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It felt like the ARC was permanently primed to pounce on each note. This could be exhilarating yet lacked the type of casual relaxation the recently reviewed Magnum Dynalab MD301A had excelled at. Keen on parlaying each detail of musical data instantaneously, the American didn’t allow for any breather if I may put it that way. And the DSi200 is a rhythm fiend. With mightily propulsive Rock (I felt like Alannah Miles’ Black Velvet), this amp can raise the ceiling or set a cat tail on fire. This automatically means that the other side—the unhurried loose gait of my Jadis—-isn’t in evidence. The saucily earthy bop of a Roger Cicero or Indigo Swing is less the DSi200’s thing. But hey, can’t have everything. Fireworks continued in the highs, albeit without defaulting into paprika. I really love Patricia Barber’s Modern Cool but depending on system the sibilants can get annoying. The ARC didn’t cross that line. In general and compared to my Jadis I’d rate the DSi2oo’s treble as perfectly linear though more silken than aggressive in energy texture.


That said, prior amps never did illuminate how on "Premonition – I. Earth" by Swedish Jazz trio e.s.t.’s Leucocyte the upper frequencies establish their very own layer. What on first listening suggests a kind of feedback now unraveled as its own musical line with the DSi200. Strange how I could have missed that until now. The high magnification and accuracy of the treble prevents the ARC—which isn’t even an iota withdrawn here—from going on the nerves and isn’t brutal with lesser recordings. Thanks to its raw drive albums remained compelling which over other amps turn plain boring.

I kept returning to classic music where the amp’s multiple talents shone the most. I often cue up "In the Hall of the Mountain King" from Grieg’s Peer Gynt Suite [Karajan and the Berlin Philharmonic]. The DSi200 allowed for deep insights into the escalating action and never collapsed into glom but kept track of the intermeshing musical lines. The orchestra did descend into chaos yet remained perfectly organized at the same time. Only a few amplifiers manage that.

Conclusion. The overall balance of the DSi200 is slightly toward the lithe/slim rather than luscious/sonorous. Combined with speed and playfulness—highly developed micro and macrodynamic qualities—this makes for an unusually fresh and compelling take. The high resolution and impressive soundstaging leave no room to suspect any superficiality. The ARC DSi200 did sound a bit different than much of what at least I’m used to. I can only urge you to audition this machine with your kind of music. It’ll definitely be an education.

Psych profile.
  • For me the DSi200 set new standards on soundstaging. From general scale to image focus, I’ve not hosted its equal in my home before.
  • In the bass the amp is controlled and tonally more slim than fulsome. This is coupled to high differentiation and speed.
  • The midrange is just as highly differentiated, quick and neutral.
  • The treble runs ‘straight through’ but without complaints because it tends to the silky. This level of nuance and sheer data is rarely heard at these frequencies.
  • The amp is highly energetic on rhythm and dynamics. Whatever drive is innate to the music, the DSi200 will serve up without hesitation. 
Facts:
  • Concept: class D stereo integrated amplifier
  • Dimensions and weight: 48x13x36cm (WxHxD), 17kg
  • Trim: Silver or black fascia
  • Socketry: 3 x RCA, 2 x XLR inputs, single pairs of speaker terminals
  • Power consumption: 38 watts at idle, 1 watt in standby
  • Power output RMS: 200wpc into 8 ohms, 300wpc into 4 ohms
  • Warranty: 2 years

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