Features

Old School:

VPI HW-19 Mk 3 Turntable
By Jerold O’Brien

995:

Venture Electronics Monk Plus IEM’s
By Kyle Dusing

Journeyman Audiophile:

Rotel A14 Integrated and CD14 CD Player
By Andre Marc

TONE Style

Podium XL from HiFi Racks

The Bubble Sofa by Roche Bobois

Snap Power Light Outlet

Orvis WW1 Wooden Propeller

WireSkin Wine Bottle Carrier

42mm Timex + Red Wing Chronograph

Jackson Pollack Puzzle

Music

Spin the Black Circle: Reviews of New Pop/Rock and Country Albums
By Bob Gendron, Todd Martens, Chrissie Dickinson, Andrea Domanick and Aaron Cohen

Jazz & Blues: Eric Hofbauer Quartet, Steve Slagel, and More!
By Kevin Whitehead and Jim Macnie

Bob Gendron’s Rock Reissues You Shouldn’t Miss

Gear Previews

GamuT Zodiac Speakers

MartinLogan Expression ESL 13A Speakers

Exogal Comet DAC

Reviews

GamuT Di150 Limited Edition Integrated Amplifier
By Jerold O’Brien

SVS SB-2000 Subwoofer
By Jeff Dorgay

Esoteric E-03 Phonostage
By Greg Petan

Franco Serblin Lignea Speakers
By Jeff Dorgay

Plinius Hiato Integrated Amplifier
By Rob Johnson

VPI Prime Turntable
By Jeff Dorgay

Atoll’s HD120 and MA100 Amp and Pre
By Jeff Dorgay

New Zealand’s Plinius Audio has a track record of delivering products that offer great sound for the dollar—and its Inspire 980 certainly offers a lot, especially for $4,450. In addition the power and preamp capabilities of a standard integrated, it also features an onboard MM phonostage and an internal DAC. With all those elements built in, this beauty can serve as a fantastic system hub—just add speakers and sources.

As with other Plinius products, the 980 features simplistic aesthetics, despite a wealth of internal capabilities. The smooth, bead-blasted aluminum faceplate is interrupted only by a volume knob and two buttons to toggle source selection. The 980 comes with a remote, but the $7.99 Plinius Arataki app (available on the iTunes store) makes controlling the unit from your listening chair even easier.

The unit’s dimensions are modest—about 18 inches wide, 14 inches deep and 3 inches tall—though the slender frame is somewhat deceptive when lifting the unit. It weighs in at a surprising 22 pounds, a result of its burly transformer and the breadth of electronics its versatile capabilities require. The unit’s Class A/B amplification section delivers 80 watts per channel into 8 ohms and roughly 100 watts into 4 ohms. While I’m used to a reference amplifier offering much more juice, the 980 has no trouble holding its own. It maintains command of the Sonus faber Olympica III speakers and leaves me not wanting for extra power.

Setup? What Setup?

As one would expect from this four-in-one integrated, the setup process is quick. Just plug in sources and speakers and start listening. Its back panel accommodates a turntable, two optical inputs and two single-ended line-level sources. There’s also a set of XLR inputs for a CD player, plus an Ethernet port and a USB input for networking from computer-based audio sources and DLNA-capable devices. As a nice bonus, the 980 also offers a wireless connection option.

I will note that the RCA inputs for the line-level sources are bit close together, making large-diameter interconnects a tight squeeze. My only other complaint is that my spade-terminated speakers wires present a challenge with these biding posts. The spades I use are actually soldered to the rest of the speaker wire, so they aren’t exactly flexible and so they must be inserted from underneath, as the binding posts are at the very base of the unit’s short frame and have very little clearance. I have to place the 980 at the rear edge of my rack so the cables can dangle downward instead of kinking. Of course, using bare wire or non-soldered banana terminations would not present this problem.

Sonic Notes

After the break-in period, the Plinius sounds neutrally voiced, with little glare, grain, or stridency. Regardless of source or the quality of the recording, I find the sound extremely easy to live with. It does not romanticize music or lean towards euphony. There’s just a slightly forgiving and relaxed quality to the sound, which strikes a delicate balance between warmth and stark realism.

