listen on full-range towers and big power amps. There's an inherent mismatch here so chasing "accuracy" based on stellar specs or otherwise is a fool's game.

The best we can do is assemble the gear that creates an illusion that is most pleasing to our own ears.


 

RE: Chasing the illlusion, posted on November 22, 2020 at 11:29:24
rivervalley817
 totally agree with your point Abe. I posited a few weeks ago that we all have reference points in music that we aspire to recreate in whatever listening environment we inhabit ... hence, personal taste

as you point out, a huge effect on what we hear originates in the engineering phase of music reproduction. the point I was trying to make is that this has a profound effect on the creation of those references / preferences

you've stated that you intuit that current music engineering has it's focus on the most prevalent forms of reproduction: earbuds, small speakers built with 'lifestyle' considerations at the fore etc. my observation, which is easily confirmed, was that [warning: cliche` alert] 'back in the day' [my day anyway] the most prevalent listening environment was in the car with it's playback system [often in mono] ... as well as tabletop radios, home combo player systems, and if folks had enough disposable income, furniture sized 'stereo consoles' that could finally reproduce whatever bass content lurked in recordings, even if that content usually dropped off around 100hz.

engineers sought to get the best sound they could as tuned to the venerable 6X9 [often without HF 'tweeter' capabilities] speakers found in cars ... which actually do respectable duty in the mid-range frequencies; the majority of listeners heard their favorites in this environment therefore reference points were created for 'just sounds right' playback. along the way when 'tweets' were added to the formula it was a revelation! we could finally discern some upper frequency content. unfortunately since there wasn't much of it included in the recordings [and because of the engineering constraints of the periods tech] it often resulted in 'sizzle' and fizzle ... rather annoying in many respects

so it would seem to me that what was old is new again when it comes to engineering considerations in music playback, except engineers know they'll be dealing with even more 'natural' compression from the small to tiny transducers in vogue ... with the caveat that they're more cognizant of the ability for car systems to do bottom end via the auto sub-woofer

there might be a ying-yang effect here too where hip hop, dub, etc. music is created with profundities of 'one note bass' now that I think about it

anyway ... sorry for the long post

best regards,






 

Circle of confusion...................again., posted on November 22, 2020 at 12:46:36
Kal Rubinson
Reviewer

Posts: 12435
Location: New York
Joined: June 5, 2002
I think the point is moot if we concede that there is no such thing as "neutral" or "accurate" reproduction of sound in music.

Perhaps but one can try to approach it by avoiding coloration in one's own system.
All we can hope for is the most pleasing sound to our own ears, and that will mean a different selection of gear for each individual.

Do you think that the (for example) Boston Symphony makes a different sound for each us if we are sitting in adjacent seats?

 

RE: Circle of confusion...................again., posted on November 22, 2020 at 13:57:04
cawson@onetel.com
Audiophile

Posts: 2378
Joined: September 27, 2004
 > Do you think that the (for example) Boston Symphony makes a different sound for each us if we are sitting in adjacent seats?

Perhaps less so to those in adjacent seats, but certainly different from those in the circle or a box. And the same orchestra will sound quite different the next day when they perform at a different hall.

I would certainly hope that engineers are NOT manipulating the music to sound best in cars or through earbuds. They surely aim to produce a master that will most faithfully reproduce the original performance (minus faults, unwanted noises, etc) and this near-match sound can only be produced by the finest equipment.

Each of use likes our music to sound subtly different, otherwise we'd all be buying the same equipment. We want our music to please us and what pleases us (whether it's music, cars, or girls!) varies from person to person - vive la difference!

 

RE: Benchmark LA4 and/or HPA4, posted on November 23, 2020 at 07:32:54
watchdogsg
Audiophile

Posts: 51
Location: Singpore
Joined: November 27, 2011
 I spent some quality time with the HPA4 and AHB2. A friend ended up buying the AHB2 first and then trying the HPA4 and LA4.

The choice of preamp depends whether or not you need the headphone stage (which is excellent BTW). If you don't and your priority is sound quality, the LA4 actually sounds better than the HPA4 (according to my friend).

One surprising thing is that the HPA4 runs pretty hot, even hotter than the AHB2. My friend said that the LA4 runs cooler than the HPA4.

 

RE: Benchmark LA4 and/or HPA4, posted on November 25, 2020 at 04:45:31
Paul Tobin
Audiophile

Posts: 1380
Joined: September 8, 2000
 John Siau of Benchmark has said the heat from the HPA4 is mainly due to the relays in the dual stereo attenuators.
The LA4, which has no HP amp, only has the one stereo attenuator so uses half the relays = less heat.
John said if you mute the attenuator not being used on the HPA4 the relays are switched off and heat will be reduced.

I've never found it to be an issue, its not like it runs hot. The AHB2 dissipates a similar amount of heat at idle (around 20W) but of course has the heatsinks on the sides.
I have actually seen pictures of the rack mount version HPA4 showing it with the heatsink side panels similar to the AHB2 - which is sensible.

Love my HPA4 - it's great for the listener who wants a direct conduit to their source. Personally I find this kind of transparency to source addictive.

System Info

 

RE: Circle of confusion...................again., posted on November 26, 2020 at 18:49:21
Paul Tobin
Audiophile

Posts: 1380
Joined: September 8, 2000
 Each of use likes our music to sound subtly different, otherwise we'd all be buying the same equipment. We want our music to please us and what pleases us (whether it's music, cars, or girls!) varies from person to person - vive la difference!

And of course people can choose whatever colorful equipment they wish.
However if you want to get as close as possible to the actual performance then a true High Fidelity approach to reproduction is best - otherwise you 'flavour' everything with the same seasoning and the true nature and differences of individual recordings is lost.
In my experience that approach leads to dissatisfaction over time. YMMV.

System Info

 

RE: Circle of confusion...................again., posted on November 26, 2020 at 19:23:31
Tre'
Industry Professional

Posts: 17294
Location: So. Cal.
Joined: February 9, 2002
 "I would certainly hope that engineers are NOT manipulating the music to sound best in cars or through earbuds. They surely aim to produce a master that will most faithfully reproduce the original performance (minus faults, unwanted noises, etc) and this near-match sound can only be produced by the finest equipment. "

Pop music? George Martin said 'We don't want the instruments to sound like themselves, that's the last thing we want'. Ringo said 'We have guitars that sound like pianos. What's next? Pianos that sound like guitars?'

There are some recordings that are an attempt to capture the actual sound that the instruments made in the studio but very few. Most are "gimmicked" in one way or another.

Tre'
Have Fun and Enjoy the Music
"Still Working the Problem"

 

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