Once again about the Yamaha P2200

Yamaha P2200 is a professional power amplifier.
It was released in 1976 at a price of 240,000 Japanese yen. It was noticed by audiophiles for its high-quality sound and migrated to many home setups. This is a summary of previous reviews. The second point is that in fact there may not be another amplifier with XLR connectors with such a price/sound ratio - this is such a preamble.

Why do I keep coming back to this amp? The reason is still the same - its incredibly transparent and natural sound conveys a whole range of feelings and emotions. And I also certainly have a fairly good stereo recorder so that I can demonstrate to you the sound of the Yamaha P2200 quite close to reality.

The Yamaha P2200 actually has another unobvious advantage. If you have previously studied the topic of this amplifier, then you know that the Yamaha PC2002M model became the receiver of the Yamaha P2200. They look almost identical, but... The PC2002M has both advantages and disadvantages. Firstly, volume control in the PC2002 immediately starts at high volume, while in the P2200 it is smooth. The second point is that on the back of the P2200, in addition to XLR connectors, there are also the usual RCA connectors, while the PC2002 only has XLR and jacks. Pros PC2002 is a fully balanced circuit, unlike the P2200. But it so happened that in my setup I compared PC2002 and P2200 at the same time - both connected via XLR and did not notice any difference in sound between them, despite the fact that the P2200 played noticeably better over RCA than the PC2002. I repeat, in terms of “balance” they played indistinguishably, the sound was of higher quality than from RCA.

I also saw information on the forums that the PC2002 of the European bottling (220 volts) sounds worse due to the different fastening of the power cable. The Japanese version is better and people are remaking the European cable like the Japanese version. My Yamaha P2200 was from Japan.

But let's return to the Yamaha P2200. The sound is luxurious, very high class. I admit that there may be sound of a higher level, but not within reasonable budgets. Air, timbre, stage, the highest level of detail and resolution - everything is there plus naturalness.

However, we listen to ourselves. Let me remind you that the sound is real, recorded on a stereo recorder from a distance of a couple of meters from the Diatone DS-77Z acoustics. It was possible to connect the Yamaha NS-1000M speakers, but I consider the 77 to be more emotional, although the development of the upper and middle registers on the Yamaha is of an unprecedentedly high level. The DAC used was Inntak Saber ES9018.

VIDEO

SECOND ROUND

If it all ended now, it would probably be strange. Therefore, we have a second round, when I will compare the best Yamah P2200 power amplifier from Japan at its current price on the secondary market ($1000) with another economic miracle from the USA - the modern Parasound A23 amplifier, which is an abyss away from the distant 1976 and the wonderful P2200 model.

Parasound A23 is also a balanced amplifier and it is extremely attractive at the current price of 100,000 rubles ($1500-1600).

I liked the Parasound A23 for its thick mosfet sound (wall of sound) and holographic realism. The more interesting it is to compare.

COMPARISON

When I turned on the powerful Parasound A-23 after the Yamaha P2200 - excuse me, it didn’t take a second for analysis. Yes, the Parasound A-23 is a cool device, voluminous, transparent, but after the luxurious Yamaha P2200 you can hear that the sound of the A-23 is somehow more “rough”, not so elegantly “clean”.

There is even more air and space on the Yamaha P2200, and the transparency is even more piercing. There is no roughness in vocals on the P2200 at all.

With all this, Parasound has a different presentation and draws a three-dimensional scene differently, also very beautifully, which impressed me earlier when listening to it.

But this is not even why the Parasound A-23 is not a competitor to Yamaha; it is inferior to the Japanese amplifier in details.

I listened to the composition of the Doors group on the Parasound A-23 - everything was super detailed, transparent, but having turned on the same track on the Yamaha P2200, I realized that further comparison was useless - the Yamaha P2200 simply produced a lot of new sounds and micro-details. I would say the sound increased by 35% - new notes appeared in the guitar that simply had not been heard before.

Therefore, we begin listening to the video and hear further with our own ears.

VIDEO (Doors)

VIDEO (Saxon)

TOTAL

The point is not to oppose them; musically, these are excellent power amplifiers, each of which produces amazing sound. As they say, you are my friend, but the truth is more valuable, so the Yamaha P2200 does not give its modern American rival a chance to control itself.

Detailed test of the Yamaha A-S2200 amplifier with NS-3000 acoustics

Nowadays, finding a classic hi-fi amplifier without a built-in DAC, wireless module and other fashionable attributes is not so easy. And even more so a similar model from a renowned manufacturer with a rich history. This is exactly the rarity we have on test: an integrated circuit with architecture from the golden age of audio, implemented for uncompromisingly high-quality playback.

