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An Introduction to Class D Amplifiers

Switching Our Thoughts

We live in an analog world. Although this might come as a bit of a shock to those of us who are used to seeing and hearing about the newest digital technology, the fact remains that our senses visual, aural, tactile, and olfactory are distinctly analog in nature. In fact, our senses cant make any direct use of purely digital information at all. Speakers, too, live in the analog world. Just as our sensory system doesnt process digital data, loudspeakers cant reproduce it. This leads us to an inescapable conclusion: At the very least, an audio amplifiers output must be analog in nature to provide a loudspeaker with the information it needs to gift us with an enjoyable musical experience. This may be uncomfortable to those companies promoting those all-digital Class D amplifiers you have undoubtedly heard about. The fact is that Class D amplifiers or, as they are more accurately known, switching amplifiers are, most likely, an amalgam of both analog and digital approaches. As a group, switching amplifiers do have one major advantage over traditional designs. Theyre highly efficient. That means they produce more output power for a given amount of electrical consumption. And they produce far less unwanted heat in the process of delivering that power to your loudspeakers. Thus, Class D or switching amplifiers can be smaller than conventional designs with an equivalent power rating. Another advantage lies in the switching amplifiers power supply, It is usually very different from the brute force approach evident in traditional amplifiers. These conventional designs require a so-called linear supply based on substantial transformers and large banks of storage capacitors. This is not true with switching amplifiers. Here, the efficiencies of Class D operation allow more sophisticated and substantially smaller supplies that also use very efficient switching technologies If youve read this Introduction carefully, youve already noted the importance of analog design techniques in a switching amplifier for audio use. In Rotels case, weve taken the knowledge we accumulated over many decades of developing and manufacturing moderately priced, high performance conventional amplifiers and applied it to our new switching designs. Benefits of this heritage include very low noise and output impedance measurements. So our switching amplifiers are electrically quiet and well able to accurately control virtually any loudspeaker you may want to use. To help you understand this better, weve written some low key but nonetheless accurate notes on power amplifiers. When we said low key, we mean that you neednt be an engineer to understand them. Intimidation certainly isnt our goal but we do recognize that some of our customers are more technically curious. If youre among them, by all means enjoy what we present here. On the other hand, you can certainly bypass the entire exercise and simply listen to one of Rotels new switching amplifiers at you local dealers sound room. Regardless, we think the following reviews may give you a good incentive to follow whatever inclination reading or listening you feel most comfortable with. The choice is yours. The pleasure is ours.

A Primer On Amplifiers
Before we discuss the advantages of Rotels switching amplifiers, we need to review some basic similarities and differences between convention designs and the newer switching amp technology. Well start with a brief description of what an audio amplifier does. You may have heard the old phrase that the ideal amplifier is simply a straight wire with gain. In other words, an amplifiers output should be identical to the input signal with one exception the output is greater in amplitude (or strength) than the input. We call any other change distortion and thats exactly what we dont want. If you think of a power amplifier as a photographic enlarger, youll (pardon the pun) get the picture. As youd expect, an enlarger simply makes small pictures bigger. It doesnt affect color balance or diminish apparent detail. The amplifier whether its a conventional design or a newer switching amp is tasked with similar responsibilities. Conventional amplifiers enlarge an input by drawing on a power supply to increase a signals amplitude. (This is why Rotel has traditionally devoted so much engineering effort to providing the best possible power supplies for its components.) If we look at the following figure, we can see how this works. Here, the amplifier gets a signal from another device: A preamplifier, a surround processor, or from a source like a CD or DVD player if that source has level adjustment capabilities. The first amplifier circuit is the voltage gain stage where the signals amplitude is increased. The second stage (current gain) draws heavily on the power supply to add the required amount of current to that higher amplitude signal. Although a full explanation is beyond our scope here, you should know that electrical power, or the ability to do work, consists of both voltage and current. Engineers calculate power by using this equation: Watts (power) = voltage x current. Obviously, the amplifiers output must be robust enough to drive the loudspeaker connected to the amplifier. In particular, if a loudspeakers impedance (or resistance) is low, the speaker will draw more current from the amplifier. Some amps can handle those demands with ease. Unfortunately, many cant.

Conventional Amplifier Class

One of the drawbacks of conventional amplifier design is the way in which the output stage delivers power to the speakers. All amplifiers produce a certain amount of heat based on their exact configuration and different amplifier classes produce different amounts of heat. Class A amplifiers, for instance, are those in which the output transistors are always on regardless of the signal (or lack thereof) being processed by the amplifier. Here, the output transistors reproduce both the positive and negative portions of the waveform.

Class A Amplifier

If you look closely at the above drawing, youll notice something unusual fully half of the input signal is missing at the output. Consequently, Class B circuits are not suitable for high fidelity applications even though they produce very little excess heat. An interesting variation of the Class B design is called Class B push-pull. It addresses the major drawback of Class B topology.

The output transistors in a Class A design are always on because they reproduce the complete signal waveform.

Consequently, a Class A amplifiers efficiency, or the percentage of power actually delivered to a speaker, is very low theoretically 25% but in practice usually around 15%. This means that between 75 to 85% of a Class A circuits output ends up as heat! While this isnt a problem at small signal levels, it becomes a major issue with Class A power amplifiers in that they require large heat sinks to dissipate this potentially damaging heat and large power supplies to feed the inefficient circuit. Although some praise the Class A configuration for its sound quality, the drawbacks can be substantial. Class B amplifiers are far more efficient. On the surface, thats good. But theres a dark side.

Class B Push-Pull Amplifier

Although a bit more complex than Class B designs, Class B push-pull reproduces the entire waveform, thus generating far less distortion.

Class B Amplifier

Here, two output transistors, each handling different halves of the input waveform, are summed so that the entire waveform exits the amplifier. However, typical Class B designs still exhibit distortion at whats called the crossover point where the waveform passes from positive to negative and from negative to positive. This is caused by the relatively abrupt manner in which the transistor pairs switch on and off. Think of a bobbled baton pass in a relay race. Thats the crossover distortion in most Class B push-pull designs. A further variation is called Class AB. Here, the circuitry is almost identical to Class B push-pull.

The output transistor in a Class B amplifier delivers only one half of the input waveform.

However, bias current (the current that keeps each transistor on) overlaps so that both transistors are active when the signal transitions from positive to negative and vice-versa. This greatly reduces or even eliminates the crossover distortion typical of most Class B push-pull designs. However, Class AB amps are less efficient than Class B push-pull and thus produce more heat. Most conventional audio amplifiers are either Class B push-pull or Class AB designs due to their reasonable balance between sound quality and efficiency.

Another way of referring to Class D designs is to call them switching amplifiers. In fact, most Class D amps use a technique called Pulse Width Modulation and its here that the confusion (Class D = digital) arises. Pulse Width Modulation (or PWM) can be, in fact, a purely digital technique. But PWM is also an analog technique and it is the analog application of PWM principles that makes most Class D audio amplifiers possible and, in fact, desirable. Lets take a closer look at the PWM process.

