Delivery of goods from Japan
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NON-CHANDELY MEETING
I don't celebrate my birthdays often, but even the ones I do celebrate are rarely forgotten. Of the latter, I only remember my own 50th birthday (well, of course))), and the libations the day before yesterday regarding my 52nd birthday. The fact that I remember the latter is not surprising - two days is not a long time. But I most likely won’t forget it even in a year, two, or three. Due to the acquaintance on this day not only with snacks and wine, but also with a landmark device: the Technics SL-P2000 CD player. This device was completely absent from the schedule of tested devices for the current year. He ended up in our city by chance. And it came to me spontaneously. But, see the preface to the material.
I don’t know why many audiophiles (not music lovers) speak rather disparagingly about devices with the “Technics” nameplate (a trademark of Matsushita Electric Industrial) and at the same time respect the products of Sony, Denon, Pioneer... All companies in their portfolio also had budget products designed for the mass consumer and real “pearls” that few could afford. Let me remind you of just some of the “pearls” with the Technics logo. Firstly, this is, of course, the legendary SL1200/1210 series of record players. Secondly, amplifiers. SE - A1 – LEGEND with a capital letter and without quotation marks. SE-A100/SU-A200 and subsequent devices of the 2000-7000 series are the same LEGEND. And even earlier (1973) SU-10000/SE-10000, transport SL-Z1000 and DAC SH-X1000 and a monoblock (slightly simplified) version of this two-CD player SL-P2000, which is discussed in this material. And I didn’t touch on the acoustics and a lot of other things were left “overboard”. It’s just that now we’re not talking about Technix in general, but about Technix specifically.
The device I have is relatively new. In Japan, this model was published in 1992, and the world “premiere” was in 1994. Accordingly, this specimen is approximately 23-26 years old. But it looks...Fantastic! It feels like the car just came off the assembly line. This is where the phrase “collectible condition” is more appropriate than ever. A thick network cable made of OFC copper (similar to my Pioneer) and a “scoop” remote control add solidity and charm. But in terms of dimensions and weight, the device is not a record holder - it is a typical “golden” mean. The decoration of the facade is also golden, or rather golden. I remember that this color was also called “champagne”. Probably by analogy with the color of the well-respected sparkling drink. Well, my favorite balanced outputs on the rear side indicate balanced circuitry and suggest a scale and volume superior to the traditional version of outputting an analog signal from RCA connectors. Naturally, they are also present and, a little later, I will try to use them, but for now it’s a balance. Well, the digital signal output is unexpectedly the only one and... “optics”. The fact is that Matsushita decided to focus on a new (at that time) but promising interface - optical Toslink. It was believed that the optical interface was completely unaffected by interference, which, perhaps, has not yet been refuted. True, optics have limited bandwidth, but not for standard 16/44. Well, I’ve already said everything about the appearance of the player - all that remains to be said is about the sound. The day before yesterday we already listened to the device and even tried to compare it with the Pioneer (DV-AX10). But since strong drinks were consumed at the same time, the objectivity of the auditions the day before yesterday is in great doubt. Therefore, I will start from scratch.
And with a “clean slate” and a fresh (sober) head, the sound picture was painted completely different. The earlier statement that Technix was more interesting than Pioneer was not just unfounded, it was simply not entirely correct. The devices sound completely different and comparing them with each other... well, it’s like comparing a motor boat and a sailing yacht. Both float, but that’s all. The resolution of Pioneer is noticeably higher and the drawing of instruments in an imaginary three-dimensional space is as filigree as if drawn with a surgical scalpel. The resolution of Technix is average or slightly above average despite its “top status”. But the timbre of the device is damn good. In this it is “more analog” than the Pioneer, although it is completely wrong to say this about initially digital machines. Before this Technix, the timbre of the Pioneer seemed to me as natural as possible, but only in comparison with what came before... And no one knows what will happen after. Surely there will be something more interesting than Technix or Pioneer, since the limits of perfection are limited only by the thickness of a checkbook (who has one) or the thickness of a wallet for those who, if they keep money in a bank, then this jar is glass and three-liter. But returning to Technix, and at the same time to Pioneer, let us remember that the price difference between devices at the time of their release differs by about 2.5 times, and now on the secondary market this difference is approximately the same. True, the Pioneer is a universal device and can also be used as a DAC, and the Technix is just a CD player, but if this Technix is used as a transport (and in this role it will certainly be gorgeous since it is made on the basis of the SL-Z1000), and with the remaining money you can buy a modern DAC (for alternative playback of high-res in contrast to DVD-audio & SACD) then the cost of such a kit and the universal Pioneer will be able to reach approximate parity and it will be difficult to guess the winner of the duel. For me, both are good, but each in their own way. A music lover will undoubtedly prefer Technix, and an audiophile will prefer Pioneer. True, both of them must have a certain average income - even by today's standards, turntables are not cheap. True, their modern analogues are much more expensive and perhaps even better in some ways, but this has already been exaggerated more than once and therefore I will avoid unnecessary repetitions.
PS For dessert, as stated earlier, I listened to Technix in an unbalanced connection. This time through a proprietary amplifier assembled according to the Nelson Pass circuit and operating in pure class “A”. The acoustics were still the same, that is, Sansui SP-G300 and, finally, a bonus – Onkyo D-02GX mini bookshelf speakers. Well what can I say? The player + amplifier combo will send music lovers into audio nirvana. But you need to select acoustics for such a company. Ideally, something paper, broadband, highly sensitive. Class "A" never stunned with fantastic power output: 10-30 watts. - the most common numbers. But the nature of the sound—much could be forgiven for it. Well, an additional heater in our climatic conditions is never superfluous, and I think it’s no secret to anyone that you can fry eggs on the radiators of such amplifiers. This is how the first spring month of 2018 ended.
