I used an Aragon to drive the full-range Apogees to very high volumes without audible distortions. The Aragon put out wpc at 4 ohms, exerting adequate control over the bass ribbons. The result is one of weight and speed. Imaging is acceptable in terms of soundstage stability and width, but areas I find wanting are sharper images, deeper soundstaging and richer ambience.
Despite the aforementioned Aragon shortcomings, the Apogees, with their adult-height ribbons, nevertheless demonstrate themselves as soundstaging champions, capable of three dimensionality surpassing even that of the Celestion SL That dimensionality became more prominent when the GW Labs replaced the Aragon.
Instrument placement was specific and well defined on the vertical and horizontal planes. By the same token, the high ribbon-tweeter setting sounded overly bright with instruments like triangles and cymbals. Violins and brasses also exhibited an extra degree of sharpness. Resetting the tweeter level to normal or sometimes low alleviated the symptom.
The setback was a loss of soundstaging finesse. Even so, the Apogees still excelled in lateral and horizontal soundstage portrayal. The same cut from Jurassic Park received a more thorough treatment. The Apogees, with their Hz low end limit, sustained the rumbling notes. The was surprising competent in energizing the ribbons at their bottom end.
The driven Apogees also did well in the areas of mid-range transparency and soundstaging. Image localization was impressively three dimensional for most recordings. However, at screamingly realistic sound levels, noticeable soundstage deterioration developed when relentless dynamic contents were being fed.
When playing the SACD track " Dies irae ," the bass drum information drained the resources of the , infecting the entire performance. Not only did soundstaging suffer in terms of loss of definition, instrument imaging smeared and macrodynamics compressed.
Though not as extended at the frequency extremes as the , the RM9 II carried the performance through all challenges with ease. Power became the key in this instance. You may opt for the proximity offered by the Music Reference and find it more enjoyable.
The has a cunning ability to drive less efficient speakers to very high volumes before strain or distortions become obvious. Its unique, transistor-like stability preserves the recorded frequency spectrum while its tubey heart precludes transistor-like and ugly odd-order harmonic distortions.
In fact, the amp sounds quite modern, with its extended frequency response and superb analytical ability. Information like soundstaging, frequency extensions, transient attacks are all produced with glory and flare at very high decibels. Anyone can sell on Reverb List your item today to get it in front of thousands of eyes, quickly and easily. Learn more on the Seller Hub. Sell Yours Now. Similar Listings. Change shipping region.
Listing Sold. Shipped From. Joined Reverb. The IEC power input the cord is detachable is located just next to this, so with one pair of speaker cable jacks jutting sideways towards it, connections in this area are rather fiddly.
A design oversight, I would say. These are all located at the rear, other than which, the M-PWR is just a black box, with a power switch and red LED indicator in front. A silver option is also available.
Each unit measures There was no chance I was going to use it to drive my resident Magneplanar MG1. The M-PWR sounded clean and tidy in its sonic delivery, with enough drive to belie its modest power output. Make an Offer This seller is open to offers. Local Pickup Available Save on shipping and get your gear sooner.
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