The Class D Story

In order to understand their significance, you should know that the classes weve described so far deal with voltages that are directly analogous to the sound waves they represent. Loud sounds are carried by high-amplitude waveforms, less intense levels by waveforms that are correspondingly smaller. In other words, we can look at a amplifier waveform on an oscilloscope (a lab instrument that shows the waveform in real time and lets us see the changes as they happen) and compare that to the waveform produced by the original sound. If the amplifier is doing its job, the only difference between the two will that of amplitude. Class D amplifiers are very different. At the onset, lets make one thing clear Class D does not (as in NOT) stand for digital. Rather, the D appellation was simply the next letter available to describe an operating class for amplifiers. (In case you were wondering, Class C amplifiers are commonly used for radio frequency transmission. There are also E, F, and other classes but theyre not commonly used for audio frequencies so we wont discuss them here.)

At the switching amplifiers input, the audio signal from a preamp or processor is compared with the output of a triangular wave generator. This is simply another way of saying that the audio signal modulates the generators output to produce a series of pulses that represent the original audio signal. As weve said before, this takes place entirely in the analog domain. Theres no conversion from analog to digital and no subsequent conversion from digital to analog. These pulses, even they look very different from the original signal, are very closely related to it. If we compare a conventional signal to the pulsed equivalent, well see the relationship.

The Rotel Approach to PWM Design 1

A M P L I T U D E
Lest you think the PWM approach is the Holy Grail of amplifier designs, lets identify some of the potential problems: Sensitivity to varying loudspeaker impedance: o The low pass output (reconstruction) filters characteristics and effectiveness will change with speaker impedance. Thus, the same amplifier may exhibit an audibly different character with different loudspeakers. o Switching amplifiers often need negative feedback to combat the peaking, oscillation, and distortion that might otherwise occur because of variations in output filter characteristics. Inherently, PWM amplifiers are RF (radio frequency) noise generators. This can impose severe penalties if not adequately addressed. Distortion is usually higher than with conventional linear amplifiers. Complex designs that are often more expensive to produce than equivalently-powered linear amplifiers. The output devices, usually MOSFETs (metal oxide silicon field effect transistors) are used as switches rather than amplifiers. This can push the performance envelope further than some MOSFETs can easily handle. Heres how Rotels approach deals with these potential problems. To begin, lets look at a block diagram of a typical Rotel switching amplifier.

TIME As you can easily see, the positive portion of the wave is represented by wider pulses while the negative portion of the wave produces narrower pulses, hence the term pulse width modulation. PWMs greater efficiency has to do with the fact that, unlike conventional designs, the transistors in a PWM amplifier are either fully on (when reproducing a pulse) or fully off (when theyre not). They dont track the input signals varying amplitude and frequency as do transistors in conventional amp designs. This operating mode produces the least power dissipation: i.e., produces less unwanted heat. The reason for this is complex so we wont venture into the realm of the super-technical except to note that when a transistor is fully on, current is high but voltage is minimized and when the transistor is off, voltage is high but current is minimized. As you remember, weve already stated that power is calculated by multiplying voltage by current. When one or the other is always 0 (as it is in a good PWM design), the result is also 0. That means theres no excess heat to dissipate. And its that lack of heat that most amplifier designers find so inviting.

Rotels Class D amplifiers are based on ideas developed by the Danish scientist Karsten Nielsen, whose extensive research into efficient high quality audio amplifiers eventually resulted in the ICEpower modules we have adopted.

modulation errors while the current feedback loop compensates for the fact that the output filters characteristics are dynamically and sometimes negatively affected by the varying loudspeaker load. Of course, feedback is usually dismissed by those whose prejudices automatically preclude it as a viable option for conventional linear amplifiers. In the case of PWM designs, however, feedback if properly implemented, of course can be a source of sonic improvement rather than aural compromise. Together, Rotels COM/MECC approach greatly reduces both Pulse Amplitude and Pulse Timing errors that adversely affect most switching amplifiers. Of course, the COM/MECC block and other elements of the PWM circuit are modular and benefit from many years of development and refinement. Thats your assurance that the RF noise problems common to less sophisticated PWM designs have been designed out. And that question of MOSFET reliability? That was a simple one we simply used far more robust devices! Its the kind of over-engineering you expect in a Rotel product. The audible results are exciting. For the first time, you can enjoy PWMs significantly improved efficiency and small size without the sonic downside that has traditionally accompanied less well executed switching designs. But rather than describe their sonic characteristics in our own words, we are pleased to present the following independent product reviews. We think youll find them most interesting and, like the Rotel amplifiers themselves, most revelatory.

If you compare this drawing to our Basic Switching Amp block diagram, youll see many similarities. For instance, the Basic diagram shows a separate triangular wave generator and comparator while the Rotel diagram immediately above combines these functions in one block marked COM modulator/ MECC controller. Even though it contains some circuits functionally similar to those in basic PWM amplifiers, Rotels COM/MECC block is significantly different in many ways. COM stands for Controlled Oscillation Modulation and is a combined modulation and control system. As such, it does not employ the triangular wave generator common to less sophisticated PWM designs. Instead, COM renders the wave generator obsolete with a novel and highly effective selfoscillating circuit to generate the carrier. In addition, the COM circuit is well isolated from any power supply variability. Thus, the pulses produced by modulating the carriers output with the incoming audio signal are significantly more accurate. MECC, the other component in this advanced switching topology, stands for Multivariable Enhanced Cascade Control. It addresses problems inherent in less carefully engineered PWM amplifiers. especially those relating to the audible effects of output filter design and implementation. MECCs advantages lie in the fact that it employs two feedback loops, one for voltage and a second for current. The voltage feedback loop corrects for

Global Press

Mission Statement Exceptional Sound, No Exceptions

To design and manufacture exceptional yet affordable audio/video equipment that can challenge the very best. Rotel is a specialty audio company comprised of an international group of Hi Fi and Home Theater enthusiasts who have been designing and manufacturing audio components since 1961. It is this commitment to excellence and longevity that sets our products apart from the mainstream in performance and value. We take great care in selecting and testing everything we put into our models - from raw components to wave-soldered PC boards - through every stage of development. A completed reference model is then carefully evaluated through a mechanical and human process using the best diagnostic electronics available, and of course, the trained human ear. The result of our critical attention to manufacturing detail and sound quality has been over 45 years of success in the audio industry. Rotel has been highly praised in print magazine reviews and on the Internet. We are pleased to be able to share some of these recent reviews with you here.

RMB-1077

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RB-1091

RB-1092

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RMB-1077 Hi-Fi News (UK), December 2005

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RMB-1077 Hi-Fi News (UK), December 2005

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RMB-1077 Ultimate AV.com, May 2006

Amplifiers
Rotel RMB-1077 Amplifier
Thomas J. Norton, May, 2006

When we think of a power amp today, we think of that large, heavy, hot-running, often ugly block of metal we hide away so we dont have to look at it. Or, if its impressively large or expensive we proudly display it on the flooran amp thats large, impressive, and expensive enough to show off is too heavy to put anywhere else! There, we willingly subject our ankles and shins to its sharp heat sinks on the sacrificial altar of great sound.