TECHNICS SE-A-100 – Power Titan
The Technics SE-A-100 transistor amplifier impresses with its chic appearance and technical characteristics . The device weighs more than 30 kg, is made thoroughly, and its filling incorporates the most advanced solutions of its time. Just think about the cost of a separate power boost for each amplifier block.
I took the amplifier for an audition when I was experimenting with bi-amping . I wanted to compare the result and decide whether the game was worth the candle: which is better - bi-amping of two medium-power amplifiers or one absolute Titan.
The result of biamping exceeded expectations, and a separate article is devoted to this experience. Having recorded the result, I connect the Technics SE-A-100. This is a final amplifier for which pre-amplification is required. Some people complain about the muddy sound of this amplifier, but it is the technical transistor preamp that “muddies” it, without which the SE-A-100 is an uncontrollable monster. In my system, I connected this tip to a transparent tube Audio Research SP-3, and the result promised to be interesting.
When dealing with such a powerful amplifier, you need to be extremely careful. The volume control knob at the limit must go to zero when connected! The slightest click during switching can cause such a powerful surge that the speakers will suffer. Burnt tweeters, torn bass suspensions - all these “charms” are usually the result of careless handling of super-powerful amplification. I think that such Technics have killed more than one speaker. Drunken fun, courage, loud play of a quietly recorded phonogram, and then... A phonogram with a higher recording level is placed at the same volume level - and the end of the speakers.
The first connection of the Technix A-100 is similar to taxiing out of the parking lot for the first time in some Lamborghini - it’s scary to move your foot on the gas pedal once again. I gradually turn up the volume knob. Wow! I usually set it for 1 hour. The knob at 2 o'clock is already loud listening, and 3 o'clock is the maximum permissible volume, because at 3:30 wooden objects begin to tremble and rattle. With the Techniks A-100, the maximum permissible volume was achieved when the knob was positioned at 10 o'clock - ¼ of the maximum power.
The sound is very large. It's huge! There has never been a sound of this magnitude from my system, even when connecting a very powerful amplifier Anthracite Razin and Musatov. At the same time, the sound with Technix is more harmonious than with Anthracite - there is no strain, there is no feeling that the musicians are tearing the strings. The music just plays, but all the musical images are colossal.
The first impression is “wow!” Thoughts arise to tell the hell out of biamping and just put the Technix A-100 into the system. Bass and drums are distinct and large-scale. Nice, full middle ground. Oddly enough, there are not enough high frequencies - you have to add them with a tone block. I listen further. Test composition Shine on you Crazy Diamond – PINK FLOYD.
The next impression is a very clear sound. Clean to the point of sterility. Yes, it is sterile! The midrange lacks flavor - the guitar doesn't touch the soul, the saxophone doesn't excite the heart. Still, a transistor is a transistor...
The next impression is the lack of internal space in the sound. Huge musical images are slightly compressed, and Gilmour's guitar does not float above the rhythm section, but plays on the same plane as the bass and drums. The plates are tapping in the same muffled manner. The high frequency is still not enough, and the cymbals seem to have become twice as large as needed - can you imagine what the sound will be like if you hit a drum cymbal with a one and a half meter diameter with a stick? This is what Technix's cymbals sounded like.
The extremely large-scale, slightly compressed, low-frequency sound of the Technix retained its pattern on all test compositions, regardless of the quality of the recording. As a result, the sound did not disappoint and left a pleasant impression, but was half a length behind the result with bi-amping. Having a noticeable superiority in the scale of musical images, the sound of the system with Technix was inferior to the same system with bi-amping Solo KT-66 / Sansui AU-607i in detail, soundstage space, quantity and quality of high frequencies and, most importantly, in the nobility of midrange presentation , on which most of the musical material is concentrated. At the same time, the Technics A-100 alone would have dealt with any of the dozen amplifiers that were my guest at various times. Simply due to the prohibitive scale of sound before which everything would pale.
Verdict hiendmusic.ru: Technics SE-A-100 is a great top-end power amplifier from the Golden Era of audio. With a good tube preamplifier it produces the highest level of sound. It makes sense to combine only with top and pre-top acoustics. It can be an ideal option for very large rooms, as it can fill a gigantic space with music. The living room in a country house is an ideal platform for the Technics A-100. In terms of scale and naturalness of sound, it leaves the vast majority of transistor amplifiers far behind. It is inferior to tube amplifiers in the nobility of mid/high frequency transmission, but is significantly superior to them in the transmission of bass and rhythm sections. This amplifier can only compete with top-end transistor amplifiers like DarTZeel, top-class tube monoblocks like WAVAC and successful bi-amp pairs.
Additional advantages: very beautiful appearance, relatively low price for a sound of such beauty and power (about $1,500), collector's value.
Cons: the need for a good tube preamplifier, because a transistor pre will make the sound completely flat and inexpressive, very large mass, low maintainability. The Technics A-100 is crammed with parts that are not produced today, and if any transistor fails, it will remain numb until the required “donor” spare part is found. This may never happen at all, or it may happen on the day of purchase - no one will give a guarantee. Considering the growing shortage of “donor” components every year, any breakdown can lead to long and expensive repairs - you need to be prepared for this.
Thank you for providing a copy of Technics SE-A-100 to the Retrozvuk.com
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