Amp/Preamp Asylum: REVIEW: Rega Mira Integrated Amplifier (SS) by Egil

Model:	Mira
Category:	Integrated Amplifier (SS)
Suggested Retail Price:	$895
Description:	61 watt per channel intgrated amplifier
Manufacturer URL:	Rega
Manufacturer URL:	Rega

Review by Egil ( A ) on September 08, 2003 at 15:48:10
IP Address: 216.127.253.69

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When looking to upgrade my Cambridge Audio A3i, a much-loved integrated amp that I had owned for about three years and cherished, I was looking for the following: more refined sound, more soundstage depth, and greater detail. Ideally I wanted more "presence" on vocals as well, but the more greater palpability of the instruments and vocals in the soundstage seemed difficult to achieve with the other aspects I was seeking- at least for less than $ 1,000!
I had singled out a handful of integrated amplifiers that I was considering: the Audio Refinement Complete, Rega Mira, Roksan Caspian, and Myryad MI120. Naim's Nait 5, Bryston's B60, Classé's CAP 100, SimAudio's offerings, and Plinius' 8100 were of course on my "dream list", but well beyond my $ 500-600 budget unless I stumbled over a deal too good to be true. Also, due to my budget's shortcomings, I was limited in my option for auditions. I do not feel comfortable auditioning products I have no intention of purchasing at a dealer; they have better things to do with their time.
I had happened to hear the Audio Refinement at dealer previously by chance and liked it. It has a great reputation as well, as do the other amps on my short list. I had no way of hearing the Myryad or Roksan in person, so that left me with two options.
The Audio Refinement does not have a pre-amp out, which I was interested in for upgrade purposes, so this factored into my decision, as did its sonic characteristics. My experience with the A.R. is that is has a very smooth and somewhat "tube-like" sonic signature, which is great if mated with speakers of a moderately revealing nature- perhaps even bright speakers. However, my PSBs are smooth and laid-back speakers, which made them a nice match with the slightly forward Cambridge Audio amp I owned previously. Based on this, I was hesitant to take a leap of faith on the A.R.
I found that a local, well-reputed dealer (from which I had purchased my Creek headphone amp in the past) had the original model (prior to the "2000" version) of the Rega Mira available. Granted, it was well above the price I would pay on AudioGon or similar sites, but given the fact that I could audition it in the store and get a return guarantee and short warranty, I felt this was a viable option. The original Mira has a much more "function over form" approach to its casework and looks than the newer Mira 2000 or Mira 3, but I was willing to live with that.
I heard the Mira in the store matched with an Arcam CD 82 or 92, an excellent player from what I could tell. I figured this was fair vs. my Bel Canto DAC1, which is also a very good piece of equipment, though the NAD CDP what serves as a transport could be better, I suppose. The Mira was driving a pair of Harbeth Monitor 7s. I also got to compare the sound of the older Mira with the Mira 3, which was part of the audition. I wanted to know what the sonic improvements were with the newer model.
The funny part was that it was a tough choice when the Miras were driving the Harbeths. The newer model had a certain amount of added detail, especially in the upper frequencies, but the center image sounded "blurry" and indistinct, as if it wasn't a point source- more just a "halo" of sound. The older Mira had a more focused center soundstage. Overall, however, the Mira 3 had a wider soundstage. Since I preferred the more palpable central image, I liked the older Mira better in this regard. The Mira 3 also caused a nasty room resonance in the midbass, which the older Mira did not. Whether this is an amplifier issue, however, is another question. There were distinct and striking differences between the two generations of Miras- but not enough to sway me to somehow find more money to purchase a Mira 3.
The Harbeth was not a great match with the Rega amps, or so it seemed to me. Perhaps Harbeth monitors are simply too neutral for my ears. I mentioned this to the dealer, and he noted that the Monitor 7s hate walls- despite the fact that the speakers were placed well away from any surfaces. He was happy to switch the Harbeths with the Naim Allaes. As Naim and Rega have some of the same characteristics, he thought they would be a better match.
And how! The Rega Mira 3 (I did not end up trying the older Mira with the Naim speakers, as I already had a good sense of their differences) made the Allaes pump out the beats with great detail and excellent soundstaging. I couldn't keep myself from tapping my foot or nodding in time to the rhythm. I would have thought a $ 1,000 amp connected to speakers that cost three times that would be ridiculous, but it sounded incredible. I can only imagine the potential of the Allaes hooked up with Naim's own gear.
So I bought the original Mira and took it home with me. I was unimpressed with the connectors on the back of the Mira, especially the RCA inputs. This is easily the weakest point in the fit and finish of the amp. The speaker binding posts are also lower quality than I would expect. It is a little kinky to get large spades to work with this amp, but with some adjustment I got solid connections established.
However, once connections were set up, the amp proved a nice match with my existing gear. The level of refinement is easily evident with classical music and jazz. Listening to Miles Davis' "Kind of Blue" (remaster) is a thrill- you can't help but groove along. The Mira is just as magical with classical music- apparently it excels at these two genres. However, it is no slouch with rock or electronica either. It can be punchy with fast electronica, but isn't as direct and hard-hitting as the Cambridge Audio. The Cambridge had a wonderful "bouncy" or "elastic" character to percussion once I added the Bel Canto DAC1, and the Mira lacks this. However, it has so many other excellent qualities that I don't miss this much. The delicacy of vocals with the Mira is lovely- Tori Amos' "Hey Jupiter" from "Boys For Pele" (a wonderful recording that is a great test for gear, in my experience) is clear and distinct, as if she were in the room.
Music emanates from a velvet black background when played through the Mira. Perhaps this helps the depth perception- the hall spaces created with the amp are much deeper than the Cabridge Audio, which lacked this ability. The Mira seats you farther away from the performers than the Cambridge, and has a decidedly laid-back sound- almost to a fault. I think the ideal match for it would be a speaker that is a little more forward than the PSBs. I know Totem voices their speakers thus that they are a great match with Rega's gear, and it would be interesting to hear a Mira driving Totem's Sttaf or Arro speakers.
The level of graininess in the sound is also a welcome change from the Cambridge, which did not exhibit this enought to be a bother, but it is noticable that the Mira lacks this distraction.
One of the striking things about the Mira is how powerful it is in sheer volume. I hardly turn the volume knob at all to fill the room with music- it's quite impressive.
All in all, while the build quality leaves a bit to be desired, the Mira is a very welcome addition to our household. My wife likes it a great deal, and tolerates the ugly-duckling look of the amp without complaint. The refined sound and ability to easily handle the dynamics of rock and classical music makes it a joy to listen to. I cannot imagine getting much more for my money when buying a used amp for under $ 600.