Looking Around A conventional Class D amplifier converts the analog input into a PWM (Pulse Width Modulation) signal, amplifies that signal in a switching power stage, and then low pass filters it to remove the superfluous high frequency noise generated by the switching. Class D amps are sometimes referred to as digital amps, which isnt technically correct in the strictest sense (and also has given them a checkered reputation among anti-digital audiophiles). At least as realized here by Rotel, there are no A/D or D/A conversions involvedat least not in the strictest definition of those terms. While the RMB-1077 falls broadly under the Class D banner, the technology used here is a relatively recent refinement on Class D design. Known as ICEpower (ICE stands for Intelligent, Compact, Efficient), the rights to the design were acquired by Bang & Olufsen (B&O) several years ago in a co-ownership arrangement with its inventor. ICEpower is now in use in full range, audiophilegrade amplifiers and receivers from BelCanto, PS Audio, and Jeff Rowland Design (plus, of course, Rotel and B&O.) In addition, the technology has found its way into more than a few subwoofers. ICEpower uses a similar PWM topology, but with the modulation process performed by a more sophisticated modulator than is typical of a conventional PWM amp. Dubbed COM (Controlled Oscillation Module), it isolates the amplifier from imperfections in the power supply. Co-located with the COM is a comparator and correction circuit called the MECC (Multivariable Enhanced Cascade Control) system. The MECC takes feedback signals from two later stages of the amp (the output of the switching power stage and the low pass filter at the output of the amp), compares them to the original source, and modifies them as needed to correct errors in the amplified signal. This lowers distortion and compensates for the

It doesnt have to be that way. Class D amplifiers have been around for a number of years. Early models never gained much of a foothold as full range audiophile amplifiers (though a few high-end models were well received), but they caught on big in car stereos and subwoofers. In both of those applications, their high efficiency, relatively cool operation, and small size counted for more than the ultimate in full range sonic performance. While the landscape of Class D amps hasnt changed radically, their performance has steadily improved, and the number of serious Class D amps on the market has grown quietly but steadily. And with companies recognized for great sounding electronics climb on board, audiophiles are starting to take notice. Rotel, a company long known for high quality, high value audio electronics, has taken notice, too. The RMB-1077 ($2499) is its first multichannel Class D amplifier. It offers seven channels of amplification, rated at 100Wpc into 8. All this comes in a package weighing in at just over 17 lbs. thats compact enough for a 10-year old to carry around without breaking a sweat.

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RMB-1077 Ultimate AV.com, May 2006

output filters dependence on the load. Together, these processes also allow ICEpower to use a lower switching frequency than earlier PWM designs. The technology claims an overall efficiency of 96%. The anti-feedback crowd (which is a fair sized slice of the audiophile club) will be the first to choke on their Cheetos at the mention of ICEpowers two stages of feedback (one of which appears to be global.) But reports on the performance of ICEpower amps (both measured and audible) have so far been very positive. Apart from the RMB-1077s radical departure from conventional design and its Weight Watchers size, it is externally identical to any other sevenchannel amplifier. The front panel sports a single power switch. Around back things are a bit busier, but apart from its seven single-ended inputs, high quality speaker terminals (that provide a reassuringly tight grip on good banana plugs), and detachable power cord, the only feature of note is a switch and in/out jacks that allow the user to enable the amp for auto turn-on using an external 12V trigger. A protection circuit, independent of the audio signal, will shut down the amp if certain limits are exceeded. And if a speaker with unusually low impedance is played at a high enough level, an overcurrent protection circuit shuts down that channel until the current demand is reduced. Setup and Performance One doesnt usually just slip a seven-channel amplifier into a system. Schlepping or even dragging are more appropriate terms. But in the case of the RMB-1077, slip is the right word. The long, slim profile of the amp demanded a straight-line arrangement of the input jacks and output terminals. Too often, multichannel amps and receivers orient the five or seven sets of jacks and terminals in a way that makes it a nightmare to get at the leads for something like troubleshooting a single faulty channel once everything is connected. While ease of access may be a feature only a reviewer can appreciate, anyone who isnt terminally anti-digital can appreciate the RMB1077s sweet sound.

Ill begin in a rather backwards fashion by first offering a comparison. I didnt have any other $2500 amplifiers on hand to compare to the Rotel, so I chose my trusty, long-time referencethe Proceed AMP5. While no longer available, this five-channel amp (which would probably cost more today than its $5000 price of the late 1990s) remains a superb design, profiting as it did from more than a little trickle-down engineering from its more upscale Mark Levinson siblings (Proceed was at one time the Mark Levinson in-house budget brand.) Furthermoreand Im sure Ill get poison pen letters on thisthere havent been any major breakthroughs in solid state analog amplifier design since the AMP5 engineers scribbled the first draft of their circuit on a coffee-stained napkin. I did much of my comparative listening to these two amps in two-channel stereo, with some multichannel added later to confirm my impressions. After very careful level matching (a critical step with any audio comparison test) the differences I heard between the two amplifiers were very subtle. Yes, in my system they favored the Proceed. But the differences I heard were largely at the frequency extremes. I heard a little less air and high frequency detail from the Rotel, and perhaps a shade less depth as well. Both factors are related; airy highs better reproduce a sense of the recording space, which aids in the reproduction of depth. The Rotels basswhen driving speakers fullrangewas also a little less tight than that from the AMP5, particularly on crisp percussion like the drum whacks on the CD soundtrack of Master and Commander: The Far Side of the World. But this becomes largely irrelevant when your bass is routed to a subwoofer. In both instances, however, these differences were small enough that I could probably poll 10 listeners and find them divided down the middle in their preferenceif they could hear the difference at all. End of critique. Auditioned on its own, the RMB1077 is a superb-sounding amp. While my firststage of auditioning with two-channel music did not stress the peak capabilities of the Rotel as much as driving five or seven channels at once, it did make

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it easier to grasp its essential sound quality. On a wide variety of material the amp never let me down. The bass is surprisingly powerfulthe slight softness noted earlier went virtually unnoticed once the auditions were freed of the tedium of levelmatched comparisons. The top end was open, detailed, and clean. And though as noted it did lack that last whisper of air and openness at the very top end in my system, it more than made up for it with its complete lack of grit or edginess. The Rotel never bit back at meunless the bite was a known element of the program material. The amp also generated a precise soundstage, with a believable sense of positioning from left to right and front to back. Center soloists were precisely positioned (again, with two-channel material and just two channels driven.) It doesnt offer quite as rich a sense of front to back depth as some highend amps, but its very close. The Rotel gets a firm grip on the dimensionality of the source. On Film My system is currently set up for 5.1 channels, so two of the Rotels channels were left idle for this evaluation. The Rotels 100Wpc may sound modest by todays standards. But when challenged by a demanding multichannel soundtrack, particularly with a subwoofer in the mix, it generated more than enough juice to drive my system to peak levels that no sane individual would want to endure for more than a few seconds. Ive lately been deeply impressed by the soundtrack on the HD DVD version of Serenity, reportedly encoded at 1.5Mb/sec and routed through the digital output of my Toshiba HD DVD player as a 1.5MB/ sec DTS signal (for an explanation of this seeming oddity, see my recent review of the Toshiba HDA1 DVD player .) The films title sequence, which starts a couple of chapters into the film, begins with a few bars of the sweetest music recording this side of a first-class, uncompressed CD. It jumps all too quickly into a crushingly dynamic mix of rocket engines and more music, now fully enveloping and rising to a huge, sweepingly cinematic crescendo. As the turbulence rises, the scene shifts to interior of the ship, the music and engine noise subsiding into the metallic clattering and clanging

