Audiolab 8200A Amplifier
Any hi-fi buff who hasn't heard of Audiolab frankly isn't one. The name goes back to the mid-eighties, when the original 8000a proved a tremendous success with fairly well healed, hi-fi loving families. It was refined enough for Dad's classical music, yet could pump out serious amounts of power for young Gary's parties, without going bang when the folks went out for the weekend.
The brand saw a change of ownership about a decade ago, and now ilie products are made in China. Very well made, as it turns out, as the casework is even better finished than Huntington-era Audiolab, and there's no cause for complaint with the styling.
The 8200a was and is essentially the 'audiophile Audiolab', by virtue of not having any tone controls (unlike the switchable bass and treble of the original 8000a). It still has a record out selector for its six inputs - despite the fact that mainstream hi-fi manufacturers pretend that no one records anything anymore, it's a very handy feature for some. It's also got a clever front panel control that lets you operate the amp in integrated, pre or power mode. A high quality motorised ALPS volume control is fitted, along with a 6.3mm fascia headphone socket. Round the back, there are bi-wirable speaker terminals.
Like several of the other amplifiers here, the Audiolab sported a distinct 'house sound'. 'Spry, crisp and dry' just about sums it up, lacking as it does any desire to warm or embellish the sound. Instead, you get a matter-of-fact presentation, one that some regard as nothing less than essential for premium hi-fi separates, while others would prefer the bitter pill that is their music collection sweetened just a touch!
The Audiolab sounded reasonably at home on the Vivaldi piece, with a balanced overall presentation, a clean and finely etched midband and a decent rhythmic flow to the music. Still, it wasn't exacdy rousing, the panel felt. Instead, the Audiolab seemed to proceed at its own pace, in its own way, getting on with the job in a slightly joyless manner.
Moving to the pounding electronica of Vince Clarke and Martin Gore, and this amp sounded a little diffuse. Bass wasn't as strong as even the far cheaper Yamaha A-S500 - it was adequate but nothing more. Rhythms were reasonable, but nothing special.
The panelists described it as less harsh than some amps here, though.
On the Jim White track, one listener remarked that, "I thought someone had placed a cloak over the speaker", such was the general lack of midband detail. The opening rain sound effect on the track was particularly muted. On the Sade track, another listener remarked that her voice sounded wispy, while the soundstage depth was poor and the weight of the bass guitar insufficient.
Across a range of source material, the 8200a sounded a little processed and slightly underpowered. Unlike the company's superb matching CD player, there was little to really pull you into the music. Which is a shame really...
