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The T.A.C. also handled dimensionality, rhythm and nuance on a high level. How about frequency response linearity then? For starters—harmonic distribution across the various bands—the T.A.C. was plain neutral and neither light nor dark. The real thing was the quality whereby this amp covered the various bands.

In the bass it simply took off. I had the impression of an added octave with my speaker, albeit without iron-fisted control over the woofers. And thankfully so. I’d rather listen to the Dinah Washington classic "What a difference a day makes" [This One’s For Dinah by China Moses and Raphael Lemmonier] and see the upright in my room. I mean this literary. Eyes wide shut I could get up and walk around the instrument and its player. Even the recorded floor resonance had a precise point of origin. I could hear the zap of the strings and the sympathetic response of the wooden carcass. That’s how a bass should sound - not like ‘perfectly controlled woofers’. Those who would invoke sub-optimal damping factors I’d rebuff with "but listen to the music!"


I’ve admittedly heard how other amps handled the explosive synth attacks of Madonna’s American Live harder. But with the T.A.C. I noticed how they don’t really reach all that low to rather be far 'showier' by occupying the upper bass sector Comparatively drier amps exist of course. Even so I had no complaints with music that lives on bass like Notwist’s "Where in the world" from their The Devil, You + Me album. I was impressed by the wealth of detail that existed this low in the bass. Despite real depth mining things never devolved into undifferentiated rumbles either.


In the midrange I was nearly overwhelmed by nuance which was finely articulated yet hung together contextually. This became particularly apparent on choral music. Be it Sister Act’s "Hail Holy Queen" or the Tacet dummy-head production of Rossini’s Petite Messe Solennelle, the T.A.C. nailed the personalities of individual singers and the exact position of the soloists. I was never at a loss which singer took the lead.

The V-88’s ingratiating projection power of voices was positively phenomenal. This was accompanied by dynamics and immediacy which—this is simply my experience rather than a cliché—I've thus far only heard from first-class valve amps. The T.A.C. handled timbres just as well. Be it the softest of piano whispers or barely there con arco strings, nothing fell through the cracks. Despite such sophistication even worn-out 1980’s and 90’s disco earworms were so groovy that I contemplated an impromptu party. The treble was equally immaculate – airy, quick and finely nuanced. This was another balancing act of resolution and presence which avoids sharpness. Though Patricia Barber sibilances famously on Modern Cool it never got nervy.


Conclusion. As hinted at, the T.A.C. confronts us with a fundamental question. Does our ‘high fidelity’ dream amp render the music with the utmost realism – or the recording? If your hifi system exists to conjure up the most believable illusion of your recorded music, the V-88 is your amp. It seems fully in the service of that rather than undermining the illusion by keeping tabs on the sound engineer’s fingers.

Psych profile:
  • The T.A.C. V-88 is an uncomplicated valve integrated of excellent build and welcome power which should mate well with many speakers.
  • Without any tonal nits, dynamic potential is awesome to warrant safety belts whenever one hits ‘play’.
  • The bass excels with differentiation and reach. Iron-fisted control isn’t on the books but the foundation sounds so believable that any concerns over added control simply don’t factor.
  • The midrange is the heart of the music and the V-88 knows it. The resolution, microdynamics and color scale that are on offer here without running into each other is truly astonishing and real art just like music.
  • Things are airy and nuanced on high, harshness is absent. ‘Silky’ is the word du jour.
  • Soundstaging is opulent but not disproportionate. Localization focus is excellent and retrieval of recorded ambiance is very high.
  • Those whose hifi ideal consists of sitting behind a glass wall next to the recording engineer to check with furrowed brow that all microphones are optimally calibrated won’t treasure the V-88. Those who chase the front-row live illusion will – very much so.

Facts
  • Concept: Valve integrated
  • Dimensions and weight: 450 x 220 x 420mm (WxHxD), 34kg
  • Trim: Black chassis, silver valve cover with glass front
  • I/o ports: 4 x RCA in, 1 x rec out, 4/8-ohm outputs
  • Others: Remote control, auto bias
  • Power consumption: No standby, 250 watts at idle, max 380 watts in use
  • Website
redaktion @ fairaudio.de