of everything not tied down, the tin symphony spreading to all channels. The Rotel gets all of this right, exhibiting only the slightest sense of strain on the most challenging peaks (which may well be in the recording), but never sounding harsh or grating. Dialogue and effects are treated equally well, and the score ranges from lush to explosive as the soundtrack demands. Compared again with the Proceed amp, I noted the same slight lack of air and crispness in the Rotels very top end. But one could just as easily argue that the Rotel is right and the Proceed a bit too crisp. The differences are subtle enough that I can well imagine different results with zippy-sounding soundtracks and/or speakers with excessive treble (there are plenty of those, though the Revels I used arent among them.) None of this nit-picking mattered much as I tracked down and auditioned other favorite soundtracks. I suspect well all be using HD DVD (and Blu-ray) Dolby Digital Plus or uncompressed PCM soundtracks more and more for reference material in the future. Theyre a huge improvement over their Dolby Digital and DTS counterparts on standard DVD. The Rotel sounded spectacular on the soundtrack from the Apollo 13 HD DVD, which is probably the best multichannel audio demonstration for the new formatand the RMB1077Ive yet heard. From the now-classic launch sequence to re-entry and splashdown, the film and the system didnt miss a beat, keeping me fully engrossed in one of my top 10 favorite films of all time. Conclusions While I dont expect Class D amplifiers to displace conventional solid-state amps overnight, I wouldnt be surprised if they eventually dominate the market. In the Rotel RMB-1077, that future may be here now. This is an outstanding amp by any standardClass A, A/B, or D. Keep in mind too that if the RMB-1077 doesnt offer enough power for you, Rotel has just released two new amps using the same ICEpower technology, one a monoblock ($1499) and the other stereo ($2499). Each offers a teeth-rattling 500Wpc!

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Highs and Lows Highs Excellent overall sound Seven channels of solid performance in a light, compact package Lows Bass could be tighter A subtle lack of air and sparkle in the upper treble Measurements All measurements were taken on the left channel except as noted. Measured power outputs are to the nearest Watt. The Rotel RMB-1077s frequency response driving an 8 load measured -0.33dB at 10Hz, -0.10dB at 20Hz, -0.46dB at 20kHz, and +0.69dB at 50kHz. The Rotel RMB-1077s frequency response driving a 4 load measured -0.36dB at 10Hz, -0.11dB at 20Hz, -0.25dB at 20kHz, and -0.73dB at 50kHz. S/N (A-weighted, 2.83V into 8 1W) from 10Hz24kHz) measured 106.9dB. The amplifiers gain measured +27.3dB.

THD+noise at 2.83V into 8 (1W) measured 0.045% at 20Hz, 0.045% at 1kHz, and 0.052% at 20kHz. THD+noise at 2.83V into 4%#937; (2W) measured 0.040% at 20Hz, 0.045% at 1kHz, and 0.047% at 20kHz. Driving seven channels into 8, the Rotel delivered 130Wpc at 20Hz and 118Wpc at 1kHz before clipping (1% THD+noise). Into 4 with seven channels driven, the amps current protection circuit kicked in before the continuous output reached the 1% THD+noise level. The output just before protection engagement was 73Wpc at 20Hz and 74Wpc at 1kHz. The Rotels instantaneous power output with real-world program material should be closer to the results obtained with only two channels driven (below). With just two channels driven into 8, the RMB1077 delivered 133Wpc at 1kHz at clipping (1% THD+noise). Into 4, two channels driven, it delivered 257Wpc at 1% THD+ noise at 1kHz.

Review System
Preamp Processor Sources Speaker System Amplifier Cables Digital audio: Interconnects: Speaker: DVDO Precision Madrigal CZ-Gel, Tara Labs, XLO VDO, Monster Monster M2.2 Anthem Statement D1 Poneer Elite DB-79AVi DVD Player Toshiba HD-A1 HD DVD Player REvel F52 (L/R), C52 (center), M22 (surrounds), B15 (subwoofer) Proceed AMP5

Specifications Power output: 100Wpc x 7 into 8 (all channels driven from 20Hz-20kHz, 0.03% THD). 200Wpc into 4 (0.09% THD). Frequency response: 10Hz-80kHz (3.0dB) Total harmonic distortion: 0.03% (from 1W to continuous rated power, 20Hz-20kHz, 8) Intermodulation distortion: 0.03% (60Hz:7kHz, 4:1) Damping Factor: 400 (at 8) Input sensitivity/impedance: 1.2V/8.3k Signal to Noise ratio: 105dB (IHF A) Power consumption: 400W (70W idling, 3W standby) Dimensions: 17.2 x 2.9 x 16.4 (WxHxD) Weight: 17.2 lbs. Price: $2499

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RMB-1077 TechnoFile.com, February 2006