Indeed, the line of integrated amplifiers introduced by the company last year is a pure hi-fi idea in its original sense implemented in hardware. And it’s not a matter of trying to play on the sympathy for vintage equipment (although a touch of nostalgia is certainly present here), Yamaha adheres to the classic principle of separating components. If you want to add a DAC, choose a stand-alone device according to your taste. Do you need a wireless interface and music from online services? No problem, connect the external streaming adapter WXAD-10. And if there is no need for all this, then you won’t have to pay for the extra.

Hardware

Let me remind you that there are three models in the new line - A-S1200, A-S2200 and the flagship A-S3200, and we managed to get to know them in absentia. Now let’s test the average, most representative model in a system of “native” components. It is not prohibitively expensive, and at the same time has the full set of attributes of a high-quality amplifier.

First up is the impressive power supply, which houses a 650-watt custom toroidal transformer and four solid filter capacitors. This number indicates that each channel receives energy via the plus and minus buses from separate secondary windings and its own rectifiers, i.e. radical measures have been taken to eliminate the mutual influence of channels.

The amplifier has a built-in phono stage with extremely high performance - in MC mode the signal-to-noise ratio is -90 dB, and in MM this value is a record-breaking one, -96 dB.

The timbre block allows correction for bass and treble, and in the zero position of both regulators, the signal is bypassed using a relay, i.e., in fact, the amplifier begins to operate in the audiophile Direct mode.

A separate circuit is organized for the headphones - its own buffer with a low output impedance and a trimmer for adjusting the level within -6/0/+6 dB.

Pointer instruments with soft amber backlight not only enliven the front panel of the device, but also facilitate the installation of stereo balance with control of output power. There are three indication modes - VU, PEAK and DIMMER, in the latter the backlight is simply extinguished.

The fully balanced audio path of the A-S2200 is assembled using discrete elements, and operational amplifiers are used only in the tone block. The manufacturer emphasizes that high-quality film capacitors are installed in the most critical places - polypropylene and polyphenyl sulfide.

The sound path of the A-S2200 is completely balanced, assembled using discrete elements, and operational amplifiers are used only in the tone block.

The output stages develop a power of 2 x 95 W at eight ohms at 0.07% distortion and 2 x 160 W at four at 0.7%. There is provision for connecting two pairs of acoustic systems A and B: at the output of each channel there are four brass screw terminals, and a load switch with OFF/A/B/A+B modes is located on the front panel.

The input selector has seven positions: Phono, Tuner, CD, Balance, Line 1, Line 2 and Main Direct. In the latter mode, the signal is fed directly to the power amplifier - for example, when integrating the amplifier into a home cinema system. The Auto Power Standby mode and 12-volt trigger control can also come in handy.

The amplifier is designed in accordance with the proprietary Mechanical Ground concept, which provides increased chassis rigidity to protect sensitive circuit elements from vibrations.

Operational control is carried out from the remote control, which also has buttons related to the CD player.

The bands are divided at 2700 Hz by crossovers, which, in particular, use audiophile Mundorf MCap Supreme Evo capacitors.

The previously tested Yamaha GT-5000 vinyl player with a Sumiko Blue Point No2 head was chosen as the source. The acoustics are also Yamaha, NS-3000. These bookshelf monitors inherit a lot from the flagship model NS-5000. These include woven 6.5" cones made from proprietary Zylon polymer and a 3cm tweeter with a rear RS Chamber that eliminates harmful dome resonances. To dampen the body, a specially designed acoustic absorber is used, which, due to its increased efficiency, occupies less volume. The operating range of the NS-3000 is extremely wide - from 39 Hz to 100 kHz (-10 dB). The bands are divided at 2700 Hz by crossovers, which, in particular, use audiophile Mundorf MCap Supreme Evo capacitors, and to reduce energy losses, low-frequency coils on armored cores. There are two input screw terminals; they are machined from a solid brass billet and have a special ergonomic shape.

The body is not made of MDF, but of laminated multi-layer plywood obtained from Japanese birch from the island of Hokkaido. When working with wood, Yamaha's extensive experience in the manufacture of musical instruments undoubtedly came in handy - the quality of workmanship and external finishing is unsurpassed.

Music connected them

After turning on the system, the first thing we do is check the basic parameters of the amplifier. The phono preamplifier really does not make noise; only at a decent volume in MC mode you can hear a slight hiss in the speakers. The tone control is shallow - approximately +/- 6 dB by ear. And you don’t need more - it’s enough to equalize the sound character in low and high, without the sound stage falling apart. In this regard, the tone block is unrivaled, no matter which way you look at it, the localization of imaginary images does not deteriorate.

When you press the Mute button on the remote control, the volume knob rolls back to the zero position, and smoothly returns back when canceled, i.e. there will be no shock to the ears.

