AMC 3020 Amplifier

It is easy to imagine an image of the average amplifier: the forms of handles, their number, sizes, ratio of sizes and so on. Therefore, even at a cursory glance at the window of audio showroom the devices, being different from this appearance, immediately hit the eye. The acquaintance with an amplifier, and also with attractive and unusual devices, mostly starts exactly from the appearance. Although built into a device possibilities are not striking, but are worth attention. For example, an amplifier can provide the maximum load current up to 30 Amperes, so it can cope with systems of almost any impedance. And apparently relying on the fact that such large value of the output current will help the amplifier to momentarily withstand even a short circuit, it wasn't equipped with any protective devices except the standard cutouts. There is no speaker system's connection relay in the amplifier AMC 3020, but the switching contacts are excluded, which can influence the sound quality. The used passive tone regulations, in contrast to the active, do not introduce nonlinear distortion and maybe due to this the power off button of tones is absent in the model. I must say that this decision wasn't unnoticed: in the middle position of regulations a ripple, appearing in a slight rise of low and high frequencies, is noticeable at the amplitude-frequency characteristic. AMC 3020 has one, not quite usual for home amplifiers function - at the MIX position of the input selector the amplifier plays signals from all sources (except tape recorder) at the same time. But in this mode the sensitivity in each input from the zero to nominal is regulated by the separate handles, mounted on the back panel.

The amplifier AMC 3020 has a relatively small output power: measured by the IHF standard it is 20W at load of 8 Ohm, and the maximal power at the signal limiting is 33W. Such power is quite enough in order to sound any room in small apartments. If somebody thinks it isn't enough, this is really compensated with high quality of sound. In Beethoven's "For Elise" we had the opportunity to enjoy the purity and fineness of the nuances of piano sound with saving of timbre accordance of "live" instrument. The experiment with horns and strings ("The flight of Condor") confirmed the firs impressions. Flute literally speaks its part and strings weave a colorful, national ornament of clear plunks, and that perfectly matches the context of ancient melody by the fullness of the sound. However, a small reproach can be made to a bit deaf drums. The instrumental Dinner at Woolofie's (Toscho) without identifying additional features has solidified our point of view. And easiness (but not slackness or laxity) of the symphonic orchestra, playing "Egyptian March" by Johann Straus reminded a band-master, who can control the musicians with invisible movements and even after leaving the stage will be sure that they will not be mistaken.