No, there was still plenty there by way of harmonic shadings, density and color. Speaking of density - where the Mambo really shone was in the area of soundstaging and imaging. It created a sound field that was completely free of the speakers both wide and deep. Image delineation was at least on par with what I would think the competition capable of. These observations left me perplexed. I just could not come close to replicating the disappointing performance our own "candyman" reported. I now wondered whether the 100dB-efficient speakers were just not taxing the amp enough. Perhaps the Mambo's 50 watts per channel didn't react well to more demanding loads? Out went the Rethms, in came a pair of Ohm Walsh 4s. These 20-year old omnidirectional speakers present a fairly even 6-ohm load but a more challenging 89dB efficiency. Additionally, the Ohms' basic character is 180 degrees out of phase with that of the Third Rethms. Where the Rethms are forward, highly focused and extraordinarily detailed, the ancient Ohms put up a much more distant perspective that trades some inner detail for roundness of tone, ultra smoothness and more space than NASA's Spirit rover has yet encountered. The Ohms also have very respectable bass down to 32Hz and an extended treble. If the Mambo was going to show me sluggishness or blunted leading edges, it was going to do so with the Ohms. If it was going to prematurely run out of grunt, it was going to do so now. It didn't. |
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Actually, though the presentation couldn't have been more different than with the Rethms, it was completely captivating - just in different ways. Where previously I was up close and personal, the Mambo/Ohm combo put me about midway back in the hall and gave me a bird's eye view of the music. | ||||||||||||||||
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Speaking of bottom, the Mambo sounded very good down low as well. Bass was well balanced and naturally portrayed. Here it didn't seem to go after making the same kind of name for itself as it did in the midrange. I can't say that it had the same degree of slam or lucid microdynamics that more powerful amps do. In fact, this was my only clue that the Mambo wasn't a much more powerful amplifier - while good, it just didn't put the hammer down. But neither does the Mambo have to make excuses when among amplifiers of its own class. Significantly better bass performance is out there but likely will cost you. It may cost you in terms of dollars. It may cost you in terms of compromised performance elsewhere. But cost you it will, one way or another. |
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Paganini's "Moto Perpetuo" from Sony's Rostropovich, Return to Russia [Sony Classical SK 45836] is one of my favorite classical torture tracks. Frenzied violins and basses are why. It's a test of detail, micro-dynamics and the ability to sort though a complex musical passage. Again and over both the Rethms and Ohms, the Mambo did an admirable job. Brooks Williams' Little Lion [Signature Sounds SIG 1255] was also very fresh in my mind as reproduced via the Silverline Boleros. Again, the Ohm/Mambo combo |
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produced a seductive combination of spatial soundstaging, almost surreal images and a smooth and flowing tonality. The Mambo also unleashed its mojo on a number of raunchier recordings to show chops that serviced both Rock and Grunge alike. Nirvana's Nevermind [DGCD 24425] had been very instructional with the Rethms before the arrival of the Mambo and its presentation went essentially unchanged once the Mambo arrived in the system. Rhythms had solid impact, vocals were lucid and the distorted guitars had tremendous bite. |
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DMP Big Band's Carved In Stone [CD-512] is a modern recording of big band performances presented in the "classic arrangements as originally performed by the Count Basie, Tommy Dorsey, Duke Ellington, Woody Herman, Stan Kenton and Glenn Miller Orchestras." It sounded so good, I listened to it four times in two afternoons. The brass had a wonderfully forward presence and an authentic yet non-irritating bite. Acoustic basses were wonderfully weighty, resonant and tuneful. The soundstage was as big as the beat was lively, with the Mambo demonstrating that it could indeed bust a move. The instruments before me went wall-to-wall. Just wonderful. |
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A few words on the Mambo's built-in DAC. To be very honest, I completely finished writing this follow-up when I realized that I had forgotten about the DAC which can be accessed via both Toslink and Coaxial inputs on the amplifier's rear apron. Well, it may have been my afterthought, but it wasn't one on the part of Parts ConneXion. When I connected the inexpensive Pioneer DV 563 universal player to the Mambo's coaxial input, I was actually rather surprised. Simply put, it's a very respectable DAC. Was it better than my Bel Canto DAC-2 that costs half the price of the entire Level-2 Mambo? No. Was it better than your DAC? I don't know. Who cares? It's free. |
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Underwood Hifi website
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