With its internal 24-bit/192-kHz DAC employed, the 980 remains very tuneful. Compared unfairly against more expensive dedicated DACs, it offers a little less ambient detail and refinement; however, it does manage to render even poor recordings in a musical and enjoyable way. To my ears, Norah Jones’s vocals on “Don’t Know Why” were recorded a little hot, meaning that crescendos sometimes have an ear-tingling singe. During CD-quality digital playback, this stridency is somewhat diminished, giving the song a greater sense of musicality.

The 980 has no noticeable roll-off among high frequencies. On Hélène Grimaud’s rendition of Rachmaninov’s “Piano Sonata No. 2,” key strikes in the upper region have the requisite plink, ring, and ambient decay. With complementary bass prowess, the 980’s portrayal is deep and punchy with a solid grip on speaker drivers, especially on rock tracks like Electric Six’s “Dance Commander.” The Plinius delivers the full energy of this song with little (if any) compromises.

The soundstage portrayed—front-to-back layering, perceived width, and extension beyond the speakers—also proves excellent. Though I listen to Chris Isaak’s “Go Walking Down There” in regular rotation, I find myself startled by the 980’s portrayal of the cymbals panned to the far left and right of the recording; in my listening space, the sound bursts into the room. While the crash, shimmer and decay of the cymbal strikes may not have all the nuanced resolution of a more expensive and dedicated DAC (like the dCS Debussy, for example), what’s there is nicely rendered.

The phonostage section proves to be another really nice addition, given the price tag of the 980. While it’s limited to MM cartridges and has a fixed loading and gain, it is a wonderful feature to have incorporated in such a compact package. With all the experience Plinius has building great phonostages, like its marvelous Koru, there is undoubtedly some trickle-down technology lending the 980 solid analog playback. (See “Additional Listening” for notes on the phonostage performance.)

A Lot to Love

The Inspire 980 costs $4,450, which is not chump change. But given the quality of all the elements within—amp, preamp, DAC and phonostage—it’s actually something of a value-oriented purchase. Yes, you can get greater realism and refinement from more expensive standalone equipment, like Plinius’s own reference-level products. But from a price-performance standpoint, the 980 is a great option. For those who don’t need wired or wireless home networking capability for music retrieval from a networked drive, the Inspire’s little brother, the 880, offers the same functionality and sonics as the 980, but for $3,650.

If you have limited space to dedicate to your hi-fi system or if you simply want to scale down the number of components in you audio arsenal, this all-in-one component offers a lot to love. The 980 is also well suited as a launching point for prospective buyers who might be looking to upgrade to a larger system down the road. Given all of its capability and versatility, I can easily recommend this component—and I’d even put it on my own short list.

Additional Listening

By Jeff Dorgay

Every Plinius product we’ve auditioned has been fantastic, and the 980 continues that tradition.  As Rob is a MC-only guy, I wanted to spend some time listening to the 980 with the Ortofon 2M Black MM cartridge, which is currently mounted to the refurbished Thorens TD-125 table (courtesy of Vinyl Nirvana) and revitalized SME 3009 tonearm (courtesy of SMEtonearms.com).

As a listener who loves analog as much as digital and as someone about to move to a small space, I will say that the Plinius 980 is a fantastic solution for those wanting to keep sound quality way up and the footprint way down. Streaming music from the Meridian MS200, which is barely the size of a glasses case, and using my turntable makes this a true desktop situation. A 15-foot run of Cardas Clear speaker cable (admittedly worth more than the amplifier) and the Franco Serblin Accordo speakers round out an amazing system in my 11-by-13-foot living room.

Don’t sell yourself short on the MM thing; there are quite a few $600 to $1,000 MM cartridges that, if you aren’t going to drop thousands of bucks on a table, will fit the bill very nicely. I’m partial to the 2M Black, which mates flawlessly with the Plinius. Having spent a lot of time with the massive Plinius Class-A monoblocks, the apple doesn’t fall far from the tree with the 980. The Accordos perform their best with a lot of current and the 980 delivers the control necessary to really rock these small but mighty speakers.

