This review page is supported in part by the sponsor whose ad is displayed above This review first appeared in the October issue of fairaudio. It is herewith translated and presented to an English-only audience through a mutual syndication arrangement with fairaudio. All images contained in this review are the property of fairaudio. Call it hifi fashion. I used to prattle on about black being so 80s.
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This review page is supported in part by the sponsor whose ad is displayed above This review first appeared in the October issue of fairaudio. It is herewith translated and presented to an English-only audience through a mutual syndication arrangement with fairaudio. All images contained in this review are the property of fairaudio. Call it hifi fashion. I used to prattle on about black being so 80s. Silver was the hip choice. Now I find silver a bit common and black metrosexual How about a revival of wooden cheeks, rustic oak perhaps?
All share the same dimensions mm x 74mm and a no-frills minimalist designer signature, be it the CD player or amplification bits. Stark minimalism for him, the appeal of petite for her - not a silly concept. That we reviewed previously.
Why pick this grouping? Our quite happy experiences with the disc spinner clearly contributed. Is it smart to opt for the more material-intensive separation in this class? The grounding post triggers premature hopes. Phono on board?
Sadly no but an external phono pre can get grounded here and an audiolab happens to be forthcoming at ca. How about the front panel? Power mains to the far right, input selector adjacent, then the master volume farther left. So far, so simple? What about the far-left gain trim? It can scale back the amplification factor to expand useful volume range. High-sensitivity speakers will benefit from reduced gain, low-output sources from higher gain.
A rule of thumb is that attenuators offer improved channel matching at higher setting. I nearly overlooked the headphone output. It exists, nicely countering the trend to off-board just to sell you an extra expensive box. Which looks just as remotes used to look before recycled billy clubs became popular - black, simple, plastic.
Plenty sufficient. And that little black box inside shields the remainder of the circuit from digital radiation. Altogether a well-organized picture. Even less cluttered is the front panel. Power mains, red LED. Who needs more?
Connect the latter to a second mono, do the same for the other channel and presto, bi-amping. We naturally went full hog to tri-amp but more on that anon.
The actual connectors Regular folks buy components, wire them up, curse once and then everything works swell. Our kind switches out boxes every ten minutes - A, B, perhaps C even. The bloody posts should be bigger. My eyes are failing me. No material excess, no object of holy veneration, no white gloves. Who keeps tapping bent sheet metal anyhow?
Soundings Some claim that monos are intrinsically superior to stereo amps or integrateds due to ultimate channel separation, with separate power supplies further vitally relevant to dynamic peaks.
Others find three boxes impractical. Some failed me. Mind the combinations. Thus it was that I found myself deciding on my favored loudspeakers when the job at hand was really reviewing the electronics.
Aficionados of color-saturated valve magic will find the audiolabs too cold and bereft. If you fancy that, look elsewhere. The second key attribute after tonal neutrality is first-class dimensionality. Granted, going mono promised as much but not all theoretical expectations are automatically satisfied.
This proved to be a satisfied case however. That the improved staging was truly due to the monos became clear when I swapped out amplifiers. Then the depth domain suffered and image localization softened. Mostly, the stage shrank back from nearly rectangular to the usual semi circle. To illustrate the effect, a simple sketch: Not every disc taps this ability but classical definitely profits and even Jazz clubs expand.
This organization of the soundstage and the extra corners simply make it easier to listen into an orchestra. The overall presentation becomes more transparent. Both qualities -- tonal neutrality and brilliant depiction of recorded space -- were confirmed with various records.
Calexico The Black Light: More obvious hall decay, more developed treble on track 10 Sufjan Stevens Illinoise: Background chorus on track 9 is made up of individual voices, not one homogenized mass. Superior structuring. Nasty too is on the books with track 1.
As already stated, different speakers followed these characterizations in general but in truth, things got a bit more complex. Now add a superbly coherent midrange. Simply put, this widebander sounds even more widebander-ish over the audiolabs. Summarily, this speaker gains top octave transparency and staging precision when driven by the audiolabs.
The Thiel 2. So I suffered fears. Dimensionally, nothing was gained with the audiolab electronics though the expected tonal hardness remained absent. Alas, call the results clinically antiseptic, unbelievably clean without a mote of dust; a bit hard such that some would grow restless.
Something vital was missing. Not the attack, rather that which follows the initial impulse firing. The bodacious fade. The sonic picture seemed more detailed sketch than full-color portrait. Not my thing.
Blame the combo. Once the audiolabs took pride of place and the first track cued up, two folks were left scratching their balding scalps. All parameters were affected. The bass was miles drier and tauter. Liberated from bass excess, the midrange played neutral and factual in the best sense of the words, thereby rendering the entire affair far more transparent and believable.
Only in the treble did the audiolabs fail to light the very last candle but nothing turned nervous. The most impressive transformation occurred in the casting of space. No hidden cards anywhere, even the farthest members in the shadows played their decks openly on the table. The audiolab virtues of neutrality, transparency and recreating the recorded venue stepped up big time with the Opus 3.
Moral of the story? Always think context: speaker and amplifier! Generalizations of course always bomb, some time, somewhere. Conversely, I can readily imagine that my ex, the Dynaudio Audience 80, would sit up and take notice with its powerful foundation but somewhat challenging load.
Not the fastest and grandest under the sun but perhaps hotter to trot under a suitably firm hand? Well, enough already of speculations. Conclusion The audiolab Q preamp and M monos combo is characterized by: Timeless cosmetic elegance. Workmanship is typical for the genre. I have seen better speaker binding posts though. With six inputs, the preamp is comprehensively fitted, albeit not symmetrically.
Two pre-outs invite biamping. A special feature is the gain trim to scale the master volume taper to the source output voltage and speaker sensitivity. Sonic virtues include tonal neutrality, great transparency and excellent staging. Add great image specificity. Fancy a lot of air around instruments?
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Slauka писал а : максимыч писал а : видать Alex27 прав-даже у мономощника тор на В и конденсаторы 20 мф на единственный канал Откуда такая информация? Slauka Для сравнения, в Nad C стоят 2 электролита x63В на два канала. Slauka Очень интересный звук: мягкий, вокал передается достаточно натурально и телесно, хорошая сцена, высокая детальность и микродинамика. Может быть, немного не хватает напора на низких частотах.
Audiolab 8200Q Preamplifier overview
Audiolab 8000Q (предвар.) + Audiolab 8000P (УМ)