Technology

Rotels Digital Amplifier Trims the Fat, not the Sound

By Jim Bray TechnoFile.com Magazine Audiophile power amplifiers traditionally have been big, hulking beasts, at least comparatively speaking - heavy and generally ugly components whose primary function is taking audio signals from the preamplifier and injecting a healthy dose of steroids into them before passing them on to your speakers. As with so much in our lives today, however, digital technology is making itself felt in the world of amplification, too, in this case taking the power amp to the gym and sweating off of it more than a few pounds and inches. But can a small and svelte digital amp pack the punch of a more traditional powerhouse? You bet, if Rotels seven channel, $2500 U.S. RMB1077 is indicative of the nature of the digital beast! Ive been using Rotel components for several years now as my reference for comparing audio systems, and have been impressed consistently by their blend of overall sound and build quality for the dollar. Rotel equipment aint cheap, but its a lot better than the generic stuff youre likely to find in a big box store and its a lot more accessible than the more stratospheric equipment. In short, Rotel offers an excellent compromise between the so-called mainstream and the stuff that requires you to take out second mortgage on your house. The heart of my reference home theater is Rotels RMB-1095 amplifier. This conventional amp oozes 200 watts of oomph (at 8 ohms) into five channels, and needless to say its a heckuva performer. But as is the nature of the beast, it also measures 17 1/8 x 9 3/8 x 15 inches and weighs 75 pounds, making it about the size and weight of a Mini Cooper. Okay, maybe thats a bit of an exaggeration, but the point is: its as big and heavy as an amplifier is expected to be and it requires a certain amount of strong shelf space and a few inches of air space around it for heat dissipation. It also consumes 1200 watts, so the power company loves it, too. The digital, Class D RMB-1077, on the other hand, rides to the rescue in a positively diminutive package thats just shy of three inches high and weighs a paltry 17.2 lb. And it only consumes 400 Watts, while hardly giving off much heat at all. How do they do it? They exploit something called ICEpower technology, which appears to have originated with the seriously innovative wizards at Bang & Olufsen. According to Rotel, Controlled Oscillation Modulation (COM) and Multivariable Enhanced Cascade Control (MECC) form the intelligent power processing (the brains) of the technology to ensure that the amplifiers power supply and output is rock solid even under complex speaker loads or power supply variations. And if you understand that my hats off to you! I had to laugh when I first unpacked the RMB-1077. I mean, how can you take seriously an amp this size that calls itself audiophile and commands a price of $2500 U.S.? If it hadnt had the familiar Rotel name on it - and a classy silvery front panel that looks very rich (its also available in black) - Id have had trouble taking it seriously. And it should be taken seriously: the 100 watts per channel this little critter cranks out do an amazing job of filling the listening room with excellent, clean and transparent sound. For my listening tests, I tried the RMB-1077 in a couple of different locations and a few different configurations including stereo, 5.1 and 7.1 audio/video setups that would give it a good workout. I first set it up in my reference home theater, hooking it in where the big RMB-1095 parks normally. The preamp/processor/switcher was Rotels RSP-1098 and the speakers were Definitive Technologys all around. Circumstances soon led to me moving the amp to a friends to complete our listening tests, but while it was set up in the home theater where I spend so much otherwise productive time I was very impressed.
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RMB-1077 TechnoFile.com, February 2006

You notice the difference between 100 and 200 watts of course but, all else being equal, this amp sounded great whether I pumped music or movies through it. At the second location, we used it with a couple of different preamps including the aforementioned RSP-1098 and in place of a 100 watt x 7 Rotel receiver. Here, with a more apples to apples power output comparison and more time to do the listening, the RMB-1077 had a chance to really shine. And shine it did. We reviewed it with a variety of audio and DVD material (and a bit of HDTV broadcasting, though its audio was suspect), and were blown away by its performance and overall oomph. It sounded great whether we played it at lower, more intimate volumes or cranked up to Neighborhood Annoyance levels. The sound is open and spacious, making the speakers disappear from the listening area and putting you right into the experience - just as a good amp should. The stereo sound stage had me jumping up to make sure the center front speaker wasnt on (it wasnt), and in surround mode we were enveloped completely by music and/or movie action, with precise placements of instruments in a full and sweet sound stage. When you close you eyes and let the music take over, its almost as if the music becomes all that matters. You can listen to this thing all day without it getting fatiguing. The only flaw is that the sound is so clean and natural that, as with other audiophile components, itll show up flaws in the source material or other parts of your component chain. The best musical performance came from DVD-Audio discs. Donald Fagens Nightfly was mesmerizing, with synthesizer sounds emanating from all around the room. Vocals sounded very natural as well. And Medeski, Martin and Woods Uninvisible sounded as if we were in the studio with them. Likewise, on Elton Johns Goodbye Yellow Brick Road, which has analog origins but which sounds great on DVD-A (despite some analog hangover), it was easy to get lost in the 5.1 mix. Fortunately, we were listening using the buddy system and so could take turns slapping each other back to reality.

Listening to regular CDs played through the RMB1077 is revealing and will quickly bring out the best - and worst - of the material. CDs we tried included Santanas Shaman album and the Rotel again created that space of being there, presenting a compelling sound stage. Santanas intricate guitar work sounded smooth as silk, with fast transients as he shifted from chord to chord, and the horns sounded nice and brassy without being harsh. Then we went to the movies, with such titles as Star Wars Episode III and, a better choice, LOTR Return of the King in dts ES. Wow! Again, the RMB-1077 brought out the best and the worst, making us wish for a better quality sound track on Star Wars and absolutely blowing us away on superior soundtracks such as ROTKs. The amp had great punch, very good dynamics, and those battle scenes almost made us want to armor up and pitch in to help defeat the forces of Sauron. Of particular note were the unearthly sounds of the Nazgul swooping around the room on their dragon-like mounts, hollering their deathly screams. Yikes! We played stuff at more than acceptable listening levels for the most part, and the room positively rocked. It was easy to forget that this amount and this quality of sound was coming from that dinky little box. Bundle the RMB 1077 with a good preamp and some fine speakers and youll have a system you could grow old with, without it growing old on you. And with a claimed frequency response of 10-80,000 Hz + or - 3 dB, your dog will be impressed as well! Thanks to its size and low heat output, the RMB-1077 will fit into places a traditional amp wont. This not only makes it ideal for a home theater installation, but for architectural audio applications in which you want an efficient, compact multi-channel amp to pump sound from one central location to seven speakers wherever they may be. And its 12-volt triggers will make it perfect for integrating into automated systems. Bottom line: the Rotel RMB-1077 is a wonderful little amp. It offers excellent sound quality in a package small enough to fit just about anywhere. For what more could anyone ask? Maybe a 200 watt version?

http://www.postchronicle.com/news/technology/article_2128047.shtml

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RMB-1077 AudioVideoRevolution.com, March 2006

audiovideorevolution
manufacturer: model: category: review date: reviewed by:
Introduction

equipment reviews

Rotel RMB-1077 Seven Channel Amplifier Multi-Channel Amps March 200 Matthew Evert

Rotels illustrious history was started in Japan over 40 years ago by a family whose obsession with music inspired them to manufacture truly high fidelity stereo components of their own unique design. Today, Rotel engineers are known for their tendency to select only the finest capacitors, resistors and other parts from all around the globe. The goal of these searches for the best audio components is to create audio equipment that is musical and reliable, yet affordable. If a component has not met the engineers desired standards, Rotel is not afraid to make the actual part itself. This was the case for Rotels decision to make its own toroidal transformers. One of Rotels latest contributions to the home theater market is the RMB-1077 a seven-channel amplifier that retails for $2,500. Now, you ask, what is so great about this amplifier? Amplifiers have been around for years and much of the technology has not changed significantly. One thing in particular has changed with the introduction of the RMB-1077 amplifier is that it no longer uses the massive toroidal transformers that Rotel once prided itself in manufacturing. This amplifier doesnt employ the traditional large heat sinks that are needed to dissipate the heat generated by a traditional amplifiers transistors. Instead, more efficient Class D amplifiers with lighter switch-mode power supplies replace the large capacitors and coils of wire. There are two types of Class D amplifiers. One type is digitally controlled and the other is analog controlled. The Rotel RMB 1077 is an analog controlled Class D amplifer. It has an analog input signal with a digital switching power supply. Amazingly, the above changes allow the RMB-1077 to reduce its footprint to just two-andseven-eighths inches high and its weight down to a little over 17 pounds. My Parasound HCA1000A amp is twice that weight and height and is only a two-channel 100-watt amp. The black steel chassis of the RMB-1077 is 17-and-one-eighth inches wide and 16-and-threeeighths inches deep. The chassis has tabs on the front for easy rack mounting capabilities. The front faceplate has a platinum finish to it and features the Rotel name imprinted on the top. Rubber spacers on the bottom of the amplifier allow it to be stacked if rack-mounting is not desired. A protection LED will signal to the user that the amp is overheating due to improper ventilation or if there is a shorted speaker wire. The amp will also turn itself off if the condition continues uncorrected by the user for an extended period of time. When the power switch is in

