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IN
America, everything is so BIG!Automobiles the size of cabin cruisers, steaks
the size of small children, land as far as the eye can see, and rats that
could choke Roseanne (never look down from the subway platform). Take a
look at your average American bred audio amplifier and the tradition continues.
They tend to be quite large and imposing compared to say, their European
counterparts. I recall seeing a Threshold amplifier when I was just starting
to become interested in high fidelity. At the time, my experience was limited
to my father’s Fisher receiver, my new Kenwood stereo, and a Bang &
Olufsen system that graced the 80’s chic living room of my buddy’s den.
Inside a local hifi shop, the huge object looked more like a radiator to
me than something that helped play music, with its large metal fins and
heavy steel casing. The fact that it was positioned on top of a thick platform
with wheeled castors reinforced my theory that this Threshold was to be
used for some sort of industrial purpose and could not possibly be part
of a hifi system. Why else would someone need such a large piece of metal?Besides,
it did not resemble anything I have ever seen. I had a perfectly good rack
system from Macy*s, a graduation gift from my parents, that even came with
a matching cabinet and speakers with three drivers. Imagine that!Randy
Rhoads’s fretwork couldn’t sound any better unless it was coming from a
stack of Marshall cabinets, or so I thought.
The owner of the
hifi store was kind enough (or maybe he just liked to blow the socks off
arrogant and unsuspecting teenagers) to sit me down in front of some loudspeakers
that were connected to the Threshold. He pulled out some Zeppelin and cranked
the volume. It sounded unbelievably good, but I didn’t give an inch. I
thanked the gentleman, threw in some of my best ‘care-less attitude’ and
remarked, “Yeah, that sounded pretty good. ”Meanwhile, I spent the whole
night wanting to toss my rack system out the window. Ever since that experience
with the Threshold amplifier, I’ve wanted to purchase a high quality amplifier.
No, truthfully, I’ve wanted to buy a BIG high quality amplifier because
bigger is better (sometimes) and definitely cooler (all the time. )So,
during my early years as an audiophile, I went from an Adcom GFA-555 mkII
to a Counterpoint SA-20. Both of these amplifiers are fairly large and,
in my opinion, very good sounding. Today, I’ve scaled it back a bit and
sold my Jeff Rowland Model 1 for a Rowland Concentra. I wouldn’t call the
Concentra small piece of equipment (it’s actually an integrated amplifier),
but it’s nowhere near the size of a Levinson or one of those Krell behemoths.
In my raggedy old age of 30, I’ve learned that there is really no correlation
between good sound and an amplifier’s size, pedigree, or even design. I
enjoy reading and learning about amplifier designs and specifications,
and I certainly prefer a fine looking amp to an ugly duckling, but I know
that these characteristics are not reliable indicators of either high or
poor quality. Preconceptions can spoil an audition and reviewers must be
especially aware of their biases when accepting a piece of equipment for
evaluation. Whether they like it or not, published opinions, good or bad,
may influence the purchasing decisions of the public. So, when the Monarchy
Audio SM-70 amplifier arrived in my living room, I reminded myself of the
reviewer’s code of ethics (eliminate all preconceptions, be truthful with
your words, don’t blow anything up, keep all the packaging - manufacturers
apparently want it all back, etc. ) and maintained an open mindset. That
lasted two minutes.
More Impressions
I gasped in amazement
as I pulled the amp away from the packing foam. At first glance, the SM-70
looks as though it has been in and out of the dryer one too many times.
At half the width of an ordinary component it looks like a scaled down
Rowland Model 5, complete with pint-sized handles and heat sinks. All sorts
of jokes come to mind, with my friends kicking in a few of their own. I
won’t repeat any of them, as they’re pretty awful and not very funny, although
a few remarks that included Rick Moranis seemed to get a good laugh. But
slowly, I eased back into reality as I strained my shoulder, thinking I
could lift the amp with one arm and a couple of fingers. This unit is solid
and surprisingly heavy for its size. At over 20 lbs. , the SM-70 rivals
larger designs in terms of sheer mass. Much of the weight comes from the
large 140-watt toroidal transformer, but a good portion is due to the heavy-duty
chassis. Monarchy Audio avoided the use of cheap sheet metal for the chassis.
For example, the top and back plate are 3/8” thick aluminum. The heat sinks
are also substantial, with beautifully sculpted fins to dissipate heat.