But most importantly, the phonostage is dead quiet and, like the rest of the amplifier, it does not exaggerate or embellish. The Ortofon 2M has a similar sound, so if that’s your fancy, I can’t suggest this cartridge highly enough. Those wanting a bit more mellow/warm/euphonic sound should consider the Grado Reference Master 1 Moving Iron cartridge. With a 5-mV output and requiring 47K loading, the Grado will add a bit of warmth to your system’s tonality, which is especially useful if your record collection consists of mostly jazz and classic rock.

Whatever your taste, the Plinius Inspire 980 is a fantastic bargain, especially for those utilizing both digital and analog sources. An external DAC and phonostage of this caliber would easily set you back $1,000 each, so it’s like getting an 80-wpc integrated amp thrown in for $2,450—not to mention all that cable you won’t need. Enthusiastically suggested!

Plinius Inspire 980 Integrated Amplifier

MSRP: $4,450

www.pliniusaudio.com

PERIPHERALS

Digital Source	Mac mini     dCS Debussy
Analog source	SME 10 turntable with SME 10 tonearm
Amplifier	Burmester 911 MK3
Preamplifier	Coffman Labs G1-A
Speakers	Sonus faber Olympica III
Cables	Jena Labs
Power	Running Springs Audio Haley power conditioner and RSA Mongoose power cords
Accessories	ASC tube traps    Mapleshade Samson audio racks

New Zealand firm Plinius has a long history of producing excellent sounding components that also please the eye. Founded in the mid-1980s, it has a legacy of cutting edge products with exotic names. The brand is now distributed in 35 countries, and it continues to bring new products to market. In every previous encounter with Plinius electronics, these ears have come away no less than highly impressed.  The brand today enjoys dedicated North American support and a solid dealer network.

With digital audio moving away from optical disc playback, nearly every company in the high end is scrambling to offer up solutions of every flavor. Those solutions range from USB DACs, music servers with onboard storage, network media players, and file players, as well as hybrids of all these approaches.   The task of standing out is a difficult one for digital source component designers due to the lack of any consensus as to the best approach, the myriad of variables, and the constantly changing landscape.

Enter the Tiki:

Plinius has entered the fray with its own spin on things.  It has introduced the Tiki network player, priced at $4775, in a purist approach.  It has decided to eliminate all unnecessary parts and so-called features that have the potential to harm sonics. This means there is no WiFi and no display. This is commonly known as a “headless” approach, with control exclusively via smart device.

On the back panel there is an Ethernet jack, a pair of RCA and XLR outputs, an IEC inlet, and a ground switch. That is it. No digital inputs or outputs. One could call this a “closed” approach. Admittedly, one can also be forgiven for being a bit skeptical at this design, but as you will see, based on performance of the Tiki, Plinius clearly is on to something.

The Tiki handles PCM up to 192 Khz, 24 bits and is compatible with FLAC, AIFF, WAV, and MP3. The unit is DLNA compliant and can be used with a variety of server software.  One can use a number of free and paid controller apps for Android, iPad, or iPhone. Plinius offers its own unique app called Arataki, which is available for sale at the iTunes store. More on that later.

The Tiki is ruggedly built, with clean lines and a beautiful half-inch thick curved front and side panel. The top panel is ventilated, so the unit still runs cool if left on 24/7. The Plinius logo is engraved on the front, and there is a single blue LED power indicator.  The Tiki is available in black or silver. The review sample was finished in a chic matte black.

Plug ’n’…Play:

The Tiki takes all of five minutes to install. It is truly plug-and-play. Attach an Ethernet cable, analog interconnects, power up, and one is ready to stream music. I  have terabytes of music in FLAC format on drives attached to a 2011 Mac Mini. With MiniMServer and Twonky software installed, the well-organized library is accessible within seconds. A variety of apps is used with the Tiki for the review, including mConnect, Kinksy, and Plinius’s own Arataki. Tap the artist folder you desire, then the album, and the file plays. The Tiki works with a NAS attached anywhere on your network running DLNA software as well.

To get right to the big question, the Tiki offers superb sound and may be one of the best digital source components auditioned in the reference system. It offers truly remarkable transparency and unveils new layers even on very familiar recordings. It is astonishing to hear more depth and recorded detail on classic Pentangle, Fairport Convention, and Steeleye Span albums, all well recorded.  Jacqui McShee’s voice on Pentangle’s classic Soloman’s Seal was silken, and and Bert Janch’s acoustic guitar was all wood and steel.

