If you are a bit of a biker at heart, and also a lover of high-quality stereo, take the Magnat RV 4 right away and don’t even have to waste time reading this publication. I advise you to hurry up, because lovers of hybrid amplifiers may beat you to it. The text below is addressed to those who did not follow my advice and decided to figure out why RV 4 is so interesting.
Let's first set aside the true values of hi-fi and just look at this amplifier. Regardless of technology and sound, I deeply like him with his appearance. This is an absolutely explosive mixture of Harley and high-fi. Shiny metal, high radiator fins, warm glow of lamps, stylish round handles, OLED display in a round window - everything in the design is thought out to the smallest detail. Even the output terminals of the amplifier are located in a V-shape!
The only thing missing is a switch in the form of a rotary key
Such a device, without a doubt, will decorate any system. The main thing is to choose a rack of the appropriate style, and then proudly place the RV 4 on top.
Good technology
As befits high-end equipment, the sound quality of Magnat RV 4 is made up of little things. The most obvious detail is the tubes operating in the input stage. These are not ordinary E88CCs, but premium quality SQ tubes with reduced noise levels. The lamps are made in Russia, by the way! Before entering the amplifier, they are warmed up for 60 hours and are selected in pairs based on their technical characteristics. The sockets in which the lamps are installed are also not simple: they have gold-plated contacts to reduce signal loss. The same purpose is served by reed relays used for signal switching, and WIMA pass-through capacitors for galvanic isolation of signal circuits. The sound is controlled by a high-precision Japanese ALPS potentiometer.
A large amount of metal is not only excellent cooling, but also vibration damping due to mass
The power amplifier uses Japanese Sanken transistors and Vishay capacitors from BC Components (previously this company was a division of Philips and produced capacitors of the same name). The amplifier is powered by a large toroidal transformer mounted on a vibration decoupling chassis.
The round porthole features a bright and clear OLED display
It is worth noting that the massive metal case itself provides vibration damping due to its mass and also helps natural heat dissipation from all internal components.
Integrated amplifier Magnat MA 1000
We don't get acquainted with Magnat electronic components as often as with acoustics. And every time we are surprised how German engineers manage to find ways to get an honest, and at the same time musical sound. The MA 1000 amplifier, for example, uses a hybrid architecture for this purpose, combining the advantages of tubes, transistors and integrated circuits.
Magnat developers adopted a symbiosis of technologies from different eras as soon as they began to design their own electronics. And electric vacuum devices here are not so much a tribute to the current fashion, although this point has probably been calculated. In the preliminary stages, at least, such a beautiful and sound-effective solution is not easy to find. The fact is that the lamp allows you to build a cascade that combines a lot of useful factors - exemplary linearity, a colossal dynamic range (the output signal swing can reach 50 - 60 volts) over a wide band and with a short harmonic loop. And, what is most valuable, all this is easily achieved without feedback on three or four passive parts - resistances and capacitors. True, all this is true only when working with a high-impedance load, so in tube power amplifiers you have to install an output transformer to match the acoustics. In a small-signal path, all the advantages are fully realized quite simply, but additional filament power is required (6.3 or 12 V) and an anode voltage of 200 - 250 V. A pair of Russian-made ECC82 double triodes, selected for identical characteristics after a 60-hour warm-up, are installed in a separate compartment of the case. All audiophile canons are observed - sockets with gold-plated contacts, WIMA film capacitors, Nichicon Muse electrolytes, short signal path. The light bulbs glow comfortably through the porthole windows cut out on the front panel.
A pair of Russian-made ECC82 double triodes, selected for identical characteristics after a 60-hour warm-up, are installed in a separate compartment of the case.
The signal to the tube stages is supplied only from linear inputs (CD, Tuner, AUX, TAPE and mini-jack LINE on the front panel), and the MM/MS phono preamplifier is built on modern operational amplifiers that can provide a better signal-to-noise ratio. The PHONO inputs for heads of different types are separate, which allows you to connect two players without unnecessary fuss with cables. The corrector has a filter with a cutoff frequency of 16 Hz, which is useful when infra-low components appear at the output.
