The digital and physical copies are available now, but the free online version can only be accessed a month later.
Here are some of the excerpts if you don't have access to the magazine and can't wait for the free online version:
…the “Active Low Frequency and Harmon- ic Gain” control feature. To put it very simply, this knob is somewhat like Ye Olde Loud- ness switch of yore. When turned on it very noticeably boosts bass, without increas- ing the overall volume. It is an interesting EQ effect, and definitely achieves NuPrime’s stated goal of giving smaller speakers a bit more natural low end.
...Of the two speak- er pairs I tried out, I’d say the single AMG STA worked best with the Zu DWs, likely because they’re easier to drive, but also because they share a similar sound profile—re- laxed, with a delightful mid- range, a decently solid lower end, and a shimmery treble.
...Where this dual-mono configuration really worked was with the Polk L600s, the more difficult pair of speakers to drive. The AMG STA retained its signature relaxed and easy sound, but with that much power on tap really opened up the full potential of the Polks. The backgrounds were shockingly black, and it almost felt as if the AMG PRA preamp was nearly transparent, if you’ll forgive a reviewing cliché. That deep noise floor allowed the music to shine with a crispness and dynamism that I absolutely loved.
...Williams’ fills sounded exuberant and rhythmically complex, and the system never compromised or slowed down his fascinat- ing drumming. In the mid- range, the piano and horns were smooth and silky with a hint of nice, heavy warmth down in their lower regions. Hancock’s solo was quick and slithering, like the song’s namesake, and each note was a wide sense of soundstage.
...On the opening track, “Shelter Song,” the fuzzy gui- tar had a solid growl, while the deep kick drum slammed. The choir added depth and texture without ever stray- ing into chaos. There was a surprisingly strong sense of place and positioning. Depite the sheer number of sounds occurring at the same time,
The STA/PRA dual-mono combo worked very well with the L600s, since the speakers have a very solid and deep lower end, and the amp/pre- amp shines in the lower regis- ters. It was that deep heft that really brought a difficult song like “King Cobra” to life, and leant the entire ensemble a massive sound.
Next up, I listened to Iceage’s most recent album Seek Shelter, streamed via Tidal. On the opening track, “Shelter Song,” the fuzzy gui- tar had a solid growl, while the deep kick drum slammed. The choir added depth and texture without ever straying into chaos. There was a surprisingly strong sense of place and positioning. De-
I could still pinpoint each voice and instrument, and I think the monoblocks’ massive amount of headroom went a long way to allowing the weight of the song to shine through.
...I didn’t waste any time hand-wring- ing over Class D, and barely even mention it in my review—for good reason. The STA/PRA combination sounded great, with a heavy low end, a relaxed and pleasant midrange, and just enough sparkle in the upper end to make cymbals shimmer. The inter- esting loudness function on the PRA and the very nicely made remote control were the kind of simple but useful upgrades over a standard preamp that made this combination feel premium. For many folks, I suspect a single STA will provide enough power, but for those who have more difficult-to-drive speakers, or those who want a massive amount of power on tap and ready to go, the monoblock setup is fantastic. This is a system worth trying and comes highly recommended.