A 1/2” thick faceplate also looks and feels impressive, lending heft and
class to the amplifier’s appearance. The company name along with the words,
“Zero Feedback. ” are etched into the faceplate and centered between two
chrome handles. Four brass Allen nuts anchor the faceplate to the rest
of the chassis, adding just the right amount of sparkle to the look. Previous
versions also sported a large Monarchy Audio badge on the front that in
my opinion, made the unit appear busy. This new design is simple and understated.
Kudos to C. C. Poon, owner and chief designer.
As you would expect
from an amplifier with limited real estate, the inside of the SM-70 is
crammed to the brim with all the essential components. The center of attention
is a huge toroidal transformer that is capped down with a circular layer
of resonance dampening material and the usual metal disc. Behind the transformer
sits the very low distortion all FET input/output circuitry, including
four high capacitance filter caps. The SM-70 is a 25 watt/channel class
A device, utilizing zero global feedback (according to Monarchy Audio’s
website, only local feedback is used) that can also be bridged into a 75-watt/channel
mono amplifier.
The rear panel of
the SM-70 sports a nice pair of sturdy plastic binding posts. These gold-plated
posts are 5-way designs and accept all standard connectors. There’s also
Teflon insulated left and right single-ended RCA jacks for each channel
as well as a single balanced XLR input for use in bridged mono configuration.
A small toggle switch located below the XLR input alternates the SM-70
from stereo into mono mode. A standard three-pronged IEC AC input rounds
out the inputs and outputs and allows the owner to experiment with the
usual barrage of power cords. After examining the Monarchy Audio SM-70,
I fear that I will be eating my own words, as jokes about the unit’s size
seem grossly inappropriate. On the surface, this is definitely one serious
amplifier, well crafted and apparently well executed. Again, keeping an
open mind, I tried to remove any pre-judgment regarding the SM-70’s sound
quality but found myself anxious and excited to finally hear what this
little guy could do.
Sound Characteristics
Using the The
Super Audio Collection & Professional Test Disc (CHDVD171) as a
reference, I cued up Sara K’s “Brick House” to check out the SM-70’s low
end. Surprisingly, this little amplifier had impressive bass. The opening
string bass appeared weighty and extended, even at low volumes and never
sounded like a one-note bass machine. This funky song grooved from one
bar to the next without skipping a beat. And maintained this pace with
excellent pitch and tone. Although the SM-70 failed to convey the quick
slap and sheer slam of more powerful amps, such as the venerable Adcom
GFA-555 mkII or the current Bryston 3B series, the SM-70 provided its own
beauty. The lower octaves took on a richer sound, in the way of a good
tube amplifier, with bloom and musical fortitude. I could generalize the
SM-70’s sound by calling its signature a warm one, but that would also
trivialize the amp’s ability to reproduce music.
“Brick House” also
highlights the SM-70’s ability to produce a voluminous soundstage with
good depth and excellent width. With the SM-70 in the chain, the whole
presentation is set back a bit behind the loudspeakers. Compared to most
of the amplifiers I have auditioned in my system, the SM-70 falls somewhere
in the middle in terms of drawing the instruments away from the musical
backdrop. Based upon the listener’s preferences, this may be good, undesirable,
or unimportant.
Throughout the last
half of “Brick House”, guitars flow in and around the song, sounding quick
and crisp. Again, tonally, the SM-70 successfully portrays the inner essence
of a six-string, something that I have never heard from an amplifier at
this price point. In addition, this $719 unit lacks the edginess and rough
personality of most other solid-state amps. In fact, the midrange is naturally
smooth with a warm and inviting tonal character. Sara K’s rich vocals sound
heavenly through the SM-70, never appearing lean or harsh and always sounding
hearty and organic. In my opinion, a listener would not mistaken the SM-70
for a tube amp and certainly not a single-ended triode design, but it definitely
falls on the warm side of neutral. Compared to my Decware SE84B amplifier,
the SM-70 sounds a bit more forward and has slightly less bloom and glow
around vocals, strings and brass instruments. But in terms of high frequency
extension and bass control/extension, there’s not much to compare. The
SM-70 trounces the SE84B in these two critical areas.