The inputs are switched by a line of miniature relays controlled by a microprocessor. The volume is controlled by a dual motorized ALPS potentiometer. The designation of the active input and the volume level are displayed in the round indicator window. There, when turned on, the inscription WARMING UP appears, which goes out after the lamps warm up. The PROTECT warning indicates that the amplifier is overheated and has a short circuit or constant voltage at its output. In any case, the acoustics are turned off to avoid damage.
The final amplifiers are discrete, complementary pairs of Toshiba output transistors mounted on a solid heat sink. They are capable of delivering power up to 2 x 115 W when working with 4-ohm speakers. Power is supplied from a toroidal transformer and rectifiers with storage capacitors with a capacity of 4 x 10000 µF.
There are four screw-type acoustic terminals, so if desired, you can connect the acoustics via bi-wiring cables with any lugs. An adjustable line output is provided for system expansion with an additional power amplifier.
The remote control is shared with Magnat CD players. The amp-specific buttons are responsible for adjusting the volume, resetting Mute, selecting a source and turning off the display.
The final amplifiers are discrete, complementary pairs of Toshiba output transistors mounted on a solid heat sink.
The MA 1000 is built on a steel chassis, the 8mm thick front panel and machined aluminum handles indicate that the engineers and designers take their project seriously. I wouldn’t call the style strict, although the German origin of the device shows the solidity of the design and impeccable execution.
The amplifier was tested with Magnat Quantum 727 floor-standing systems in a room of about 40 square meters. meters.
Are you waiting for memes on the theme of warm velvet sound? They will not exist, since the lamps in the preliminary path (i.e., at optimal load and small signal amplitudes) are absolutely neutral. Their task is to “accelerate” the signal to the input of the final amplifier with minimal dynamic distortion in the band up to hundreds of kilohertz with the fastest possible attack. The result is obvious - an open, “sweeping” sound that is at the same time accurate in conveying subtle nuances. The convincingness of the lower register will depend only on the capabilities of the speaker systems, since the amplifier itself gives the diffusers exactly as much freedom as is needed for a clear, well-readable structure. In our case, the damping is optimal - the attack is not drawn out, the bass is not over-dry, with “meat”, and even fast series of hits are transmitted quite adequately.
The scene is built with almost no restrictions in width and with a clear perspective in depth. The spatial picture is presented exactly as it was formed during recording - this can be judged by the familiar test tracks.
The task of the tubes is to “accelerate” the signal to the input of the final amplifier with minimal dynamic distortion in a band of up to hundreds of kilohertz with the fastest possible attack.
The upper range is also good. Even with fabric tweeters there was a clear airy feel, the cymbals sounded quite hard, and the localization of high-spectrum sources was exemplary.
And of course, the overall dynamics are powerful, with natural transitions from quiet fragments to thunderous Tutti and a lack of coloration at high levels. Of course, it’s not difficult to cope with the Quantum 727 with a sensitivity of 93 dB, but judging by the volume reserve, the MA 1000 has enough potential for tighter acoustics.
SYSTEM
- CD player Magnat MCD-550
- Speaker systems Magnat Quantum 727
- Cables: Wire World Oasis interconnects
- acoustic Wire World Solstice 5
MUSIC
- Dali, “In Admiration of Music. Volume 4". Dali CD, 2015
- Jean Sibelius "Violin Concerto". Anne-Sophie Mutter & Staatskapelle Dresden. Deutsche Grammophon, 1995
- "Great Cover Versions". Inakustik, Reference Sound Mastering, 2013
- Noisia, "Split the Atom". 2 CDs, Mau5trap, 2013
Magnat MA 1000
Manufacturer: Magnat Audio-Produkte GmbH (Germany)
www.magnat.de
Output power: nominal 2 x 115 W (20 Hz - 20 kHz, THD <1%, 4 ohms), 2 x 80 W (8 ohms); peak 2 x 250 W (1 kHz, 4 ohms) (8 ohms) || Frequency range: Line inputs 5 Hz – 100 kHz (-3 dB), Phono input 20 Hz – 20 kHz (+/-0.1 dB) || Nominal Sensitivity/Impedance: 400 mV/100 kΩ (Line), 2.5 mV/100 kΩ (Phono MM), 0.3 mV/470 Ω (Phono MC) || Signal to Noise Ratio: -110 dB (Line), 89 dB (Phono MM), 77 dB (Phono MC) || LPF filter: 16 Hz, 18 dB/oct. || Outputs: Pre Out, Recording, 6.3mm Headphones || Power consumption: 420 VA || Dimensions (W x H x D): 434 x 125 x 380 mm || Weight: 11 kg || Price: 140,000 rub.
