Parasound Halo JC 1 Monaural Amplifier
Transcription
Parasound Halo JC 1 Monaural Amplifier
equipment report Parasound Halo JC 1 Monaural Amplifier Sue Kraft aster than a speeding bullet and able to leap tall transients in a single bound, the JC 1 monoblocks are the latest super amp from Parasound’s new upscale Halo line of electronics. Named in recognition of legendary designer John Curl (the “JC” of the JC 1’s), these 400-watt burly beasts are a fitting tribute to a veteran engineer and one of the founding fathers of the high-end audio industry. Curl’s legacy dates back to the early ’70s and includes such designs as the Mark Levinson JC-2, Denneson JC80 preamplifier, Vendetta phono preamplifier, electronics for The Grateful Dead, and recorders for Wilson Audio and Mobile Fidelity. John and his cohorts at CTC Builders can rightfully be proud to add the Halo JC 1 to their resumes. According to the “Parasound Romance story” which accompanied the amps, the design for the JC 1 was an evolutionary process going back to 1989 with the original HCA-2200 stereo amplifier, and continuing in the ’90s with the HCA-3500. After a decadelong tenure with Parasound, John Curl joined forces in 1999 with Bob Crump of TG Audio fame and circuit board designer Carl Thompson to form CTC Builders. Over the course of the next two years, CTC began a series of circuit board and parts modifications to the 3500, resulting in the limited produc- F tion of the CTC BBQ, which debuted at the 2001 Consumer Electronics Show. Later that year, the JC 1 project was launched when Parasound commissioned CTC to develop a monoblock version of the 3500-based BBQ. Several years and a major facelift later, the two handsomely rugged aluminum chassis sitting in my listening room hardly resemble the CTC BBQ I remember from CES. And based on what I recall hearing, the power plant inside has undergone major renovations as well. According to Curl, the JC 1 utilizes a beefy 1.9kVA encapsulated toroidal transformer, which is twice the power supply of the HCA-3500. Other refinements include larger heat sinks and better connectors, wiring, and circuit layout. The JC 1 design is based on a complementary differential J-FET input stage followed by two stages of select push-pull MOSFETs, ultimately driving nine pairs of the most powerful complementary bipolar power transistors available today. This translates into 400 watts into 8 ohms with 135 amps of peak current. The Class A operating region of the JC 1 has also been increased to over 25 watts, which means, save for equipment-torture-test recordings, the majority of one’s listening is most likely done in Class A mode. Although Parasound recommends a minimum 30-day break-in period, I was impressed with the remarkable speed, clarity, transparency, and focus of these amps straight out of the box. I found the overall sonic character to be fairly neutral, with a pace, rhythm, and effortlessness that was absolutely addictive. I was also taken in by a number of other aspects of the JC 1, including how easy it was to hear through the soundstage, and hear differences in recordings as well. It’s not that I haven’t noted these same qualities in other components; it’s just never been quite so obvious before. Originally recorded as a vocal resume for club gigs, Eva Cassidy’s rendition of “Tennessee Waltz” (Imagine, Blix Street Records) was by far the best I’ve heard in the resolution of inner detail. The nuances and subtleties of each guitar pluck were more noticeable and clear. Eva’s voice was seductively pure, smooth, and natural, and so perfectly placed in the center of the soundstage, I could hear the space around her. The JC 1 paired up superbly with both the Ayre K-5x solid-state and BAT VK-3i tube preamps. The 3i wasn’t quite as detailed or extended in the upper frequencies as the Ayre, but added a little more body and weight to the mix. My reference Harmonic Tech Pro Silway 2 balanced interconnects worked quite nicely, as did some of the new Purist Audio Design Museaus cables. As I’ve mentioned before, I usually try to avoid using accessories costing more than the component itself, but when it came to power cords this time around, I couldn’t help myself. (The JPS Kaptovators are actually only half the price of the JC 1, but at $1500 a pop, still a hefty chunk of change for most of us.) I have a penchant for these cords