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To say the same things differently invoke the white light of high noon versus the same scenery a few hours later. Envision sitting a bit closer to the stage without affecting apparent soundstage distance. Think of the relaxation/tension axis and how small shifts there affect the feel of the presentation. How would standard audiophile lingo capture that?
While otherwise peas in a pod, the differences between CA10 and J2 played out in this milieu.
Readers familiar with the FirstWatt catalogue would now point at the F5 and suspect it as the probable doppelgänger to the CA10. Rightly so. The F5 and CA10 both belong to the 3rd-order class where small remaining THD is focused on odd- rather than even-order components. That's why a preceding triode preamp will become a spoonful of coconut milk in a spicier curry. A listener drawn to that might find the J2 to require less 'mellowfication' or none at all.
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Again, these comments risk making too much of too little. The J2 and CA10 were far more alike than not yet distinctive in exactly the same way that the J2 differs from the F5. With the latter discontinued and the new dealer-carried FirstWatt M2 and J2 models $4.000 each, the €1.948 CA10 is the F5's unofficial replacement.
It's about the same virtues of speed, resolution, separation power, compatibility with extremely low playback levels and what—by offsetting exactitude and incision—is a high degree of sophistication which removes concerns over harshness, grain and grit from the picture. Given that the F5 remains my favorite FirstWatt amp, I'll direct the reader curious for more at its review. It avoids saying the same things all over again for the Audioprojekte amp. Brevity here isn't for lack of praiseworthy substance. Far from it. It's pure economy!
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How would substituting a 100wpc+ amp shift the equation in a system where 10 watts were plainly sufficient? Running the ModWright KWA-100SE and CA10 off the ModWright LS100 preamp in pleasure rather than reviewer mode as would-be buyers should, the 6SN7 bottles introduced textural silk, a touch of between-the-notes connective tissue and more weight. The more powerful amp was the softer and heavier of the two. Particularly on Renaud Garcia-Fons it had more low-down gravitas if not quite the striated grippiness of the CA10. The 10-watter was energetically more lit up and microdynamically more potent. Whether real or studio trickery, hall sound/ambiance particularly at lower than room levels had greater visibility with the flea amp but a beefier feel with the ModWright where the added LF weight created more scale and gravitas.
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In short, this was another case of audiophile give & take that was far too balanced to declare a winner. What the reader should take away here is simply not to disqualify the CA10 for its brevity of wattage (whose ultimate suitability of course remains contingent on chosen speakers). To conclude and recapitulate, the source-direct connection from something as tonefully right and substantial as the Burson DAC with variable analog output emphasized the speed, bandwidth, dynamics and tacit energy which the minimalist circuit of the Audioprojekte amp is endowed with. The only element tube reminiscent about this presentation is the 'look no windows' sensation of having nothing between listener and virtual performers whilst the latter are filled with a kind of quicksilvery charge rather than play against a fireside backdrop. In valve lingo this quality is often referenced as intimacy. In this context it associates too much kicked-back coziness to seem appropriate. The CA10 is all about intensity which naturally has to be encoded on the recording to be transmitted.
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I imagine that most listeners coming from tubes would find the German amp to be a bracing cold-water wakeup call. The obvious virtues of speed and presence are unencumbered by patina or enhancements and simply more unvarnished and direct than I encounter in most valve circuits. To fully harvest these strengths will want a similar less-is-more preamp quite possibly of the passive kind; or no preamp at all. Most active preamps are likely to introduce a softening/distancing effect that makes lesser recordings more palatable, good ones less exciting. If I had to categorize the CA10 on the back of a stamp, I'd call it raw & unplugged.
That this comes off without seeming unduly lean, 'stripped down' and harmonically bleached is I imagine testament to a finely tweaked circuit. It rises and falls on the quality of ancillaries. Running the leaner Weiss DAC2 direct for example was rather less successful than the Burson. As such I'd not call this a beginner's amp. Lastly if there was a clearly categorized scheme of sound flavors or schools, the CA10 would belong to the vivid class of audio devices.
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Final word: Juxtaposing Ralph Beerschwenger's amp to two designs by industry legend Nelson 'Papa' Pass confirms his disciplehood and success in achieving Pass-type sonic sophistication from circuit minimalism. In this context it's entirely irrelevant whether Beerschwenger actually considers himself a DIY follower of Pass or not. The fact is that he has authored a mature and very well considered product that embodies the spirit of FirstWatt on all counts and without any qualifications or equivocations. Add a sub €2.000 price and his Audioprojekte CA10 becomes a primo recommendation for owners of FirstWatt-type speakers who prefer transistors to triodes. |
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Quality of packing: Adequate
Reusability of packing: A few times.
Ease of unpacking/repacking: A cinch.
Condition of component received: Flawless.
Completeness of delivery: Perfect.
Human interactions: Very good.
Pricing: High value.
Final comments & suggestions: Solid if non-exotic construction with a thinner top plate that rings when tapped. If you believe this to have audible effects, mass-load the cover. Despite class A bias this amp only runs moderately warm which is due to a good balance of low power vs. large heatsink surface. Sonically it's a virtual stand-in for the now discontinued FirstWatt F5 with lower power but higher gain.
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