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Plus number
Those who decide at their leisure to find out how the new RV 4 amplifier differs from the previous RV 3 will immediately notice the difference in the switching capabilities of the two models. In the fourth version, Magnat developers finally decided to plunge into the world of digital sound. And they did it. True, not completely, but I would say two-thirds. In addition to the built-in (and very good) phono preamplifier, the amplifier has a DAC with two coaxial and one optical inputs, as well as a Bluetooth module.
Analogue inputs are adjacent to digital and even Bluetooth - a phenomenon of the times!
But a USB port for playing music from a computer never appeared. You will have to either use a USB-SPDIF converter, or use an external DAC with a USB input. By the way, it is unknown which DAC is installed in the RV 4 itself. Only the manufacturer is named - BurrBrown and the main characteristic: 24 bits at 192 kHz. Considering that a good dozen BurrBrown DACs have these characteristics, it is not possible to guess which chip is installed in the amplifier.
The lamps are protected very reliably
The Bluetooth module is a completely different story - everything is absolutely transparent. Version Bluetooth 4.0, a Qualcomm chipset with aptX support, allows you to transmit sound with quality comparable to CD. In short, if your smartphone supports aptX, download FLAC and listen to music wirelessly. For everyone else, I recommend not to remove the wiring or use an external digital player with a linear or coaxial output.
System
Before I started listening to the system, I made a simple comparison of two connection methods - analog and digital. The source was the very reputable and respected Moon CD player. It would seem that the situation is obvious - use an analogue and don’t think! However, after several experiments, I still preferred a digital connection.
Two pairs of high-end floorstanding speakers helped to understand how the Magnat RV4 plays
The combination of Moon and Magnat gave, although beautiful, a cloyingly soft, viscous sound, which clearly lacked focus and clarity, especially on fast and energetic music. The amplifier's built-in DAC made sounds clearer, more defined, provided better attack, sharper and more prominent high frequencies. The choice was made in favor of the latter option (as more universal), so the player served as a digital transport.
In different environments
It is rightly believed that Magnat amplifiers go well with acoustics from the brand of the same name. Therefore, we decided to take our own speakers for the test - two pairs of models of different design and presentation. We recently listened to the neo-vintage Magnat Transpuls 1000 floorstanders with the above-mentioned MR 780 amplifier, so they themselves suggest themselves for comparison.
At the other extreme, we have the exquisite and precise Magnat Signature 905 3.5-way floor-standing speakers, which feature a high-frequency section of two 30- and 20-mm tweeters, with the upper frequency bar stated at 55,000 Hz - of course, not to to entertain bats, but for the sake of the notorious “high fidelity.” These acoustics reproduce bass equally confidently, starting from 23 Hz.
Transpuls 1000 and Signature 905 speakers from Magnat offer different presentation, but the amplifier fully reveals the character of each pair
And for greater objectivity, we decided to use equipment from “the other side of the strait” - exquisite British two-way floorstanding speakers Q Acoustics Concept 40. The source of the signal was the Danish player Lyngdorf CD-2, which has repeatedly assisted us in test listening and has proven itself positively. Today we used the player's own DAC, connecting the device via an analog input.
Are we rocking?
The design of the amplifier somehow naturally invites you to turn on “Thunderstruck” AC/DC and instantly go into the lead, completely forgetting about watts, decibels, stage and detail. At the same time, looking at the amplifier, you subconsciously expect a thick, dark and bassy sound, saturated with characteristic tube overtones. In fact, Magnat RV 4 sounds completely different. There is no talk of any thick and fat “tube” bass. There is little bass and it sounds neat. In general, the amplifier plays collectedly and clearly, with excellent acoustic control even in difficult moments. There is no trace of boominess, coloration or laxity.
For those who haven't figured it out yet, this is a Stereophonic Amplifier.
