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I had particular interest in comparing the 9200 with Fonel’s Emotion not merely because at €4.700 the German/Ukrainian is similarly priced. It’s also served us here at fairaudio.de as a work machine and reference. And its tendencies point in the opposite direction. However, don’t apply black ‘n’ white think during what follows. It’s all about gray values on either side of a theoretical center line. The Fonel’s upper bass seemed juicier whilst the entire Plinius foundation was harder, faster and more mobile to pay dividends on highly rhythmic fare. With the Fonel meanwhile a bowed double bass was rounder, more voluptuous and vibrant. The Plinius was more focused on the string but really nailed drum ‘n’ bass workouts.

These integrated amps also differed in the midband. Where the Fonel was somewhat stronger and fleshier, the 9200 played it wirier, slimmer and more direct without getting bony. "Brighter than normal" would overdraw. I’d settle for "not warmer than neutral". In the upper register the Kiwi showed brilliance and airiness which were smack on the money to my ears. Perhaps even more important, the treble showed good unsullied resolution (though more remains possible).


This had consequences. Where Miss Badu felt embodied, sonorous and pleasingly fluid over the Fonel, the Plinius 9200 had her move a step closer to the microphone. The voice became more direct and clear, with more brilliance and freedom on top albeit less chest volume and seduction. The Plinius favoured immediacy and nearness. As you’ll have figured, these were matters of taste and translated to instruments as well. On Cake’s "Daria", Vincent di Fiore’s trumpet clearly had more bite with the Plinius. Anders Paulsson’s soprano sax [Niklas Breman’s Dinkum Thinkum] was edgier surrounded by plenty of air, key chatter was more apparent. The Fonel countered with more body and relaxation. Both machines spelled gourmet fare that was simply differently flavoured.


Enough of comparisons. What will be clear is that on-edge system tending towards the lit-up and crisp won’t tone down with the Plinius nor would sterile flat 80s productions mellow out. Other recordings meanwhile can stand a small injection of fresh air.

Though I wouldn’t call the Royal Concertgebouw Orchestra’s 2009 reading of Pictures of an Exhibition muffled, hifi gear shadowing it would certainly not be helpful. The Kiwi amp kicked the window open for not only a tonal stem cell cure but for also grander more specific staging. This helped to better differentiate the fundamentally opaque orchestral apparatus. The true attraction of this recordings are its often intense voltage swings, in short recorded dynamic range. Next to fundamentally neutral tonality with a fresh accent and truly frisky peppy bass, dynamics were a further 9200 forté. Thrilled by such grand orchestral breakers and the kettle drum heft, I reverted to my reference Octave HP300 preamp plus Electrocompaniet AW-180 monos silently wondering whether the small NZ machine could really…

… well, no. The separates combo did deliver more not just dynamically. That was salve on momentary suspicion that more money wouldn’t translate into more performance. Mind you, with a passable cable that combo costs thrice but—banal though still very relevant—doesn’t approach sounding thrice better. For me the Plinius 9200 counts amongst those components which are so complete and mature in themselves that one questions who really needs more. Fatal to carriers of the high-end virus is that small ‘really’ of course but that’s a different topic. Dynamic contrast, rhythm and timing are definitely high points for the Plinius 9200.