| |
|
|
| |
D3 preamplifier
D200 Mk III power amplifier
by Constantine Soo
July 8, 2005
|
| |
|
|
|
| |
| |
D3 Specifications:
Type: solid-state preamplifier
Frequency response: 20 ~ 22kHz ± 0.1dB (3 ~
27kHz + 0.1/-1dB)
Distortion THD+N (2V): < 0.0005%, mainly 2nd
harmonic
Noise: Better than 110dBA
Gain: 6dB
Inputs: 4-RCA, 1-XLR
Outputs: 2-RCA (Main, Record), 2-XLR,
Internal MM/MC board: N/A
Bypass functions: XLR direct, HTH direct
Power Supply: True dual mono
Remote Control: Input, mute and level
Dimensions: 17 x 4.5 x 16.8 (WxHxD)(inch)
Shipping weight: 40lb
MSRP: $5,999
|
|
D200 Mk III Specifications:
Type: solid-state single MOSFET stereo power
amplifier
Power output (per channel, continuous):
200W/8Ω, 400W/4Ω
Frequency response: 5Hz ~ 100kHz
THD: ‹0.05%
Noise level: › 100dBA below 100W/8Ω
Input impedance: 40kΩ balanced, 20kΩ RCA
Sensitivity: 0.77V, 1.55V, 3.1V, 3.9V (full power)
Speaker loads: down to 1.5Ω
Idle power consumption: 100 W
Dimensions: 17.6 x 6.1 x 17 (W x H x D) inch
Shipping Weight: 68lb
MSRP: $6,499
|
| |
| |
Manufacturer:
GamuT International A/S
Oesterled 28
DK – 4300 Holbaek
Denmark
Tel. (+45) 70 20 22 68
Fax. (+45) 59 43 97 26
Website: http://www.gamutaudio.com/
Email: gamut@mail.dk
U.S. Distributor:
Lombardi Sales
390 Cheerful Ct.
Simi Valley, CA 93065
Tel. (800) 759-5842
Cell. (805) 444-6130
Fax. (805) 522-0989
Website: www.rayofsound.com
Email: rjlombardi@aol.com
|
| |
| |
ABOUT D200 Mk III
power amplification. Recent advancements in photolithography process are power
amplification. Recent advancements in photolithography process are square inch in
the 1980s to 12 million today, resulting in the creation of the most revolutionizing the
density of the MOSFET, condensing it from half a million parts per powerful
MOSFETs in history.
square inch in the 1980s to 12 million today, resulting in the creation of the most
powerful MOSFETs in history.
|
| |
Last not least, housed in an all-aluminum chassis with a front panel sanded to “a
silky smooth surface”, the D200 Mk III features a dual-mono configuration with two
mains transformers, rectifiers and two pairs of large power capacitors. On this third,
current revision of the D200, designer Michael Edinger has the following to offer:
The Mk.III design uses 95% of the same components, while some caps were
changed to better types. The D200’s printed circuit board was, at first, designed as
single-sided copper, then later upgraded to through-plated, double sided, and at
the third upgrade, the PCB copper tracks were ripped up and replaced with the
same, but this time, new electrical connections, and reoriented and moved to the
most appropriate section to take advantage of signal synergy in "friendly" adjacent
tracks, and improved isolation from tracks carrying heavy, pulsating currents. The
outcome was a purer-sounding amp with less IMD, enhancing sound stage and
detail rendition and reduces listening fatigue.
ABOUT D3
On the subject of preamplification design, GamuT maintains that the “simple is
better” maxim is not necessarily universally applicable, and further asserts that “less
is less… and the correct number of parts is the right number of parts, no more, no
less.” GamuT also proclaims that the low-noise power supply technology put into
both of the company’s D3 and the C2R preamplifiers achieves a 2nd and 3rd
harmonics distortion of 0.0002%, translating into a dynamic range of 114dB: “If
purity has a sound, this is it.”
A top design priority GamuT places on the D3 is the preamplifier’s capability of
vanquishing interconnects impedance. The D3’s input and output impedance are
set to the unusual levels of 1kΩ and 75Ω respectively, a measure GamuT claims will
allow music to flow “unimpeded through the internal maze of connections and
emerges intact and pristine”, as well as being able to control interconnects
effectively. GamuT claims that the D3’s output impedance produces a sound quality
even surpassing the company’s previous best efforts in passive preamplification.
There are four pairs of RCA inputs and one pair of balanced XLR inputs, and two
pairs of XLR outputs are provided for bi-amping, in addition to one pair of RCA
outputs and one pair of Record Outputs on RCA as well. Among all the inputs and
outputs, both the Record and RCA Output have separate buffer amplifiers to avoid
impeding upon the XLR outputs’ Common Mode Rejection Ratio.
