Which POWER AMP for my music project studio

[toby_somerset]

Hi there.
I am happy that I have found this forum.

I am highly addicted to make music ''. At the time I am improving some gear in my project studio
In my monitoring chain I have a nice LynxTwo B sound card which feeds a DDA mixing console which is connected to a true sounding pair of G.J Acoustic monitor speaker ( http://www.gjacoustic-studiomonitoring.de/movie.html ) powered by an Alesis RA100.
According to expectation the Alesis seems a bit slow and has its weaknesses in the lows. So now its also time to upgrade from my Alesis RA to a better power amp.


I did some investigations, gathered fragments of opinions on Carver, Crown. Harman Citation, BGW, Audiolab, Hafler, QSC etc. Whereby a production date is not an issue for me.
My humble impression is that only a few brands offering usable models in all (Hafler) whereas with most other brands it seems really important to pick up the right model for fulfilling my demands (as the QSC MX series shall sounds better than the RMX series for example).
Based on my imperfect information its hard to make a decision here. . . also because of contrastive opinions, like that some say the old BGW 715 are a great steal for the money, others point out some weaknesses in the design . . so at least I am confused and I don’t want spend a lifetime on doing research from dozens sources to form a decision.

I like the big, round sound from the Bryston’s but won’t spend about 600£ (1.150USD) for an used one not yet. Unhappily the studio approved, more popular-priced Adcom amps are nearly impossible to get second-hand in the UK.


I think, I’ll buy my amp “deaf” on ebay then. So I wanna feel relative confident without a listening test before I bid.

My speakers can stand 160watt RMS.
So, which open and true sounding amp in the price range up to 350£/ 700USD would you recommend for recording studio use (heavy weight is not an issue, the more tranny the better I’ve heard) . . and why should it be this one out of all? It could be a new one or second-hand.

It would be great to hear your suggestions and reasons.



Big thanks in advance

[toby_somerset]

And of course . . .

Constructive MODDING SUGGESTIONS for the power amps you name are also welcome. I am by far not an expert but have basic knowledge and I’m a little bit experienced with the solder iron. I built some psu with soft start and nice filtering for my racked preamp modules just as one or two guitar tube amps and preamps.

[DRC]

Hi, There seem to be a few Audiolab 8000p's going on ebay - this should be a match for you speakers. I've had one for many years and its been faultless. I don't know anything about 'modding' -- mine sound fine as it is (anyway, i'm more interested in design than tweaking).

ATB, dave

[toby_somerset]

Thanks Dave,

Yes, tweaking should be only an option if its worth-wile. Something like changing transistors to better specs or swapping filter caps to higher values would be within the scope

Any amp suggested which sound fine as it is would be the best.

Any opinions on the BGW 715 anybody?
I am attracted by these dinosaur

[taj]

Toby,

Some advice from a long-time recording engineer...

Assuming you will be producing music for the general public to listen to, your goal should be to find/assemble a very ACCURATE & NEUTRAL sounding monitor system (amplifier/speakers). You should audition amps and speakers together. You don't want a system that flatters everything you play, or your mixes will sound great only on high end systems, and maybe only on yours. This is one situation where it may be appropriate to use a VERY low distortion "blameless" style amplifier. You want to stay away from any sweetening effect of even-order distortion as it will bias your monitoring, and again you'll end up with results that may sound awesome on high end gear but not sound even remotely listenable on 'consumer' level equipment. Adjust that advice to suit your situation.

To audition them, get (borrow/rent) them for at least a week and listen to lots of commercial recordings of the genre you work with. When you've found a set-up that EVERYTHING YOU PLAY sounds acceptable, you've found your system.

Good luck. Keep us posted.

..Todd