I didn’t have any branded acoustics of the appropriate class at hand, so I listened to this amplifier with two pairs of floorstanding speakers from completely different brands: Piega Classic 7.0 and Legacy Audio Classic HD. In both cases, there was a feeling of an early decline in the edges of the range, and the lower bass was not enough, and the very top sounded somewhere in the distance. At the same time, I note that the amplifier controlled even the very difficult Legacy speakers with confidence.
Power button?! And it seemed to me, Engine Start
As a key characteristic of the amplifier, I would note a very expressive and solid midrange. Thanks to this, live instruments sound truly spirited. For example, the timbres of Arkady Shilkloper’s horn are conveyed very naturally and realistically, and the expressive manner of performance captivates from the first notes. With any well-recorded music, attention is immediately focused on the artistic component of the work, and this is an important positive quality for any hi-fi component.
The machined aluminum control knobs rotate smoothly and the weight is felt
It is curious that the amplifier does not have any pronounced accents or noticeable coloring in the mid-frequency region. I would rather classify the tonal balance as neutral. The effect of live sound is achieved in the simplest and most literal way: smooth frequency response, high resolution and good dynamics.
The V-shaped arrangement of speaker terminals is not just beautiful. It becomes better to see where the plus and where the minus are, and it’s much more convenient to twist them
Going through music of different genres and character, I was once again convinced that a good amplifier plays everything well. AC/DC and ZZ Top were, as expected, cheerful, energetic and energetic. You could listen to Katie Melua's voice and, starting with the first composition of the album, come to your senses only after stopping the disc. Favorite classical and jazz recordings did not disappoint. The no less beloved Amon Amarth not only sounded extremely clear and legible, but also instilled a fair amount of fear, which is quite logical, given the themes of the songs and the characteristic manner of performance.
A chic amplifier runs on domestic tubes - this is a reason to be proud!
The final test was the first Guru Groove Foundation album. Each audio system brings out something different in this recording. Somewhere this disc sounds like 100% electronic music, and somewhere you can hear live energy, and you can understand that in fact these are not sampled sounds, but live musicians, the sound of whose instruments are passed through digital processors. In the case of Magnat RV 4, the feeling of life in the recording was clearly audible. The title track “Call me Up” sounded very rhythmic, solid and spacious, with lively and expressive vocals, an incredible number of timbres, complex and interesting intonations.
Modern reading
As soon as you connected the Q Acoustics Concept 40 speakers, the presentation changed and became noticeably more transparent - with an emphasis on high and mid frequencies. Vocalists, regardless of genre, seem to have moved closer to the listeners, acoustic and electric guitars sounded sharper and more distinct, and losses in low frequencies are now compensated by drive - the same AC/DC play as if they are hammering in nails.
In general, the presentation has become, if you like, more modern. For example, with the previous speakers, ABBA sounded very soft and authentic, but now the recording seems to have been changed to digital remastering - the sound has become sharper and seemingly compressed. In jazz and classical music, “numbers” have also been added and at the same time there has been less depth and volume.
The Magnat Signature 905 acoustics offer a golden mean in this situation. It is transparent and detailed in the mids, not to mention the highs, and at the same time handles the lows very well.
During listening, I deliberately did not touch the tone control knobs, but with the 905s I always wanted to turn down the highs and work some magic on the balance of the mids and lows. But I would like to emphasize that this is for my taste, which values softness, while many may like the emphatically detailed and rich sound.
Perhaps a vinyl player or CD player with a different presentation would be in place here. I repeat - this is a subjective question. The main thing is that the amplifier itself does not add any gags. I got the impression that the Magnat MA 900 does not impose its will on the acoustics and the source, but gives them the opportunity to open up in accordance with the ideas and design inherent in them. This is precisely what distinguishes it from devices that stubbornly push through their character, regardless of the surrounding components.
Two ECC81 dual triodes pre-selected, tested and warmed up - why not put them on display
Even though the manufacturer himself claims that the tube preamplifier unit was specially installed to create those “warm harmonics”, but, fortunately, I was never able to feel the ostentatious vintageness and emphasized “tube” sound. The presentation turned out to be quite transparent, neutral and at the same time comfortable for the ear - perhaps this is what the developers had in mind.