The Tiki provides wonderful soundstage width and depth, with a tonal balance that is as natural as we have experienced from even more expensive digital players. The Sun Dogs, the debut album by progressive revivalists Rose Windows on the Sub Pop label sounded epic. Their stunning blend of acoustic instruments, electric guitar, and orchestral sweep was well served by the Tiki. Bass was deep and taut, and dynamics were standard setting.

The Tiki shows its true potential with high resolution material. The 192 Khz, 24 bit files of various classic Blue Note jazz titles proved a revelation. Beautifully recorded and well-mastered albums from Art Blakey & The Jazz Messengers, Wayne Shorter, Freddie Hubbard, and Lee Morgan are a joy to experience via the Tiki, and the natural timbres of the horns, piano, drums, and acoustic bass were stunning. The Tiki managed to stay out of the way, and just let the natural flow and rhythm of the music take center stage.

At the other end of the spectrum, the 192 Khz studio discography of Texas blues rock legends ZZ Top positively explodes out of the speakers. The fuzzed out guitars, sleazy grooves, and funky bass lines are rendered with aplomb and show the Tiki is no one-trick pony. If the ultimate purpose of a source component is to connect the listener to the music, the Tiki hit the mark without a doubt.

Using the Arataki app to control the Tiki is snap. It is one of the more elegant control apps I have used, and the graphical interface is attractive. However, it is a work in progress.  With engineers still trying to keep with iOS updates and market demands, it is difficult to keep up. The Arataki will prove frustrating for those with large libraries as currently the only way to select music is by tapping an album cover. Other apps offer a folder structure which allows for quick, pinpoint access to particular albums or songs. As noted the Tiki can be controlled by a number of other apps.

The dead quiet backgrounds, flawless operation, quick file access, and headache-free set up make enjoying music priority one. The Tiki is firmware upgradeable, and that provides peace of mind to the purchaser in a changing digital landscape. The Tiki may just be an anti-tweaker’s paradise.

Conclusion

Plinius is banking on potential customers who are sophisticated enough to set up a home network, but who also have little patience for computer audio and its endless variables. Simply plugging in an Ethernet cable gets you halfway there. Of course, there will be audiophiles confused by the lack physical interface with the Tiki, but this is its strength. With no display, and no noise-generating WiFi and digital inputs to spoil things, the sonics shine brilliantly.

Plinius thinks the network approach is best since there is total isolation between the computer or NAS and the DAC, and it provides for multi-room capabilities with one library. No need to have a bank of hard drives and a laptop in your HiFi rack. The Tiki works exactly as advertised and sounds superb. If a “set it and forget it” digital source component floats your boat, your ship has has come in.

Plinius Tiki

MSRP: $4775

http://www.pliniusaudio.com/

PERIPHERALS

Speakers	Thiel CS2.4    Genesis G7c
Amplifier	Audio Research VS 55    Rogue ST 100    Hans Audio 300B SE
Preamplifier	Channel Islands Audio PLC-1  Mk ii
DAC	Bryston BDA-1   Simaudio Neo 380D
SACD Player	Marantz SA-14S1
Cables	Kimber    Transparent    DH Labs    KingRex    Acoustic Zen
Accessories	Audience adeptResponse    Shakti Stone    Symposium

Located in New Zealand, Plinius has been making great components for years, and the brand has a loyal customer base that sings the Plinius praises on most of the audio forums. And with good reason. Every Plinius product we’ve had the privilege to audition at TONEAudio has always exceeded expectation.

The company’s top-of-the-line power amplifier, the SA-Reference, is no different. Plinius has always stood for great value and high performance, but this amplifier is in an entirely different league. Tipping the scale at 125 pounds and costing $20,900—both reasonable figures compared to some of its competitors—this is truly a destination product. Every SA-Ref is hand built and tested in the New Zealand factory. These massive amplifiers are available in a finish that Plinius refers to as “linishing,” and is offered in a black or silver anodized color as the one you see here. With large and conveniently placed handles on both the front and rear of the amp make it easy enough for those who aren’t Olympic deadlifters to move the amp into place.