The indicators have a logarithmic characteristic, and at low levels the arrows do not stick to the initial part of the scale.

With the A-S2200, the speakers play as if on their own, so unobtrusively and at the same time the diffusers are clearly controlled.

Now, actually, about the sound. I had no doubt that Yamaha has an excellent idea of how music should be presented. It is important that the company knows how to extract this music - both from musical instruments and audio components. This is especially noticeable if the system, as in our case, is mono-brand. With the A-S2200, the speakers play as if on their own, so unobtrusively and at the same time the diffusers are clearly controlled. The sound is lively, free, but without unnecessary liberties - the impact is sharp and energetic, with clearly visible reverberations. Thanks to the amplifier's high damping factor, the bass is literally palpable without being bloated. On the contrary, it is extremely assembled, so there should be no noticeable problems with the lower case even in small rooms. Despite the fact that a solid foundation is being built on which the entire sound picture is built.

The complex rhythm section on the B52's disc does not cause the slightest difficulty - fast series of drum machine are transmitted with a clear separation of beats.

I note that, with the exception of understandable limitations in bass depth and dynamic potential, the NS-3000’s sound character differs little from the flagship NS-5000. The same Zylon diffusers with a woven structure do not introduce any coloring or synthetics. Due to the fact that the tweeter dome is made of the same material, the sound throughout the entire range is uniform in terms of the transmission of harmonics and other nuances. And what is important, the amplifier allows all these nuances not only to be heard, but also to recognize their nature. Transparent top, “atmospheric”, absence of aggressive sibilants - this is also the merit of the A-S2200. The cymbals in the finale of “Suzie Q” are indistinguishable by ear from the real thing. And regardless of the genre (and I listened to a wide variety of music), the first thing you notice is the maximum proximity to the origins of the musical event.

Transparent top, “atmospheric”, absence of aggressive sibilants - this is also the merit of the A-S2200.

The construction of the space will be the same as it was conceived when mixing the phonogram; in this regard, the amplifier-speaker combination does not change anything. How the channels are divided, what effects the producer intended - you will hear everything in its original form.

The character of the amplifier does not have the detached analyticity inherent in many modern integrated speakers, but there is also no vintage negligence, blurriness in the transmission of timbres and musical vibrations. This very important balance is characteristic of most Yamaha hi-fi components - it is clear that they are designed by people for whom music is not an empty phrase.

MUSIC

B52's, "Whammy!" Island, 1983
Wishbone Ash, "Just Testing". MCA Records, 1979
Creedence Claerwater Revival, "Creedence Gold". Liberty, USA 1970
Peter Tschaikowski, “Der Nusknacker. Eterna", DMM, 1985
Suzanne Vega, "Suzanne Vega", A&M Records, 1981

COMPONENTS

Yamaha GT-5000 turntable with Sumiko Blue Point No.2 head
Speaker systems Yamaha NS-3000
Cables: Phono interconnect Analysis-Plus Solo Crystal Oval
acoustic Nordost Blue Heaven
network Analysis-Plus Power Oval 10

Yamaha A-S2200

Manufacturer: Yamaha Corporation (Japan)

www.yamaha.com/ru

Maximum output power: 2 x 160 (4 ohms, 1 kHz, 0.7%) || Dynamic Output Power (8/6/4/2 ohms): 105/135/190/220 Watts || Rated output power (20 Hz - 20 kHz, THD 0.07%): 2 x 90 W (8 ohms), 2 x 150 W (4 ohms) || Damping factor: ≧ 250 (1 kHz, 8 ohms) || Boost Frequency Range: 5 Hz - 100 kHz (0/-3 dB, 20 Hz - 20 kHz (0/-0.3 dB) || RIAA Curve Deviations (MM/MC): +/-0.5 dB | | Distortion (20 Hz - 20 kHz, 50 W/8 ohms): 0.035% || Signal-to-noise ratio: PHONO MC -90 dB, PHONO MM -96 dB, CD -110 dB, BAL -114 dB || Inputs : 3 x RCA, Main In, Phono, XLR || Input sensitivity (1 kHz, 100 W/8 Ohm) PHONO MC - 150 µV/50 Ohm, PHONO MM - 3.5 mV/47 kOhm, CD - 200 mV/ 47 kOhm, MAIN IN - 1 V/47 kOhm, BAL - 200 mV/100 kOhm || Outputs: LINE OUT, PRE OUT, headphone, acoustic screw x 8 || Dimensions (W x H x D): 435 x 157 x 463 mm || Weight: 22.7 kg || Price: 239 990

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The editors thank you for your help in conducting the test

Tags: YamahaYamaha A-S2200Yamaha NS-3000Expert's Choice