Review: Spectron Musician III Signature Edition Amplifier


Category: Amplifiers

This review is of the newly released Spectron Musician III "Signature Edition" MSRP $5995. The signature edition has improvements over the $4995 standard version (which is an exceptional amplifier as-is) that improve the specs and sound to the degree of making it a strong competitor to $20K-40K reference monoblocks. John Ulrick (former co-founder of Infinity and creator of the first digital amp in 1974) has really outdone himself with this new design. The Musician III Signature version is one of the most natural, detailed, robust and transparent amplifiers I have ever had the pleasure of listening to. The soundstage is so vast that when I closed my eyes, my once constricted sounding listening room sounded like someone snuck into my new home and added an extra room behind the speakers! Ok, I may be exaggerating about the stage a little bit but not about the clarity, detail and bass authority. This amp is POWERFUL and difficult loads do not even phase it. I have MBL 111E Omnidirectional speakers connected to it. I originally focused my attention on the ship anchor sized MBL 9011 monoblocks and fell in love with them at CES 2005. The Spectron was purchased to be a temporary place holder until I could afford the MBL giants. After purchasing this tiny, less than 60 lb. digital powerhouse, I have no desire to shell out for Monoblocks that cost as much as my new BMW 5. Everyone recognizes that the new digital designs are powerful and efficient but there exists an industry wide stigma about the musicality of most digital designs. Many inexpensively or poorly implemented digital chip based designs simply do not have the warmth and natural sound of the finest tube and class A solid state amps. The Spectron Musician III Signature is in a category all by itself. I enjoy listening to cello and piano. I ran through about 2 hours of "The Essential Yo Yo Ma" and was shocked. The Spectron revealed nuances and micro details that I never noticed previously on tracks that I listen to frequently. The bass is robust, strong and very controlled. The Spectron sounds nothing like many of the digital ice-power or tripath based designs. The Spectron is very transparent. What comes out of it is exactly what you put into it. Use a great power cord and exceptional source equipment and you cannot lose with this amp. Other Spectron owners tell me that tube preamps such as BAT are a perfect companion for the Spectron. If you are considering purchasing a new amplifier in the $10000+ category, you owe it to yourself, and your wallet, to give the Musician III Signature a listen. Be sure to have a pair of well respected tube or solid state amps that cost at least twice as much in the same room for A/B comparison. You will be amazed! The manufacturer burns in the amps for a week or so at the factory and informed me that I need to give it at least a week of burn-in at home to fully appreciate it. After a few hours of warm up, right out of the box, it sounded great. I am on day 4 of listening and it just keeps getting better.

Strengths: Powerful, Open Soundstage, Critical Midrange is natural and dynamic. Nice build quality. Pretty Face

Weakness: No rack mount option at this time.

Associated gear
Theta CBIII w/Extreme DACS running 2ch
Underwood Modded Denon 3910
MBL 111E Omnidirectional Speakers
PS Audio Duet
Mr.Cable Musician Power Cord

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Parasound JC-1
Theta Enterprise
Pass X-600
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sodapop

Showing 7 responses by zaikesman

Are the amps listed under "Similar Products" ones you actually owned with these speakers? Not shabby if you think the Musician beats those. I own Thiel 2.2's, and recently replaced VTL 185 mono's with a McCormack 500, but I have a desire to try out a switching design due to the high efficiency/low power consumption. Did you audition any other switching designs in your buying process, particularly any of the smaller ones? And are you, or will you be, running Spectron's special speaker cables which become incorporated into the amp's feedback loop?
Thanks Sodapop, I'd even forgotten I ever posted here...I really enjoy the DNA-500, which actually runs fairly cool and doesn't suck a ton of wall power. I'll wait on any more amp auditioning until I upgrade my speakers, which are about due at this point in my system, but would be interested in hearing this amp if anybody near me carries it. BTW, any opinion about the Spectron speaker cables?
Seth: I own many 80's CDs that sound just fine, so if you're throwing yours away, please feel free to throw 'em over here.
Steve McCormack claims there's a speaker-control advantage to using balanced-differential output drive that can aid in achieving superior resolution and transparency. How supportable that view is, or why, I'm not qualified to say, other than to report that the fineness and depth of detail (timbral, spatial and dynamic) I hear from the fully-balanced DNA-500 won't contradict his contention.
That bit about balanced drive constituting an "active" control over the entire driver excursion and single-ended drive depending upon elastic or "passive" driver "return" seems to correspond with McCormack's description of "push-pull" operation of the drivers. Whether that explanation is actually the case I have no idea, but it strikes me as making things sound as though there should be a bigger advantage to balanced output drive than it seems there probably really is, considering how only a minority of amps widely considered to be top-class employ the configuration.
Simontju wrote:

"Actually very many amplifier manufacturers use balanced output configuration. Probably all class D amplifiers use it, for example."
I'm sure you know more about it than me, but nothing you say appears to me to contradict my statement. I don't know about so-called Class D amps, but among conventional power amps, as far as I know more products don't use balanced output stages than do (even if they might have balanced drive and/or gain stages). Hence my use of the word "minority", which doesn't necessarily mean very few. Obviously, some companies do make a point of advertising their fully-balanced configuration (BAT, Krell, Atma-Sphere, etc.). Others (like Conrad-Johnson and Lamm for example), although they may not advertise it as such, eschew balanced circuits as a matter of design principle because they feel balanced operation detracts from realistic sound by way of cancelled even-order harmonics more than it contributes in the form of reduced total distortion and noise (this last being more of a factor at line-level anyhow, as opposed to speaker-level power output). Most of the rest presumably don't use it because of the extra cost in having doubled circuits, with power output stages generally being the most expensive (Class D amps, whose output stages might be in the form of IC's, could be exceptions).
"I see that first of all we need to define word 'balanced'"
"First of all," not from anything that I in fact wrote could you "see" this supposed "need".