Flanked with distinctive heat sinks on both sides, this Class-A masterpiece lives up to its nature by producing a lot of heat. But, in comparison to my reference Pass Xs 300 monoblocks, the heat is manageable. For those feeling a bit greener, there is a switch on the front panel that allows the amplifier to be run in Class-AB mode, which drops the idle power consumption down from 1,100 watts to 184 watts. During the course of this review, I leave the amplifier on in AB mode all the time, switching to Class A at the beginning of the day. This shortens the time to thermal stabilization and dramatically cuts power consumption. Operated thusly, the SA-Ref takes about 30 minutes to come out of the fog and do its thing.

At first blush, the difference in sound quality going from A to AB doesn’t seem as great, but extended listening validates burning the extra electricity. Again drawing the comparison to the Pass amplifiers, the SA-Ref goes from great to sublime in Class-A mode. I say drive a few less miles or keep the lights low if you’re feeling guilty about the power consumption. Your ears will thank you.

Major Microdynamics

Even with a musical selection that is relatively lacking in dynamics, like the Zombies’ “Tell Her No,” the wealth of texture that the SA-Ref provides will have you immediately under its spell. A similar effect is achieved with Neil Young’s classic bootleg Time Fades Away. This recording has lackluster quality at best, yet when delivered via an amplifier that can extract so much musical detail, the music feels closer than ever without sounding etched. On the title track, the piano in the background is usually almost indecipherable, but the combination of the SA-Ref and the $85,000-per-pair Dynaudio Evidence Platinum speakers gives this flat recording some depth, helping those small, fun details rise to the surface.

Let’s face it—we all have records in our collection that we love, even though they might live up to audiophile standards. The SA-Ref goes a long way towards making a wider range of your music collection more enjoyable—and that’s a great thing.

Going upscale with source material reaps even bigger rewards. Tracking through a 24-bit/192-kHz version of Neil Young’s Harvest reveals precious levels of detail and ambience, which bring new life and renewed clarity to this brilliant recording. The grungy, distorted guitar at the beginning of “Alabama” blasts off the walls of my listening room. I can almost hear the grill cloth on Young’s guitar amplifier move—fantastic. It’s this wealth of nuance that makes the SA-Ref a world-class component.

Admittedly, this reviewer is a huge fan of Class-A solid-state amplifiers; the additional tonal warmth (over most Class-AB amps), combined with the tremendous bass grip of properly designed amps, makes you wonder if the glass bottles are really necessary. The SA-Ref is one of these rare amplifiers indeed.

Plenty of Punch

The SACD of the Art of Noise’s Daft features a lot of trippy, spatial effects, with organic and synthesizer sounds floating around all three axis of the soundstage via the dCS Vivaldi digital player. The track “Who’s Afraid (of the Art of Noise)” is perhaps the biggest sounding of the bunch, with playful female vocals thrown in the mix far left and far right, with plenty of giggling and heavy breathing punctuated by the occasional “boo, boo” added for good measure. No, this amp won’t necessarily reveal the tonality of a Stradivarius violin, but it is big fun—and through an amplifier that can’t throw a massive soundstage, this recording sounds incredibly dead. The SA-Ref passes this test easily, with the big Dynaudios disappearing in the listening room like a pair of minimonitors.

On Elvis Costello’s duet with Burt Bacharach, “What’s Her Name Today?” the piano floats slightly in front of the imaginary line between the tweeters, with the strings just behind Costello’s voice, which takes on a height that makes it feel like he’s standing in the room singing. Every breath of his delicate falsetto, which grows to a major bellow at the end, is reproduced with just the right amount of dynamics and effort, again suggesting the real thing.
When I switch the program to heavy rock, the SA-Ref delivers the goods. And what better way to prove it than with the Audio Fidelity 24 Karat Gold CD of Judas Priest’s Hell Bent For Leather? Cranking the ARC REF 5SE preamplifier up to 70 (forget about 11) drives the KEF Blades, which are now back in the system at bone-crushing levels. While I find myself looking for a lighter to hold up, the SA-Ref motors through.

