Audionet Amp Max Monoblocks
Keijo Tanskanen
The goal of designing
amplifiers has remained the same since the early day of audio: to deliver an appropriate
amount of gain and current with minimum distortion. Today we know that the goal
can be approached in countless ways, none of which can do without compromises.
There are alternatives for every amplifier topology, staging, the structure of
the power supply, biasing, negative feedback, component choice etc. Possibilities
are practically unlimited. The AMP MAX monoblocks feature Audionet’s ULA (Ultra-Linear-Amplifier)
technology. As far as I know Audionet originally developed this complex circuit
topology for the purposes of medical engineering. Here’s a list of what
goes in the AMP MAX: AMP II MAX VS. OTHER POWER AMPS
Before the time I made my final decision to purchase the AMP MAXes, I compared
the AMP II MAXes with several high quality power amps: McIntosh MC-501 monoblocks,
Burmester 911 Mk III, Plinius SA Reference and Pass Labs X-350.5 stereo amps.
I also did try a couple of stereo tube amplifiers but very soon noticed them
to be unsuitable for my setup’s power requirements, and my preferences,
despite their exceptional tonal richness. AMP MAX VS. AMP II MAX
Next thing to find out was how the advanced technical step-ups improved the
sound of AMP MAXes. Associated equipment: Wilson Sasha W/P and Burmester B-100
loudspeakers; Audio Aero Prestige SE and Capitole Mk II SE CD players; Transparent
Reference MM interconnects and MM/XL speaker cables. CONCLUSION
In the end of the day I was very convinced of the AMP MAXes’ performance,
also believing them to be a step forward from the AMP II MAXes. But as I said
earlier on, in a wide pool of preferences and system characteristics, there
is no single best amp. The AMP MAX monoblocks were my choice, and they surely
deserve my highest recommendations. These monoblocks can master all kinds of
music. They can command every loudspeaker I can imagine while being practically
insensitive to the speaker load. And only a very monstrous monoblocks can handle
music’s subtle textures in the way in which the AMP MAXes do. What can
the engineers at Audionet possibly do next, except scratch their head?
Why I’m telling you all this? Isn’t it rather obvious that there is
no one truth in these matters, and that the so-called “right” choice
always depends on the case in hand? I’m bothering you with this because
I want to make it clear at the outset that although I like Audionet’s AMP
MAX monoblocks very much in many respects, and eventually bought a pair for my
own purposes, I don’t want to put forward a claim that they’re the
only route to an outstanding sound.
Audionet’s vision is “to provide the listener with direct access to
music and film. To provide an authentic listening experience in which one forgets
that the heard sounds and the seen images are being reproduced by machines”.
Not very original, perhaps, but the idea is sound. And it guided me through this
review.
AMP MAX is Audionet’s current reference amplifier. It was launched a couple
of years ago despite its immediate predecessor’s - AMP II MAX – success
both in press and among the audiophile community. Naturally, AMP MAX makes a good
use of the techno side of the AMP II MAX. The difference is, according to the
manufacturer, that the AMP MAX monos deliver more bandwidth, speed and precision.
MAXIMIZE MAXES
• Magnetically and capacitively optimized construction.
• The massive aluminum cabinet avoids harmful influences of subsonic noise.
• The signal paths are completely DC coupled and kept to a minimum and
contain no sound-impairing components such as coils, chokes or power relays.
• A special double cascade decouples the source signal from the driving
and output stage.
• The driving stage linearizes distortion of the output circuit locally
with a unique, cross-linked correction circuit in real time.
• The input and driving stage are separately powered by an oversized 80
VA toroid-core transformer with separate windings for positive and negative
operating voltage.
• Discrete, extremely fast and stable driver and output stages. The output
stage is equipped with eight hand selected power MOSFETs with actively controlled
bias current amounting to 0.6 A.
• Two individual 1000-VA toroid-core transformers feed the positive and
the negative half-cycles of the mains.
• The supply voltage is stabilized as rapidly as possible by optimized
discrete MOSFET regulators.
• Four special, fast and impulse-resistant high-current capacitors with
filtering capacity of 156,000 uF.
• Special care of the component selection is taken. Only the highest order
ones are accepted.
• Bi-wiring terminal with two pairs of WBT nextgen connectors.
• Large-size, two-line VDF-display featuring a screen saver.
• Timer.
• Automatic mains phase detection.
• Microprocessor unit controls all functions and permanently monitors
DC, HF, temperature and overload.