One area that could
be improved upon is the amplifier’s low-level resolution. In my opinion,
this is the Achilles heel of the SM-70. Every amp’s got one and this one’s
no exception. On Track 2, Livingston Taylor’s “Isn’t She Lovely”, the opening
whistling sounds partially veiled and softened compared to my reference
Jeff Rowland Concentra. Taylor’s vocals and guitar harmonics are clearer
and more defined through the Concentra integrated amp than when heard through
the Concentra as a preamp only driving theSM-70. Now, this is not something
that is immediately apparent when listening to the SM-70. It only became
noticeable after a half hour or so of concentrated auditioning and A-B
test sessions with my Concentra. At over 8 times the cost of the SM-70,
a comparison with the Concentra is probably unfair, but necessary in order
to test the limits of the amplifier’s resolution capabilities.
Aimee Mann’s “One”,
from the Magnolia: Music From The Motion Picture (Reprise 9 47583-2)
solidifies my impressions of the Monarchy Audio SM-70 amplifier. The opening
bass sounds wonderfully musical. On lesser transistor amps, these single
repetitive notes can break through the fabric of the song with hardness
and stridency. With tube amps, one finds that the amplifier will roll over
these notes with a bit of grace and ease, but with less confidence and
determination than the SM-70. I believe that the SM-70 strikes a beautiful
balance between the lush sound of tubes and the control of solid-state
designs.
Audiophiles must
also beware of the SM-70’s limited power rating. Although it will perform
wonderfully with most loudspeakers, it is still a 25 watt/ch amplifier.
Therefore, highly sensitive loudspeakers would probably work best with
the SM-70. The Silverline Audio Panatella mkII’s matched up well with the
SM-70. Rated a conservative 93 dB, the Panatella mkII’s reached very high
listening levels in my room before clipping could be audibly heard. I pushed
the combination into clipping to see how the amp would react and it faired
pretty well. The obvious glare and brightness popped up as I crossed the
threshold into overdrive but it was less disturbing than the clipping heard
from most other solid-state amps. Whether due to the amp’s design or something
else, the amp clips pretty gracefully (if that is even possible) and never
spelled danger for the speaker drivers downstream. If you require more
juice to power your loudspeaker, you can purchase two SM-70’s and run them
at 75 watts/ch in bridged mono. Unfortunately, I was unable to get my hands
on a second unit to compare the sound.
On Cannonball Adderley’s
Somethin’
Else, horns sound fantastic on “Autumn Leaves”, exhibiting great
pitch and true brassy bite. This rich and textured sound helps portray
a realistic night club atmosphere. Percussion is also well described. High
hat and cymbals are crisp and clear with nice shimmer excellent placement
within the soundfield. The SM-70 makes listening to this album quite an
extraordinary experience, especially considering the amp’s low price.
Conclusions
I hope that audiophiles
do not pass up an opportunity to audition the Monarchy Audio SM-70 on the
basis of its miniscule stature. It’s a great little amplifier. In the world
of high-end retail, machismo reigns supreme in the power amplifier market.
Everyone wants a BIG amp with HUGE heatsinks and a LARGE and intimidating
faceplate that shouts, “Look at me, I’m a gazillion watts/channel!”C. C.
Poon’s 25 watt/channel creation is a gamble in the high-end market. There
may not be room in the status quo for a mini-system sized component, but
I can honestly say that the Monarchy Audio SM-70 is a fabulous amplifier,
regardless of its size and especially considering its low price. I’d put
this prince of an amp up against any king-sized competitor without hesitation.
David didn’t flinch when he downed Goliath. The Monarchy Audio SM-70 won’t
either. A giant killer?Yes, both physically and sonically.
GREG's
SYSTEM:
Main:
Meridian 586 CD/DVD player >> Luminous
Audio Allegro coaxial digital interconnect >> Birdland Audio Odeon-lite
D/A Converter >> Cardas Neutral Reference single-ended interconnect >>
Jeff Rowland Design Group Concentra integrated amplifier >> Cardas Neutral
Reference speaker cable >> Energy Veritas v1. 8 / Silverline Audio Panatella
mkII loudspeakers
Secondary:
Pioneer DV-525 CD/DVD player >>
Monster Cable M-1000D coaxial digital interconnect >> Birdland Audio Odeon-lite
D/A Converter >> WireWorld Atlantis II/Luminous Audio Monarchy Signature
single-ended interconnect >> Decware SE84B amplifier >> JPS Labs Ultra
Conductor speaker cable >> Silverline Audio SR12 loudspeakers/Osiris speaker
stands
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