because of their ability to enhance all the positive attributes of a component without changing its overall sonic character. And in this case, they did just that in spades, plus added some weight and extension to the bottom end. equipment report This was perhaps the only caveat I had about the JC 1. The bass was fast and focused, with a foundation reaching down to the bowels of the earth, but had a slight propensity towards leanness. In a comparison with the BAT VK-6200 solid-state amp, the JC 1 was lighter and more nimble, thinning out a bit (and perhaps losing a little definition as well) in the lower midrange/upper bass region. The 6200, on the other hand, was more robust and muscular in nature, with more bulk and fullness in the lower octaves. I’m not sure which amp would win in a marathon, as both had more than enough speed and stamina to go the distance. The JC 1’s presentation was never too hard or aggressive, nor conversely too soft or laid-back. If there was any error here at all, it was to the forgiving side. The high frequencies were to-diefor silky smooth, crystal clear, and abun- dantly detailed. The kind you could listen to all day long without fatigue. Sometimes you need to just kick back, put away the “audiophile-quality” recordings, and have some fun. For me it was spending an afternoon listening to my favorite ’60s and ’70s classic rock car-cruisin’ collection. There wasn’t anything that didn’t sound great on the JC 1. Santana’s “Evil Ways” from The Best of Santana [Columbia/Legacy] was a blast. The music rolled from side to side (nearly wall to wall, actually) and rocked front to back (hence the term rock ’n’ roll?) in a stunningly transparent and three-dimensional wave of sound. Image lines were incredibly focused and stable, with no hint of strain, brightness, or congestion at any volume level. And me? I was left with an ear-to-ear grin on equipment report my face that lasted the rest of the week. If you don’t mind the heat or electric bills, you could always buy a set of JC 1 quintuplets for home-theater use, as these animals are actually THX Ultra2 Certified. Other features on the rear panel include balanced Neutrik XLR and single-ended Vampire RCA inputs, two sets of Superior Electric five-way binding posts, a ground-lift switch in the event of hum problems, audio signal trigger and user-selectable high/low bias-level adjustment. All of my listening was done in the “high” bias setting, but in the event heat dissipation is a concern, the “low” bias setting reduces the Class A operation from 25W down to 10W. The only minor user issue with the JC 1 was in determining if the amps were turned on or off. When plugged in, a small, red pilot light in the top center and blue halo around a power button on the bottom left of the faceplate remain constantly lit. The glow became brighter when the amps were powered up, but it was tough to remember the difference in the intensity of the lights between on and off. So if I touched the top plates and they were just a few degrees short of being able to fry my eggs in the morning, I knew I had forgotten to turn them off again. The goal of the JC 1’s designers was to build a world-class amplifier at a realworld, affordable price. Based on the substantial build quality and superlative performance of these Parasound amps, I believe they have succeeded. Even if you are looking to spend more than $6000 on your next amplifier purchase, the JC 1 deserves a listen. You may be surprised. I know after spending nearly six months with these amps, it won’t be easy to send them back. There ought to be a twelve-step program for reviewers—I’m addicted! & S P E C I F I C AT I O N S Power output: 400W into 8 ohms, 800W into 4 ohms, 1200W into 2 ohms Dimensions: 17.25" x 7.67" x 20" Weight: 64 lbs. A S S O C I AT E D E Q U I P M E N T Ayre K-5x, BAT VK-3i preamps; BAT VK75-SE, BAT VK-6200 amps; Ayre CX-7 and Meridian 588 CD players; Coincident Total Eclipse speakers; PS Audio Ultimate Outlet line conditioner; Harmonic Technology Pro Silway 2 and Purist Audio Design Museaus balanced interconnects; JPS Kaptovator power cords; Coincident speaker cable; Symposium Rollerblocks; Svelte Shelf isolation devices M A N U FA C T U R E R I N F O R M AT I O N Parasound Products, Inc. 950 Battery Street San Francisco, California 94111 Phone: (415) 397-7100 www.parasound.com Price: $6000