- Nov 23, 2007
- 494
- 332
- 19,270
ear:I havrnt hear yet the 650a but heard the 550a, and it didnt sound thin nor tyring to me.I liked it.seemed a bit underpowered though.gives us impressions on the pma510 please.heard it already but found it a bit messy, no layering of sound.
I had a 650A for a month before Christmas and didn't get on with it. I've kept going back to CA amps because I think I feel as though I 'should' like them, but I never settle with them. I've now had A5, AM1, 340A SE, 540A V2.0, 640A V2.0, 650A, and 740A - its about time I learned my lesson and steered well clear!!
Re. the Denon. I can understand why the Denon could sound like that if not partnered carefully but it really does reward a bit of effort. With the Wharfedale Diamond 9.1s it sounds overly thick and a bit thin at the very top - probably much as you describe. The Mordaunt-Short MS902i sounds much better with greater clarity but it still sounds as though the Denon is being limited by the speakers.
It all fits into place with the Q Acoustics bi-wired and with a relatively neutral source. The NAD C545BEE doesn't partner well with the Denon and is completely outclassed (in this context) by the MF V-DAC which has a more neutral and even-handed sound. With that in mind I prefer using the 340C as a transport because it is much quieter than the NAD.
Set-up and partnered in this way there is plenty of organisation and layering to the sound and yet it retains a sense of wholeness that I find lacking with the CA 650A. With Laura Marling's new album there was tons of atmosphere and with Radiohead's brilliant 'Amnesiac' album the Denon really took hold of the Qs and managed to achieve that difficult balance between bass depth, rhythm, and spaciousness across the frequency range. Playing Michael Buble showed that the system is very capable of maintaining composure for those smooth vocals whilst bringing a good sense of punch and depth to the band parts. Finally a Hyperion recording of the Mendelssohn Piano Concertos, which sounded awkward when played through the NAD/Denon/Wharfedale combination, really came to life with a pleasing sense of soundstaging and instrumental timbre and a good grasp of the interaction between the soloist and orchestra, and between the various orchestral parts.
The Denon isn't for somebody who just wants a party system and it isn't for anyone who prefers a very clinical approach to music. Denon have clearly engineered it to strike a balance between the warmth and heavier bass of the NAD sound and the hyper-detailed but slightly clinical Cambridge Audio approach. It shares a basic musicality and even-handedness with the Marantz PM6003 but retains composure better in the busy passages. It doesn't shout about how good it is in one area to the detriment of others. This might stop it from standing out in a quick audition, but I get the feeling it is going to make it an ideal long-term listening partner.
I had a 650A for a month before Christmas and didn't get on with it. I've kept going back to CA amps because I think I feel as though I 'should' like them, but I never settle with them. I've now had A5, AM1, 340A SE, 540A V2.0, 640A V2.0, 650A, and 740A - its about time I learned my lesson and steered well clear!!
Re. the Denon. I can understand why the Denon could sound like that if not partnered carefully but it really does reward a bit of effort. With the Wharfedale Diamond 9.1s it sounds overly thick and a bit thin at the very top - probably much as you describe. The Mordaunt-Short MS902i sounds much better with greater clarity but it still sounds as though the Denon is being limited by the speakers.
It all fits into place with the Q Acoustics bi-wired and with a relatively neutral source. The NAD C545BEE doesn't partner well with the Denon and is completely outclassed (in this context) by the MF V-DAC which has a more neutral and even-handed sound. With that in mind I prefer using the 340C as a transport because it is much quieter than the NAD.
Set-up and partnered in this way there is plenty of organisation and layering to the sound and yet it retains a sense of wholeness that I find lacking with the CA 650A. With Laura Marling's new album there was tons of atmosphere and with Radiohead's brilliant 'Amnesiac' album the Denon really took hold of the Qs and managed to achieve that difficult balance between bass depth, rhythm, and spaciousness across the frequency range. Playing Michael Buble showed that the system is very capable of maintaining composure for those smooth vocals whilst bringing a good sense of punch and depth to the band parts. Finally a Hyperion recording of the Mendelssohn Piano Concertos, which sounded awkward when played through the NAD/Denon/Wharfedale combination, really came to life with a pleasing sense of soundstaging and instrumental timbre and a good grasp of the interaction between the soloist and orchestra, and between the various orchestral parts.
The Denon isn't for somebody who just wants a party system and it isn't for anyone who prefers a very clinical approach to music. Denon have clearly engineered it to strike a balance between the warmth and heavier bass of the NAD sound and the hyper-detailed but slightly clinical Cambridge Audio approach. It shares a basic musicality and even-handedness with the Marantz PM6003 but retains composure better in the busy passages. It doesn't shout about how good it is in one area to the detriment of others. This might stop it from standing out in a quick audition, but I get the feeling it is going to make it an ideal long-term listening partner.
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