After about an hour of listening at levels well beyond reasonable and prudent, sifting through Black Sabbath, the Black Keys and Black Country Communion, I turn down the volume to reflect. My ears have given up, but the SA-Ref simply cannot be pushed to clipping when driving a pair of speakers with 88 dB or 90 dB sensitivity ratings. And so—while they are unsuitable matches for an amplifier of this quality—I bring out the power-hungry Magnepan 1.7s, just to probe how far the SA-Ref can be pushed.

Should you manage to push this amplifier to clipping, it does so softly and gently, with only a slight reduction in the overall soundfield. Fortunately, if you require this much power, the SA-Ref can be converted to mono operation with the flip of a switch on the rear panel. It is now capable of delivering 1,000 watts into an 8-ohm load and 1,800 watts into 4 ohms. The SA-Ref is a model of simplicity, allowing balanced XLR or standard RCA inputs, and it proves compatible with all of the preamplifiers at my disposal, from Audio Research, Burmester, Conrad-Johnson, Nagra, Robert Koda and Simaudio.

The Art of Relaxation

As days roll by with the SA-Ref in the system, it is clear that this is one of the few solid-state amplifiers that combines a freedom from distortion with effortless dynamics, and that it can just get out of the way of the music and quickly get you into the relaxation zone. And isn’t that the ultimate pleasure a premium hi-fi system should provide?

Pressurizing the sound room can be captivating for many listeners, but those subscribing to the “first watt” philosophy of sound will not be disappointed either. Even at low volume, the SA-Ref has plenty of finesse and acquits itself like a low-parts-count, low-power amplifier, providing a richness of tonal contrast that will make you want to pop the top to see if there really aren’t some tubes lurking inside. I briefly return to the Black Keys and discover that the guitar on the gentle intro of “Lies” just floats between the speakers while dripping with echo and decay.

Easing back into the couch with Arnold Bax’s Symphony No. 4 is even more soothing. That extra power on tap, combined with a very neutral tonality, makes this amplifier a delight when delivering large-scale orchestral pieces. It paints a big soundscape with both width and depth, and it is able to keep the smallest details rendered while easily and adequately capturing the scale of even the loudest passages.

A Little Comparison Shopping

How does the SA-Ref stack up to some of its similarily priced competitors? Quite well, in fact. The Pass Xs300s are a bit unfair, as they break the bank at $84,000—and, in all honesty, when I switch back and forth, the Pass amps take the lead in terms of resolution and a more dreamy, more realistic presentation. The SA-Ref sounds slightly etched and small in this unfair comparison.

However, when I go back to a couple of comparably priced competitors—the Burmester 911 MK3 ($29,900), the D’Agostino Momentum Stereo ($29,000) and the Audio Research REF 250s ($25,000 per pair)—the SA-Ref holds its own to the point of simply differing from these other amps. It would be like comparing the Audi S4, BMW M3 and Mercedez AMG C Class, which are all high-performance machines, to be sure, but each has its own take on how said performance should be delivered.

When paired with all the speakers at my disposal—KEF Blade, GamuT S9, Dynaudio Platinum and Focal Maestro Utopia, which are all reference speakers in their own right—the SA-Ref provides a sound slightly warmer than the tubed ARC monos can, yet not quite as warm as that of the Burmester. The D’Agostino is probably the most neutral of the four, but these are very, very fine hairs we are splitting here. Considering that the SA-Ref will set you back a comparatively less expansive $22,000, it really is a bargain for the sticker price.

In the End…

…We’re all dead, but while you’re still living and possessing decent hearing and cash flow, I highly suggest considering the Plinius SA-Ref amplifier. If you want a destination amplifier that can convert to monoblock (should you need more power at some point) and if you love the concept of a Class-A solid-state amplifier that will never need tubes replaced, this just might be your baby.

SA-Reference Power Amplifier

MSRP: $20,900

www.pliniusaudio.com

Peripherals

Analog Source	AVID Acutus REF SP turntable    Lyra Atlas cartridge    TriPlanar tonearm
Phonostage	Indigo Qualia
Digital Source	dCS Vivaldi stack    Sooloos Control 15    Aurender S10
Preamplifiers	Audio Research REF 5 SE    Burmester 011    Robert Koda K-10
Speakers	GamuT S9    Dynaudio Evidence Platinum    KEF Blade
Cable	Cardas Clear
Power	IsoTek

In case Plinius is a company that has slipped under your radar, they hail from New Zealand, and have been making incredible products for years now.