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RMB-1077 AudioVideoRevolution.com, March 2006

the on position and the 12-volt trigger switch is enabled on the back of the unit, the amp can be remotely powered on by a preamp or other control device. The back panel of the RMB-1077 provides a RCA connection for each of the seven input speaker channels from your preamp. Seven pairs of color-coded four-way terminal posts are provided for connection to your speakers. Lastly, a detachable IEC-standard power cord provides easy removal of the amp from a rack system and offers the possibility of using an upgraded power cable or longer power cord at a future date. This new amplifier design, one that Rotel and ICE engineers worked cooperatively to achieve, features seven channels (100 watts each) of amplification that is a fraction of the size and weight of other traditional amplifiers. By using ICRs patented ICEpower technology, the RMB-1077 can deliver full bandwidth sound with ample power output while generating very little heat and distortion. Rotel uses two other ICE technologies to aid in the intelligent power processing of this digital amplifier: Controlled Oscillation Modulation (COM) and Multivariable Enhanced Cascade Control (MECC). COM technology obtains higher efficiency, better stability and more effectiveness from a switching-type digital power supply that will support all seven ICE power amplifier modules. The MECC system is a circuit topology that creates an intelligent amplifier. This intelligent amplifier is one in which the power supply and the amplifying circuits work together. These technologies allow for high power output with over 90 percent efficiency, thus minimizing heat and therefore the need for bulky heat sinks. High efficiency at high power levels also means lower distortion, less interference and better control over its frequency response from earlier class D digital amplifier designs. As a result, the RMB-1077 behaves more like a conventional class A/B amplifier in power capabilities and frequency response, but retains the benefits of a smaller size and weight class D amplifier. The RMB-1077, like all Rotel amplifiers, doubles its power as the impedance drops but unlike conventional designs this one can run into 1 ohm loads safely while still pushing out 400 watts. It makes it ideal for low impedance speaker loads.

Set-up
Indeed, this amplifier is light and easy to move around. You will still need about a fourinch clearance for heat venting on the top, back and sides of the amp. I was amazed how cool this amp ran and, even after several hours of going at 75 percent power, the amp felt room temperature. My Anthem A5 could hatch a baby chick after two hours of running at the same volume. That said, better to be safe than sorry, so I would stick to the recommended guidelines for venting. The 12-volt trigger is a nice feature for integration to preamps like my Anthem AVM30. This trigger will automatically power on the RMB-1077 when the AVM30 is powered on. The output trigger of the RMB is useful if you need to power-on yet another amplifier downstream from the RMB. The RMB-1077 delivers wall-rattling sound with little hardness or strain to speak of. Rotels amp was able to drive my large Paradigm S-8 and C-5 center channel loudspeakers over 35 feet of AudioQuest speaker cable. The rest of my test system included my Anthem AVM30 preamp/processor, a Marantz DV9500 Universal DVD player and a Monster HTPS7000 power conditioner.

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Television and Movies After being patient with the amp, allowing it a chance to properly break in over a few days, I popped in Maxwells Embrya (Columbia). In Everwanting To Want You To Want, I quickly discovered that there was a vast collection of instruments to be identified in the recording that past listening sessions had not informed me about. Despite all the unique instrument sounds quickly entering and leaving the song, the imaging remained solid. The soundstage had a great feeling of openness. The bongos could be found in a precise location just five feet above the left speaker without difficulty. The high end was detailed, with subtle bell sounds from the foreground and cleverly dispersed cricket sounds surrounding the listener. The smooth alto voice of Maxwell, supported by a mix of male and female background singers, dazzled in the midrange. As with any Maxwell track, it is rich in bass, pumping at your chest and feet, and the Rotel RMB 1077 didnt disappoint. It provided solid impactful bass that had me dancing around my room like a fool. Im You: You Are Me And We Are You sounds complicated in title, but wait until you hear all the distinct instruments blended together. The liquid-sounding waterfall chimes, the long decay of a wood block being struck and those crazy crickets again dance amongst the treble sounds. There are trumpets, organs, violins, and no party would be complete without a Spanish guitar. I felt the highs were a little rolled-off compared to the performance of the Anthem A5, but still felt the RMB-1077 was very musical and imaged well. The Rotel RMB-1077 did an exemplary job in detail, impact and instrument separation. Since the RMB-1077 is a multi-channel amp, I opted to try out the Out There SACD (New Jazz) by Eric Dolphy. The multifaceted talents of Dolphy on both the clarinet and the flute are demonstrated throughout this recording. In Serene, Dolphys playing mesmerized me with his ability to make sounds I never thought possible from a clarinet. The machine gun-like shuttering effects and the rapid progressions from the low to high end of the frequency range were all beautifully captured by the RMB-1077. Forever gone are my memories of the instrument that sounded like a broken clown nose, that only the dorkiest kids in elementary school would play. The clarinet sounds were forward in presentation, but never to the point of being harsh to the listener. The recording, with all its weaknesses, sounded remarkably tight and had great detail. The bass, which typically sounds a bit muffled in this example, had a tight and punchy sound.

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RMB-1077 AudioVideoRevolution.com, March 2006

The song 17 West switched focus to the flute as the centerpiece instrument. Details such as quick gasps for breath in between notes and the rattling of the snare wires under the drum could all be pinpointed with ease. As I listened to this track, I could not help but envision the scene in Anchorman: The Legend of Ron Burgundy as Will Ferrells character slurps up the vodka through the flute and shoots fireballs out of it while stepping on tables. Somehow, I think Dolphy had a slightly tamer performance when he played the flute at a small club. After having a spiritual experience watching the summer Olympics two years back in high definition, I could not wait for the winter Olympics this year. Having 1080i video clarity and 5.1 surround sound is the only way to watch sports. I began by watching the womens Alpine downhill. The beeps of the electronic starter gates and the chatter of the coaches giving last-minute tips as the skiers shot out of the gates filled me with a sense of the reality of the environment. Cowbells and air horns were dispersed in the surrounding corners of the room behind me. The commentators dominated the center channel, while the screeching of the skis across the icy slopes glided from the left to right front speakers smoothly. Although television broadcast isnt the fidelity standard for which to exclusively evaluate electronics, I felt that this even warranted a look, as its what people really watch. The subtle details were captured nicely and had all the necessary impact to bring this event right into your home. The RMB-1077 did a great job providing a clear and impactful experience. Last Action Hero (Columbia/TriStar Home Entertainment) has everything you could ever ask for in an action film. With guns, a high body count, lots of one-liners and Arnold Schwarzenegger, this film is full of surprises. With Arnold, one can safely assume that this film has an abundance of explosions and machine gun fire. Staying true to that statement, the opening scene features a psychotic killer who fires on panicked police and then Jack Slater (Schwarzenegger) appears to save the day (the opposite of his performance as California governor). As Jack makes his

entrance, he walks on the roofs of the squad

cars up to where the police chief is commanding the scene. The bending and warping of metal and the crushing of glass as he walks sounded real and was placed perfectly in my room. The liquid sounds of the effects as interpreted by the RMB-1077 had clearly brought me into the moment of the movie. The scene where the villains truck plays chicken with Jack featured a monstrous series of explosions, then a quiet section of soft dialogue followed by more explosions. The transition from big pounding bass to silence, then back to pounding bass is a lot to ask from many amps, but the RMB-1077 appeared

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unaffected by the sudden changes in the power demands of the scene. Rotel had exactly these types of situations in mind when they designed this digital amp with the ability to supply lots of power whether in bursts or continuously.