Product Weakness: Poor RCA connectors and speaker binding posts. Hard to use spade termination with this amp. The remote control tends to move the volume pot too far when working at low volumes. Power cord is not removable.
Product Strengths: Incredible ability to convey rhythm and pace of music. Good level of refinement, with excellent detail level. Plays jazz and smaller ensemble classical very well, and handles rock and pop well. Vocals sound great. Solid casing, and it runs cool. Pre- and poweramp outputs. Very powerful.

Associated Equipment for this Review:
Amplifier:	Rega Mira
Preamplifier (or None if Integrated):	None
Sources (CDP/Turntable):	Bel Canto DAC1/NAD C520 as transport
Speakers:	PSB Century 500i
Cables/Interconnects:	Harmonic Technology Truth-Link intercorrects, Harmonic Technology Melody Line speaker cables
Music Used (Genre/Selections):	Rock, jazz, electronica, minor classical selections
Room Size (LxWxH):	16'? x 10' x 12'
Room Comments/Treatments:	Oddly shaped room- living room/kitchen combined
Time Period/Length of Audition:	2 months
Type of Audition/Review:	Product Owner

Product Weakness:	Poor RCA connectors and speaker binding posts. Hard to use spade termination with this amp. The remote control tends to move the volume pot too far when working at low volumes. Power cord is not removable.
Product Strengths:	Incredible ability to convey rhythm and pace of music. Good level of refinement, with excellent detail level. Plays jazz and smaller ensemble classical very well, and handles rock and pop well. Vocals sound great. Solid casing, and it runs cool. Pre- and poweramp outputs. Very powerful.