However, those that do know about the brand are doggedly loyal.  It’s a brand that I don’t think I’ve ever heard anyone slag out on the various internet forums, so they are doing something right.

Something indeed.  Having built their reputation on big, class-A power amplifiers, the Hautonga you see here is an integrated amplifier (with phono stage, no less) that features a 200-watt per channel class AB power amplifier.  Yet, much like the Burmester 911 mk. 3 and the new D’Agostino Momentum, the Plinius comes up with a remarkably grain free sound, that just might fool you that this understated beauty has a class-A amplifier under it’s cover.  Yet the MSRP is only $5,750.

It’s a very understated box, with gently rounded corners and an asymmetrical top plate, yet the rear panel is bright blue, similar to the French racing blue you’ve seen on factory Renault race cars.  It makes for a nice accent stripe where the top panel meets the casework.  The Hautonga is beautifully machined and is available in black or silver.  The control layout is the ultimate of simplicity; a large volume control and gently rounded push buttons to control the inputs.  Oddly, a balance control is absent – no big whoop for digital music enthusiasts, but this might be somewhat inconvenient for analog lovers.  Even if it were implemented from the remote – and the Hautonga has a sleek, stylish, yet commanding remote.

A complete integrated

In the tradition of the best integrateds, the Hautonga features an on board phono stage – handy for those wanting to keep rack clutter to a minimum. It does feature adjustable gain with two settings via on board jumpers, however loading is fixed at 47k ohms.  Though I’m not a fan of running most MC cartridges at this setting, there are still some great alternatives.

The cartridges in my arsenal that mate particularly well with the 47k/high gain combination are the Sumiko Blackbird, a moderately high output (2.5mv) that works fine with 47k loading, and the Grado Statement 1 moving iron cartridge.  With a .5mv output and 47k loading, this is a perfect, if slightly overpriced match (the Statement 1 is $3,500) for the Hautonga.  Keep in mind that Grado does make a series of wood bodied moving iron cartridges, all having a .5mv output, from $500 on up.  I’m guessing one of these on your favorite table will prove equally enticing.

Tracking through a handful of recent favorites from MoFi and Music Matters Jazz, I submit that the onboard phono is probably equivalent to something you might purchase as an outboard phonostage in the $750 – $1,000 range.  Not bad, considering the Hautonga is an awesome deal without the phono stage.  Highs are smooth and well sorted, the overall tonal balance neutral and background noise very low.  And then there’s the necessity for another set of interconnects and power cord; another reason a built in phono is such an awesome idea.

Entry level and Journeyman vinyl enthusiasts will probably never need more analog capability than the Hautonga’s on board stage provides.

Maybe on the next version of the Hautonga, they will open this up to adjustment, or offer a $5,000 version with no phono stage.  Bypassing the onboard stage, utilizing the Aesthetix Rhea phonostage, paired with the SME 10 turntable and Sumiko Palo Santos cartridge, (an analog front end worth about $20k) the Hautonga easily resolves the difference in analog front ends – again showing off what a great amplifier this is.

Further listening

After a few days of being powered up, the Hautonga opens up to a full-bodied sound.  Ever so slightly on the warm side of neutral, the more you listen to this amplifier, you’ll psyche yourself out thinking that it is class-A after all.  It’s also on the warm side when in operation as well, suggesting relatively high bias current.  The Hautonga actually sounds more like my Burmester 011/911 combination than the Simaudio 850P/880M electronics.

Whether paired with their own Tiki streaming audio player (review in process) or any of the digital players at my disposal, the Hautonga is a pleasure to listen to, regardless of source.  While lacking the last bit of resolution available with cost no object gear, dynamics and tonality have not taken a back seat in the design process.  Listening to the title track from Gary Numan’s latest album, Dead Sun Rising, the Hautonga powers the Sonus faber Guarneri Evolution speakers in room two with conviction. This record is full of deep, deep, synth bass lines and the Hautonga sails through effortlessly, even at high volume.