The Downside
The small footprint of the RMB-1077 is truly amazing. With the small size of the amp comes a smaller back panel. That means less room for various input choices that most amps in this price range offer, such as balanced (XLR) inputs. The seven RCA inputs are placed directly above the seven sets of speaker cable binding posts, making the back panel area cramped. If you have six-year-old-boy-sized hands, maybe this will not be an issue for you, but my Shaquille ONeal-sized hands were getting nowhere fast trying to screw in cables. I found that I needed another two to three inches above and below the amp to practically connect my thick spaded Audioquest speaker cables without kinking them. The positive/negative pairing of the speaker terminals was difficult and unintuitive. Instead of going from left to right red/black, red/black in the speaker terminal pairs, they organized the layout to be red/black, black/red for each pair from left to right. The result was that, unless you memorized the pattern, you would reverse the polarity of half the speakers the first time if you went by normal amplifier speaker terminal layouts.

Conclusion
I must admit that I was skeptical of whether the RMB-1077 could keep up with traditional amps that weigh more than a boat anchor. Big size used to always mean big power to me before I met the RMB-1077. The radical new design of this amp offers up a lot of power and performance in a small package. With great imaging and excellent definition at all ranges of the audio spectrum, the RMB-1077 does not shy away from performance. At 7 x 100 watts per channel into eight ohms, it is a solid choice for all but the very largest home theater systems. For those of you with medium to large speakers, this amp will be able to make your system sing, and not sting you with a sore back or wallet. The RMB-1077 is a great little amp.

Copyright 1996-2006 The Audio Revolution, Inc. Reprinted with permission.

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RMB-1077 HomeTheaterSound.com May, 2006

sound
SoundStage! Network

HomeTheater
May 2006 Reviewed by: Anthony Di Marco

The Home Theater Authority www.hometheatersound.com

Rotel RMB-1077 Multichannel Amplifier

Features Snapshot!
Description Model: RMB-1077 Price: $2499 USD Dimensions: 17.13W x 2.88H x 16.38D Weight: 17.2 pounds Warranty: Five years parts and labor Features B&O ICEpower technology Rated by manufacturer at 100W x 7 into 8 ohms 4-ohm stable 12V trigger 90% efficiency produces low heat Controlled Oscillation Modulation (COM) and Multivariable Enhanced Cascade Control (MECC) Low-profile design Gold-plated five-way binding posts Black or black/silver finishes available

For years, power amplifiers favored brute force over grace. While loudspeakers were guaranteed clean, abundant power for crescendos and other musical punctuations, a good percentage of the electrical energy generated by these power supplies never reached the loudspeakers but was converted into heat. In the last decade, audio engineers have embraced more efficient means of amplifying musical waveforms. Eschewing the use of gargantuan transformers and soda-can-sized capacitors, digital microprocessor technology has enabled amplifiers to supply power by dynamically tracking the demands of music. There are now many types of digital amplification circuits. Sunfire calls theirs the Tracking Downconverter power amplifier, while Audio Research and, at one time, Bel Canto built proprietary circuits based on Tripath Technologys DPP microprocessor, which is also known as class-T.

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It took Rotel almost two years of research and development to refine Bang & Olufsens ICEpower digital amplifier circuit into a product that satisfied their ears. The result is a family of digital amplifiers that includes the RB-1091 mono amplifier ($1499), the RB-1092 two-channel amplifier ($2499), and the subject of this review, the RMB-1077 seven-channel amplifier ($2499).

No need to lift with your legs

The RMB-1077 comes in black or in black and silver; the latter gives the affordable Rotel a very classy, chic appearance. At 17 pounds, the slender chassis has a pleasing heft. The RMB-1077 uses good-quality RCA input jacks and very-high-quality five-way binding posts designed and made by Rotel. Although the inputs are slightly crowded, I had no problem locking down my massive Analysis Plus T1 spades to the Rotels outputs. The pushbutton power switch engages with a solid click, while a blue LED indicating On status and a soft green glow from the internal electronics augment the RMB-1077s good looks. Only the slightly tinny steel cover detracts from the overall handsome and well-assembled appearance. Its whats inside that makes this mighty mite special. Under the cover, well perforated for ventilation, sit seven coaster-size ICEpower modules. According to Rotel, the RMB-1077 is capable of delivering 100, 200, or 400W of continuous power into 8, 4, or 2 ohms, respectively, all seven channels driven simultaneously. (Rotels larger, heavier, analog RMB-1075 and RMB1095 arent rated into 2 ohms at all.) Even more impressive, the RMB-1077 delivers this power while drawing less electricity from the wall; it generated little heat, never getting more than lukewarm no matter how hard I pushed it. B&Os ICEpower reportedly improves on class-D by removing distortions created during the analog-to-digital and digital-to-analog conversions of the musical signal. To sufficiently describe both technologies would tax the space limitations of this article. Visit www.icepower.bangolufsen.com for a more detailed description of how Controlled Oscillation Modulation (COM) and Multivariable Enhanced Cascade Control (MECC) operate.

Sound
The RMB-1077s defining characteristics were its broad, refined frequency response and shocking dynamic range. It reproduced bass with excellent definition and depth. During chapters 9 and 10 of The Core, the Rotel revealed more of the low-frequency effects textures than many higher-priced amplifiers Ive owned. This rippling bass energy heightened the tension as a gigantic lightning bolt ripped through the streets of Rome and an undersea earthquake agitated the Virgils crew. Ive rarely experienced as exciting a combination of punch and resolution from an amp at this price. The shotgun blasts in chapter 11 of Four Brothers made me feel as if I was in the middle of the vicious gun battle between the Mercer family and drug kingpin Victor Sweet. Lightningquick dynamics slammed me in the chest with concussive snaps as bullets were expended. Scenes involving gunfire or explosions always took me by surprise. For such an unassuming amp, the Rotels power reserves seemed limitless. The RMB-1077 delivered film dialogue with persistent clarity. Snatch showcases one of Brad Pitts better roles, and the Rotel extracted the most from wise-cracking Mickey ONeils thick accent. The RMB-1077 not only excelled with vocal articulation, but easily separated voices from the mayhem of dense surround mixes. Words were never upstaged by the shellshock of the opening beach scene in Saving Private Ryan, or the onslaught of the Martian tripods in