While the front panel displays input selections of MM/MC, Tuner, Tape, HTH, CD
and BYPASS, the CD inputs are the only ones in XLRs, and the HTH Home Theater
Input actually forwards incoming signal at full-volume to the outputs. Also, the
MM/MC RCA inputs are not provisioned with a phono stage and in fact require the
addition of pre-preamplification to provide the support its name suggests. For this
review, I sent my DAC’s output to this MM/MC input.
Volume control is carried out via an ALPS potentiometer, and driven by a motor if
accessed via the optional remote. NEC’s telecommunication-grade EA2 relays
handle input selection.
SYSTEM SETUP & AUDITION
Moving the D200 Mk III around was surprisingly easy, given its considerable weight,
as its side fins were rounded and made for quite painless handlings. At one time, I
put it on top of one of my Salamander Synergy 20 racks as the normal center spot
was taken by heavier amplifiers in turn, and for its power capability, the GamuT was
the most powerful amplifier to date that was also light enough for top shelf
consideration.
In addition to GamuT’s own $5,999 D3, Audio Note’s $10k M5 phono and the
passive Reference Line Preeminence Two also took turns in partnering with the
D200 Mk III, although both D3 and M5 evoked considerably better dynamic contrasts
from the power amplifier than the passive Reference Line. Understandably, the
Reference Line preamplifier was created to drive its own high-input level
Preeminence One Signature power amplifier, and thus was eventually left alone for
the purpose of this review.
Digital front end support was by the $27k 47 Laboratory PiTracer CD transport and
the $32k Audio Note DAC 5 Special. Audio Note’s AN-Vx silver interconnects
linked the D200 Mk III to the D3, and AN’s Sogon silver cables provided connection
between the DAC 5 Special to D3, as well as PiTracer to the DAC. Loudspeakers
rotated for audition with the GamuT amplification included Apogee’s Duetta
Signature, Audio Note’s $40k AN-E SEC Signature, the $30k AN-E SEC Silver,
Celestion’s SL700, Ensemble’s $10k Figura, the Genesis VI, as well as Tannoy’s
$20k Churchill Wideband and $8k TD10.
The GamuT system drew power directly from the dedicated wall outlets via two
Harmonix Reimyo Studio Master WattaGate power cables.
In controlling the D200 Mk III, the Audio Note M5 and GamuT D3 preamplifiers
represented respective virtues from the vacuum tube and solid-state schools, and
both had induced irresistible sonic flavors from the D200 Mk III.
|
| |
| |
"...the drumming's variance in force and speed sounded it's
most descriptive and lucid ever from the GamuT-driven
Apogee...
|
| |
| |
|
 |
|
In a display of agility and power, the D3/GamuT D200 Mk
III amplification drove the 86dB/4Ω Apogee Duetta
Signature into states of extremity. In reproducing the
rumbling “do-taiko” in Ondekoza (JVC XRCD2 SVCD-
1027), the drumming’s variance in force and speed
sounded it’s most descriptive and lucid ever from the
GamuT-driven Apogee.
|
|
|
|
|
| |
The spectral presentation released by the partnership was the most revelatory in
memory, as the frail intonation of the Japanese flute and the abyssal riding of the
gargantuan drum cast astounding waves of contrasts and divides between the two
instruments.
In addition to the portrayal of the flute’s feebleness, the GamuT amplification
disclosed a serenity most revealing in the texturing and transients of the instrument.
And though powerful, the GamuTs were ever so alluring in the periodic and
purposeful highlighting of ambience cues.
Ensemble’s 87dB/6Ω, $10k Figura loudspeaker, which I reviewed in April 2005, had
been a similarly demanding transducer capable of laying siege to all but the more
powerful of amplifications. In the company of the GamuT amplification, the Figura
exhibited a rare spectral balance utterly devoid of indulgence, insomuch that the
tones and bodies of classical oboes and trombones were superbly-defined in their
spotless voicing and immaculate dimensionality.
Alternating preamplification with Audio Note’s $10 M5 phono, the Ensemble
speaker manifested a richer midrange and a more dimensional soundstaging, at the
expense of a probing sonic prowess that only solid-state designs can take credit for.
