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Perreaux

מגבר 150I

₪26,500

חברת פארו הינה יצרנית וותיקה ומוערכת מאוד בקרב האודיופילים ברחבי העולם.
היא נוסדה בשנת 1974 וכל מוצריה מיוצרים ומתוכננים בגאווה רבה בניו זילנד.
מוצרי החברה הפכו לשם נרדף לאיכות ומוצרי החברה ידועים מאוד באמינותם היוצאת דופן.
כל מוצרי החברה מאופיינים בצליל מוזיקלי במיוחד וכל זאת ללא פגיעה
ברזלוצייה או בפירוט הצליל.
כל מוצרי החברה מוגדרים ומוכרים ביחס תמורתם הגבוהה עבור המחיר
כאשר מוצריה מאפילים על מגברים יקרים במיוחד.

 

תיאור מוצר

מגבר משולב איכותי פארו 150i

High Power Design
The 150i is designed to handle difficult speaker loads with ease. With it's high powered MOSFET design, the 150i is capable of continuously delivering a genuine 190Wrms into an 8Ω load and a huge 300Wrms into 4Ω.

High-current Custom Power Supply
At the heart of any great amplifier is a great power supply. The 150i features 2 high current independent power supplies, for controlled, quality audio.

High Damping Factor
The éloquence 150i's performance features a high damping factor. Ensuring absolute authority and control of any loudspeaker.

Advanced Microprocessor Control
The extensive range of user functions and complex functions are managed by a powerful onboard microprocessor. This gives you more control but is electrically isolated from the audio paths, ensuring faithful sound reproduction.

Advanced Stepped Volume Control
3rd generation microprocessor controlled analogue volume control. The eloquence has advanced all the benefits of a pure unaltered analogue signal path which is merely "switched" to your exact desired volume. This gives you convenience and complete control with the cleanest signal path possible.

Advanced Lossless Stepped Off-Set Balance Control
3rd generation microprocessor controlled analogue balance control. There is no loss of music quality due to the left and right volume controls being analogue "switched" independently without added circuitry. This is the ultimate in allowing you to perfectly adjust the balance volume left or right without signal loss.

Non-Invasive Protection
The 150i features sophisticated microprocessor protection for the amplifier and connected load. The protection covers over-current, over-temperature, DC offset, internal AC supply and DC fuse protection. The protection is non-invasive and does not degrade the signal path.

Balanced (XLR) input
For use with balanced sources. Enabling you to take full advantage of the benefits of balanced audio.

Home Theatre/Pass-Through Loop
Allows the integration of the éloquence into a home theatre/external system as a two channel power amp, then back to full a stereo integrated for music listening.

IR (infrared) input and output
Enables additional remote control options to be connected and controlled by the éloquence Integrated Amplifier.

Isolation Feet Options
To minimize vibrations, aftermarket "feet" can be easily attached if desired. Also, the éloquence has the ability to go from 4 feet to 3 feet to further ensure mechanical isolation

ReviewTONEAudio.

If you’re looking for an amp that makes everything
sound pretty, keep looking. This ain’t it. The Éloquence 150i tells the truth, no matter what. That’s what I like about it.

Vinyl was more alive than digital, that’s for sure. Bass transients were lightning fast, and considering the nature of the music, the soundstage was huge. It’s been a while since I heard this 1981 recording, and it’s a lot better than I remember it.

Listening over the Éloquence 150i, this CD’s wider than average dynamic range exploded over my Magnepan 3.6/R speakers, and you know what they say about Maggies: they need a bit of juice to really come alive. The Éloquence 150i has a rock n’ roll heart beating inside that compact chassis.

t was close to 30 years ago, but I remember my first encounter with a Perreaux amplifier. I was a salesman at an up-and-coming highend shop in New York City, and we didn’t carry either of the two big selling solid-state lines of the time, Mark Levinson or Threshold. The Perreaux factory rep dropped off a PMF 2150 and I thought it looked the part. Then we hooked it up to a pair of Snell Type A speakers and the sound was spectacularly clean and beautifully balanced. We took on the line and did really well with it. Over the decades, I’ve lost touch with Perreaux, so I was eager to get my hands on their new Éloquence 150i and was thrilled to see it wasn’t just another integrated amplifier

First, as high-end integrateds go, it’s downright compact, just 16.7 inches wide, 3.9 inches high and 14.3 inches deep. That makes it a bit smaller than your average A/V receiver. At 32 pounds, it’s heavier than most 7 x 100-watt receivers. Most $5,000-plus high-end integrateds are huge things, but the Éloquence 150i is small enough to recommend to your non-audiophile pals. Running my fingers over its beautifully finished, 5/8-inch thick front panel and solid-metal volume control there was no doubt: the amp is the real deal.

