Amplifier Hegel H300
The specification states configuration "dual mono", although in this case we have a total power toroidal transformer for 1000 V*A. The capacity of the bank of capacitors in the filter supply equal to 90 000 uF. The output stages are selected using bipolar transistors 20 ps /15 A (argues that to find a matched pair is required to sort out the order of 100 pieces). Due to the selection can be appreciably lower harmonic distortion of higher orders. The passport separately mentions the possibility of stable operation at 2 ohms. Hegel H300 has a built-in DAC section and a set of digital inputs and one digital coaxial output (maximum signal resolution - 24-bit/192 kHz, limited to the USB input of up to 92 kHz). Terminals RCA for unbalanced connections planted quite close to each other and generally leave much to be desired for a model in this price range. Acoustic identical terminals installed in the Musical Fidelity M6 500i, only here they were one pair per channel, without bi-wiring. Lateral radiators on the body is not present, but the top cover is covered with ventilation slots, which is clearly visible through a healthy network torus fifteen centimeters in diameter. Side panels and top cover are made from a single piece of aluminum, the front panel has a characteristic of Hegel smooth profile with a slight central projection. Big blue screen shows large and clearly readable characters active input and volume level. Remote control - common for the company, a small aluminum bar strewn with microscopic poppers. However, normal-sized lettering on a black background next to these beads can be seen well.
As well as from any representative of the company Hegel, from H300 to expect a fine intelligent supply with diamond trim upper. Initial listening confirms correspondence assumptions, and even in contrast to the Musical Fidelity M6 500i this participant revealed more details of "the little things" - the characteristic and unequal blowing air through the flutes of various types, fast coherent triolki in brass and other subtle nuances and tones, mainly, noise overtones. As usual characteristic of devices with transparent pitch, tempo playback tracks subjectively slightly shifted in the direction of acceleration due to the overall ease of playing. However, large-scale symphonic works somewhat diminished in volume, and the construction of logical and coherent musical phrases manage the MF better - due to the "sense of a long league." Some Voices (baroque soprano, countertenor, lute) proved to be too smooth. Leave questions and piano, but the body, on the contrary, pleased collected energetic reverberation. Further testing in the "only power" and continued with varying success, the successful reproduction of a number of tracks rather unpredictably changed the unfortunate performance of others.
However, unlike the Perreaux Eloquence 150i switch to its own built-in DAC amplifier has radically changed the sound. When connecting CD-transport Bryston BCD-1 with H300 by coaxial interface is completely gone genre roughness greatly increased the scope and detail, stabilized diction vocalists, having become almost standard. Thick rich sound and the meat did not appear, but became clearly audible specificity and attitude different symphony orchestras and recordings with other music.