• Remote activation over Audionet Link (optical waveguide) and via input
signal.
The output is 400 W into 8 ohms / 700 W into 4 ohms / 1.100 W into 2 ohms, ie.
enough! The frequency response is said extend from 0 to 500,000 Hz (-3 dB),
- zero Hz? The damping factor is above 1.800 @ at 10 kHz, and > 10.000 at
100 Hz.
Audionet also publishes info on the harmonic spectrum: k2 typ. -117 dB for 25
Watts @ 4 ohms / k3 typ. -123 dB for 25 Watts @ 4 ohms. Intermodulation and
distortion are expressed in dBs: Intermodulation: < -110 dB SMPTE 100 Hz
: 20 kHz, 4 : 1, 50 W @ 4 ohms, and THD + N: < -106 dB at 1 kHz, 25 Watts
to 700 Watts @ 4 ohms. The SNR is better than 125 dB. The input impedance for
RCA is 37 kOhm, 100 pF, and for XLR 3 kOhm, 100 pF. The max. power consumption
is 2000 W. Dimensions: W 215 mm * H 285 mm * D 500 mm; weight: 38 kg/mono block.
Finally, the price in Finland is around 15.000 euros per pair.
First of all, the above transistor amps sounded excellent, and I could have
easily lived with each of them, even though I fully enjoy the performance of
the AMP II MAXes. But each of the amps also turned out to be a personality with
a mixture of characteristics. It should be kept in mind in particular that my
comments below are relative to Wilson Watt/Puppy 7 loudspeakers (Audio Aero
Capitole Mk II SE CD player; Transparent Reference MM (MMI) interconnects and
speaker cables; Transparent Reference XL (MMI) Balanced interconnects; Transparent
Power Isolator XL (MMI)).
The McIntosh MC-501s delivered the most tube-like performance I have ever heard
from transistor monoblocks, with many favorable qualities and some minor defects.
They produced a bit richer and warmer sound than the AMP II MAXes without giving
up in over-all purity of the sound. I only would have preferred slightly more
power and extension.
The Burmester 911 Mk III sounded tremendously clean, airy and revealing, but
could not quite compete with the AMP II MAXes in authority over the bass frequencies
and in blackness of the background. It also added a bit more bottom noise during
the silent moments of music.
The Plinius SA Reference shone in resolution as well as delivered exceptionally
dimensional soundstage and very neutral overall sound, especially in Class A
mode. However, it not have the same punch as the AMP II MAXes, and the sound
wasn’t equally gentle.
The sound with Pass Labs X-350.5 was tonal rich and pleasurably soft plus the
amp gave an extraordinarily punchy presentation. With respect to those characteristics
it equaled or even bettered the performance of the AMP II MAXes. On the other
hand it was rather general in the organization of the soundstage and the background
wasn’t quite as black as with the AMP II MAXes. The Pass Labs X-350.5
was the only amp in the group that could compete with the AMP II MAXes in punch
and overall bass performance.
Common to both amps was their ability to provide an ultimately unconstrained
sound. No matter what kind of speakers were fed, what genre of music was played
or how demanding the recording was, both amps reproduced music with a sovereign
ease and purity. In this regard, the AMP MAXes added only very little to what
the AMP II MAXes were already capable of.
Believe or not, the AMP MAX monoblocks have a killer bass! Even in the most
critical investigations I couldn’t find any flaws in this respect. Besides
the tremendous subjective treble extension the quality of the bass is likely
the first feature, which will jump out for the listener. In comparison to the
AMP II MAXes, the AMP MAXes seemed to offer a tad richer, detailed and uniform
low end. I can assure you that if for some reason you don’t feel that
the AMP MAXes are you thing, the reason won’t be its bass.
Reproduced music will touch me only if the soundstage is transparent and life-like,
faithful to the source. AMP II MAXes are very good at this, but having set up
the AMP MAXes in my system I felt the background of the soundstage was even
blacker and every musical event was presented with greater clarity. Otherwise
the soundstage was well organized and showed a good dimensionality.
The way in which the AMP MAXes reproduced subtle musical and instrumental details
was surprisingly impressive. Massive power amps are sometimes criticized for
sounding rough, hard and edgy, and that this effectively prevents them from
successfully revealing fine textures of music. Not the AMP MAXes. They let the
nuances of music to come through cleanly and coherently without compromising
life-likeness of tone colors and harmonic expression. Chamber music and sonatas
were the best indicators of this character. I felt that the AMP MAXes were slightly
better in reproducing correct timbres.