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RMB-1077 HomeTheaterSound.com May, 2006

chapters 14 and 15 of War of the Worlds. But excellent frequency response would mean little if a component didnt suspend disbelief by seamlessly replicating a films aural ambiance. Wetness, sweetness, atmosphere -- call it what you will, the RMB-1077 reproduced the dense atmospheres of high-frequency harmonics that give context and realism to stories, immersing my head in the splendor of well-crafted soundtracks. I then listened to music and made much the same observations. Soundstages and timbres were universally excellent. Stereo images were both diffuse and accurate, spreading out beautifully between and to the sides of my Thiel CS2.4 loudspeakers. Ive owned both the RMB-1075 and RMB-1095, and the RMB-1077 sounded more natural than either. The deliciously desperate Aimee, from De/Visions 6 Feet Underground [CD, A Different Drum 1214], possessed an ease and warmth that drove me to listen to it repeatedly, while the percussion and guitar in Paul Simons Youre the One [CD, Warner Bros. 47844-2] sounded unrestricted and tonally accurate. Commonly heard instruments such as guitar and piano possessed excellent clarity and decomposition, with a slight softening of extremely high frequencies, though the dynamic ranges of orchestral recordings were ever so slightly compressed. Later, I discovered that these shortcomings were more faults of my ancillary equipment than of the RMB-1077. Much of my evaluation was done with Rotels RSP-1068 surround-sound processor, but replacing the RSP-1068 with my McCormack MAP-1 multichannel preamp opened up the dynamic range. I was playing with my son in an adjacent room when Bernsteins Candide Suite, from Eiji Oue and the Minnesota Orchestras Showcase [CD, Reference RR-907CD], drew my attention. The dynamics and slam I heard during the more chaotic segments were breathtaking, while the delicate nuances of quieter moments kept me involved until the very last note. It seemed that the RMB-1077 needed better upstream components than Rotels own RSP-1068. The combination of the McCormack MAP-1 and the Integra DPS-10.5s internal surroundsound processors increased the perceived ambience and consistency of surround images. Seals wonderfully produced fourth studio album, IV [DVD-A, Warner Bros. 47947-9], sounded fantastic. Seals voice benefited from the RMB-1077s slight warmth, but his crisp delivery wasnt suppressed. Trevor Horns involving, densely packed arrangements integrated seamlessly without sounding tacked-on or artificially layered. The RMB-1077 delivered extremely wellintegrated sound without the slightest evidence of harshness or other digital aberrations.

Comparing new and new

Transparency means slightly different things to different people. For me, the word means that a component gets out of the way of the music. Whether because of the software or the lack of a noisy power supply, Ive found some digital amplifiers are more transparent than their analog cousins. My favorite has been Audio Research Corporations sublime 150M.5 ($7495). Like other ARC products, the 150M.5 makes you forget youre listening to an amplifier. Although Ive been without the ARC for several months, its sound still sticks with me -- so natural and effortless that listening takes priority over analysis. A friend of mine purchased ARCs two-channel 150.2 ($2495), which allowed me to reacquaint myself with the siren song of this class-T design. The Rotel offered similar qualities, though not at the ARCs absolute levels of refinement or resolution. The ARCs high frequencies were sophisticated and open, while the Rotel sounded slightly reserved and rounded on top. But the

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Rotel never sounded strained or etched, and both possessed impressive midrange weight and resolution. The ARC was simply a model of smoothness and palpability. Bass was remarkably similar; both amps had the same incredible resolution of harmonics and slam. The ARCs bass sounded more weighty and warm, while the Rotels was on the leaner end. Both amps were champs at delivering astonishing dynamics and a nicely open and consistent soundstage. What you wont find in the Rotel is ARCs impeccably build quality and extensive use of top-shelf parts. Rotel builds a solid product with nice touches of quality where they count (e.g., the RMB1077s excellent five-way binding posts).

The future is a knockin

As much as audio designers try to improve on traditional analog circuits, the basic design elements are the same as they were 30 years ago. Digital amplification is an entirely new approach to amplification and will succeed as long as there are excellent products like the RMB1077. When I first received the Rotel, my bias (fueled by testosterone) made me skeptical of its abilities. I thought for sure that my Thiel CS2.4s difficult load and brutally revealing nature would rip the poor RMB-1077 apart. Boy, was I wrong. After living with this diminutive box for a few months, I looked beyond its size and took pleasure in its considerable musical abilities. In terms of bang for the buck, there isnt a seven-channel amplifier that Im familiar with that can touch the power, refinement, and cool-running operation of the RMB-1077. Above all, its a great amp with which to sit down and listen.

Review System Speakers - Thiel CS2.4 (mains), MCS1 (center), PowerPoint (surrounds), SS2 (subwoofer) Amplifier - Linar Model 10 Preamplifier-Processors - McCormack MAP-1, Rotel RSP-1068 Source - Integra DPS-10.5 universal audio/video player Cables - Analysis Plus, Stereovox Monitor - Mitsubishi WT-46809 rear-projection widescreen monitor (with Duvetyne modification and full ISF calibration) Power Conditioner - Balanced Power Technologies BP-10.5 Signature Plus

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RMB-1077 Cine En Casa (Spain), February 2006

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RMB-1077 RSP-1098 Audiovision (Germany), March 2006

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RMB-1077 High Fidelity (Denmark), January 2006

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RMB-1077 HiFi & Musik (Sweden), November 2005

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RMB-1077 HiFi & Musik (Sweden), November 2005

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RMB-1077 Suono (Italy), June 2006

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RB-1091 Hi-Fi News (UK), May 2006

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RB-1091 Audio Review (Italy), May 2006

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RB-1091 Audio Review (Italy), May 2006

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RB-1091 Audio Review (Italy), May 2006

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RB-1092 Hi-Fi News (UK), April 2006

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RB-1092 Hi-Fi News (UK), April 2006

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RB-1092 Fidelity (Norway), May 2006

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RB-1092 Fidelity (Norway), May 2006

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The Rotel Co. Ltd. Bunzan Shinsen-Bldg. 4F 10-10 Shinsen-Cho Shibuya-Ku, Tokyo 150, Japan T +81 (0) 35458 5325 F +81 (0) 35458 5310

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Rotel Europe Dale Road Worthing West Sussex BN11 2BH, UK T +44 (0) 1903 221 763 F +44 (0) 1903 221 525 E info@roteleurope.com Rotel Deutschland B&W Group Germany GmbH Kleine Heide 12 33790 Halle/Westfalen Germany T +49 (0) 5201 871 70 F +49 (0) 5201 733 70 E info@bwgroup.de www.rotel-hifi.de / www.gute-anlage.de Norway Neby Hi-Fi Concept Sandakerveien 24 C 0473 Oslo T +47 23 23 43 60 F +47 23 23 43 69 E salg@nebyhifi.no

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