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The other side of the coin was that bad music and poor recordings were mercilessly stripped bare. Musical lightweights like Nicole Herzog became unpalatable. It became too obvious that studio trickery attempted to milk substance beyond what the singer and ensemble were capable of delivering. This the C1 didn’t clarify by somehow highlighting specific shortcomings. It simply showed that this production was below its own class. Time will Tell was thin and unbelievable.
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The B.M.C. really let loose on classical. It never lost sight of the big picture even during the densest symphonic mayhem with accurate placement of individual performers. All the oft-cited evidence of high-end resolution—the creaking of a chair, the rustle of a turned score or the fingering noise of the concert master’s violin—was present. Importantly such action noises remained what they were, tertiary byproducts of limited import. They didn’t intrude, distract or disturb but were simply present like so many other noises in a concert hall filled with living beings.
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It was only with grand orchestral that I fully appreciated B.M.C.’s power reserves. I’m sure you know the routine – you adjust the volume for the really subdued passages only to jump for the remote when the tutti peaks approach since those tend to get too much. Here no cautionary reflexes asserted themselves. For one the C1 resolved even at lower volumes to not mandate the reflexive urge to prime the pump. This heavy operator worked magic with the small stuff. When loud passages get ‘too much’ it’s routinely really the amp that's straining. Increasing distortion telegraphs as uncomfortable. This too the C1 rather delayed with its extreme dynamic headroom. Had I doubted the sensibility of its two kilowatt trafo, those doubts evaporated after an intensive session with the classics.
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Rather than get sidetracked in unnecessary elaboration I want to conclude with an impression I view as characteristic. Inspired by the amp’s talents I dared to approach challenging fare à la Mahler’s 3rd Symphony under the baton of Claudio Abbado leading the Berlin Philharmonic in London. This complex live cut—don’t take it the wrong way—reminded me of Peter and the Wolf not because the musical events were that plain but because the recording became so transparent that each instrumental cadre with its native timbres and modes became like a poster child for a Mahlerian lesson in how a symphony orchestra is organized and functions. To be sure though, this amp is no vivisectionist. The music remains the focus, albeit on a technically very very high level.
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Conclusion: B.M.C.’s Amp C1 isn’t for everyone. Slipped discs needn’t apply. Or SET aficionados. Or those who’ve gotten used to poor recordings and their systems’ shortcomings. This amp will present you with some very hard truths if you switch over. But if you’re after an amp that plays rhythmically and tonally in the pocket and offers a presentation that’s controlled and sober in the best sense of these terms, this B.M.C. becomes a prime candidate indeed.
The B.M.C. Amp C1 is characterized by :
- applying its high energy reserves primarily to the control of the speaker. There’s no show-off display of muscle but elegant elastic leadership.
- bass that’s very dry, extended and—when called upon—massive. Brutal bass transients, the leisurely ring-out of an upright’s strings and complex bass runs or synth attack are all handled equally well.
- a highly resolved midband without favorites. Instruments and vocals are treated as equals. This in particular includes microdynamic finesse. This amp needn’t be played loud to hear everything. But you can also crank it and then some!
- a treble that’s equally exacting and sober and doesn’t add air. One gets the impression of simple honesty to the source.
- soundstaging and localization precision where it becomes a bona fide miracle worker yet nothing gets blown out of proportion. It’s simply that definition sharpness and outline clarity move up a few clicks.
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redaktion @ fairaudio.de |
Facts:
- Concept: Transistor integrated amplifier
- Weight and dimensions: 40kg, 43.5 x 45 x 15cm WxHxD
- Trim: Silver
- I/o ports: 3 x RCA, 2 x XLR, single-wire speaker terminals
- Other: Remote control, dimmable display
- Power consumption: 110 watts at idle, no standby
- Warranty: 3 years
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