Perhaps the most surprising partnership was the one between the GamuT system
and the $40k AN-E SEC Signature, in which the D3 and D200 Mk III evoked
wholesome refinements from the Audio Note speaker, as the 95dB/8Ω, high
efficiency speaker made use of the solid-state amplification’s spectral refinement to
attain considerable vigor and vitality, lending acoustic instruments a remarkable
tonal definition and refinement previously lacking in other solid-state amplifications.
|
| |
For example, in playing the JVC XRCD Songs of A-Tao
(JVC SR-XRCD-001), the GamuT-driven Audio Note
speaker summoned extraordinarily dynamic and vibrant
sonority from the acoustic guitar, coercing a supreme
palette that was principally infallible in the unusually aural
and opulent instrumental reenactment, a unique
experience I was compelled to re-visit time and again.
|
|
 |
|
|
|
|
| |
| |
SUMMARY
Expertly designed and exemplarily executed, the GamuT amplification channeled an
unprecedented broadness of tonal impartiality through speakers being driven,
making the strongest case for an inherently flat spectral balance in amplification
design.
Despite GamuT’s inquisitive insistence in equipping its designs with a
complimenting number of parts, the company’s D3 preamplifier and D200 Mk III
power amplifier manifested themselves as illustrious personification of the best in
solid-state arena, possessing a spectrally linear core disposition, a powerful trait
that does honor to the company’s professional credentials.
The star of the GamuT system is the $6,500, D200 Mk III single MOSFET amplifier,
its ability to exert control over cones and ribbons alike was in the league of the $9k
Linn Klimax Twin, thus admirably of reference caliber. Its interaction with the $10k
Audio Note M5 tube preamplifier further illustrated an utterly impartial sonic
disposition that would highlight individual components up- and down-stream of it,
and exposed individual speakers’ influence on program materials.
When accompanied by the matching D3 preamplifier, the D200 Mk III unveiled a
unique, exacting competency worthy of its place in the most demanding of systems.
Likewise, professionals will liken their unrelenting need for sonic objectivity to what
the GamuT D3/D200 Mk III amplification can contribute, and uncompromising
audiophiles will likely hail the GamuT as the gem of the game.
At closing, I reckon that any distinctions in the respective sonic presentation by the
D3 and M5 to be so equally superfluous as to render any comparison attempts
easily a conceited concession of personal preferences.
For Dagogo readers contemplating purchase of a $10k+ solid-state amplifier, I urge
them to audition the D200 Mk III with the D3, for an experience not likely to be
repeatable elsewhere.
|
| |
| |
Associated Equipment:
Digital Front End
47 Laboratory 4704 PiTracer CD transport
Accustic Arts Drive I
Accustic Arts DAC I Mk 3
Audio Note DAC One 1.1x Signature
Audio Note DAC 5 Special
Amplification
47 Laboratory 4706 dual mono Gaincard S with DACT24 & Cardas posts
Audia Flight PRE
Audia Flight 100
Audio Note M5 preamplifier
Decware SE84C power amplifier
Harmonix Reimyo PAT-777 300B stereo amplifier
Linn Klimax Twin stereo power amplifier
Loth X JI300 integrated amplifier
Monarchy Audio SM-70Pro monoblocks
Reference Line Preeminence Two passive preamplifier
Reference Line Preeminence One Signature power amplifier
Speakers
47 Laboraotory 4722 Lens minimonitors
47 Laboratory Essence
Apogee Duetta Signature
Audio Note AN-E SEC Signature
Audio Note AN-E SEC Silver
Celestion SL700
Ensemble Figura
Genesis VI
Loth-X BS1
Tannoy Churchill Wideband
Tannoy Dimension TD10
Tannoy ST-200 SuperTweeter
Cabling
Audio Note Sogon digital cable (1m, RCA)
Audio Note Sogon interconnect (2m pair, RCA)
Audio Note AN-Vx interconnect (1.5m, RCA)
Audio Note AN-V silver interconnect (RCA 1m, 2 pairs)
Audio Note Sogon LX speaker cable (5 feet, spade/banana, bi-wired)
Audio Note AN-SPx speaker cable (2m, bananas, bi-wired)
Audio Note AN-La copper speaker cable (8 feet, bi-wired)
Boelen Digital-Precise digital cable (1.5m, RCA)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8 feet)
Ensemble Magaflux
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains (2)
Harmonix HS101-SLC speaker cable (1.5m, spade/banana, bi-wired)
Harmonix X-DC Studio Master Wattagate 330+350 power cable (2) (1.5m)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Loth X
Van den Hul MCD-352 (8 feet)
Accessories
Salamander Synergy 20 (2), Twin 30 and Amp Stand
ASC Tube Traps and Flat Traps
|
| |
| |
| |
REVIEWS OF OTHER EQUIPMENT MENTIONED:
|
| |
47 Laboratory 4704 PiTracer CD transport
Linn Klimax Twin stereo power amplifier
|
| |
| |
| |
|