These are speakers that require a lot of current and control to deliver maximum performance and this proves to be a great combination.  Going for the ultimate torture test, swapping in a pair of Acoustat 1+1 speakers, which are usually tough to drive because of their wacky impedance curve and the highly capacitive load they present, was another easy task for the Hautonga.

Thomas Dolby’s The Flat Earth proves spacious, controlled and full of punch.  The rapid-fire bass riffs on the opening track, “Dissidents,” is tough to nail on a pair of Acoustats if the amplifier lacks current drive.  Yet cranking this up, the Hautonga handles it in stride, which leads to some more bass laden tracks from Peter Gabriel and Genesis. Again, this amplifier’s ability to provide controlled bass, full of texture on a set of speakers known for “”one note bass” is highly impressive.

Moving the amplifier out to room one and the KEF Blades is a ton of fun – and again reveals this amplifiers ability to provide a high quality musical experience with ancillaries much more expensive than you might pair it up with.  The Blades 90db sensitivity proves an easy load for this amplifier to drive allowing for plenty of dynamic range and showing off the bass control and drive. While fairly efficient, the Blades also need a fair amount of current to reproduce bass well.  This prompted a long playlist of Deadmau5, Skrillex, Daft Punk and Infected Mushroom, pushing the amplifier to its limits.  Even after hours of this treatment, the Hautonga stayed slightly warm to the touch but no more.

Subtlety beyond its pricetag

While the Hautonga can really rock out when required, what makes it a top performer is the level of resolution and inner detail it provides.  Tracking through the MoFi gold CD of Todd Rundgren’s Something/Anything, a number of small details come up in the mix that normally require more expensive electronics to extract – again convincing this writer that the integrated is one of the best ways to achieve high performance without breaking the bank.   With so many choices to damage the synergy between amplifier and preamplifier, having it all on one chassis saves the day for all but the most geeky – and patient end user.  An integrated is the fast track to great sound.

Vocals and solo acoustic instruments feel right played through the Hautonga.  Revisiting some early Windham Hill recordings from Alex DeGrassi and Liz Story illustrate subtlety, tonal nuance and a wonderful sense of decay.  The old audiophile classic, Solid Colors paints a great picture of Ms. Story and her Steinway, awash in detail rendered perfectly by the Hautonga/Blade combination.

The Jung Trio’s rendition of Dvorak’s Piano Trio in F Minor, Op.65, is another treat showcasing the fantastic tonal contrast and neutrality that the Hautonga has to offer.  Perhaps two of the toughest instruments to reproduce cleanly, the amplifier sails through, with the interplay between the sisters well intact.

Rounding out the picture

The Hautonga also features the other common niceties to round out the package, with four additional RCA line inputs in addition to the Phono and CD player inputs, along with a single XLR input.  A ground lift switch is also provided, which came in handy using a vintage tape deck that had a bit of a hum problem.

Preamplifier in and outputs, 12v trigger, and a HT Bypass assure that you can integrate the Hautonga into any possible system configuration.  They even provide a pair of speaker outputs for those wishing a fully biwired speaker connection.  So no stone really goes unturned.

Nits to pick:  very few, and well under what we’d expect at this price point.  All staff members that used the Hautonga, young and old complained about two things – while very stylish, the remote was fairly hard to read in black and when using the volume control button, it has too much torque, making fine volume adjustments via remote nearly impossible at worst and frustrating at best.  And last, the phono stage loading.  It’s a shame that a phono stage that sounds this good is limited to a handful of cartridges.

Neither of these are a deal breaker, and the Plinius Hautonga is such a stellar performer in so many ways, we are all in agreement that it is highly deserving of one of our Exceptional Value Awards for 2013.

The Plinius Hautonga Integrated Amplifier

MSRP:  $5,750

www.pliniusaudio.nzld.com

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Peripherals

Analog Source                        Rega RP8/Sumiko Blackbird,  SME 10/Sumiko Palo Santos

Digital Source                                    Plinius Tiki, dCS Vivaldi, OPPO BDP-105

Speakers                                Dynaudio Confidence C1 II, Sonus faber Guarneri Evolution, KEF Blade, KEF LS-50

Cable                                      Cardas Clear