Elegant Éloquence
The Éloquence 150i is a Class AB design that delivers 150 watts per channel into 8 ohm loads, and 300 watts into 4 ohms; it’s got what it takes to drive even inefficient speakers such as my Magnepan 3.6/Rs. The amp uses MOSFET output devices, and as I recall, so did that first Perreaux I listened to. The new amp’s heat sinks never got more than mildly warm, even after I cranked it for hours on end.

Perreaux also breaks the mold by offering two rather useful options for the Éloquence 150i: a moving-magnet/moving-coil phono preamp (US$595) and a Burr Brown 24 bit/192 kHz digital-to-analog upsampling converter (US$1,000).Best of all, you can add either option after purchasing the amp.

The 1.25-inch by 2.5-inch front-panel display keeps you informed about input selection and volume level, and you can name each input as you like. For example, you could name Input 1 as Sirius, Input 2 as Pandora, etc. Various functions are accessible via the menu system. Navigation is so easy and straightforward, I didn’t have to study the owner’s manual to get the job done. You can turn the display off from the remote, which is good because even at its dimmest setting, it’s too distracting during evening listening sessions. You also can program a maximum-volume level, handy if a lot of people use your system.

The rear panel’s connectivity quotient is fairly generous. There’s one pair of balanced XLR inputs, four pair of unbalanced RCA inputs, and one pair each of balanced and unbalanced outputs. The DAC has two coax (BNC) inputs, two optical (Toslink), and one USB input. The binding posts handle fairly heavyweight speaker cables without complaint.

The Éloquence 150i is multiroom/custom installation ready. It has one trigger output, one external IR input and one IR output, all with 3.5 mm jacks. The RS232 serial port is provided for use with AMX, Control4, and Crestron home-automation systems. There’s even a home-theater/pass-through loop for easy integration with home-theater systems. If those automation doodads make you wonder about Perreaux’s audiophile street cred, check this out: while the amp is shipped with four supporting feet, you can reconfigure them for more-stable three-foot support. Tweaky! Gripes: The plastic remote’s little bump “buttons” broke the high-end spell every time I used it.

For the kind of dough the Éloquence 150i commands, I’d want a more substantial remote. It worked well enough, though the centrally placed source and volume control bumps were easily mixed up. I can’t tell you how many times I changed inputs when attempting to change the volume.

Each Éloquence 150i is shipped with a set of measurements taken during final quality-control testing at Perreaux’s factory in New Zealand. The company has an outstanding reputation for reliability.

Listen to That There’s something about the way the Éloquence 150i let me hear the spaces between instruments that immediately grabbed my attention. Some might say it focuses a soundstage better than an integrated amplifier has any right to. Or is it just this amp’s superior transparency, low-level detailing or microdynamics? I’m not sure. Whatever you call it, the Éloquence 150i has it in spades. It’s also a lot of fun to listen to. Take the newly remastered Beatles Revolver CD. Paul McCartney’s bass was extra bouncy and nimble on “Taxman,” and Paul’s (not George’s) guitar freakout kicked butt. The new CD sounds surprisingly analog-like, so much so that I compared it with my Revolver LP, and the CD was a close match.

Yes, the vinyl sounds a tad more three-dimensional, but tonally, CD and LP are in the same ballpark. I didn’t intend to listen to all of Sgt. Pepper, but once I started I couldn’t stop. The amp must be doing something right.

The Éloquence 150i is a master of space and time. Play a well-recorded jazz CD, such as a Chesky, and you hear the room in which the band was recorded in. Treble is grainless,
delicate and nuanced. Thing is, all that groovy audiophile stuff like transparency and air have to be in the recording before the Éloquence 150i can reproduce them. I was thinking
about that when I played Booker T’s recent Potato Hole CD. Booker, of Booker T and the MGs fame, still mans a mean keyboard and on his new CD he’s backed up by the Drive By Truckers and Neil Young. But the sound is as dead as the proverbial doornail. Booker’s funk is still kicking, but this nasty sounding recording puts a lid on it. This soundstage is flatter than Kansas, dynamic range is MIA, and the worst kind of digital glare infects the midrange and top-end.

So there’s not much the Éloquence 150i can do to make Potato Hole go down easy. It’s not a miracle worker, so if your musical tastes run to mostly contemporary production heavy rock or pop, the Éloquence 150i’s innate transparency might not be what the doctor ordered.

Ah, but pop on one of Mr. Booker’s juicy Stax era record workouts from the 1960s, and the Éloquence 150i will plaster a big smile across your puss.Straight outta Brooklyn, Oakley Hall’s I’ll Follow You CD reminds me of X (the band that is), specifically, their early albums Los Angeles and Wild Gift. Oakley Hall’s Patrick Sullivan and Rachel Cox’s dueling
lead vocals have a lot to do with that. They raise goose bumps at least a couple of times per song. And the way Oakley Hall’s melodic tunes develop and sway, they’re a throwback to an earlier time. Listening over the Éloquence 150i, this CD’s wider than average dynamic range exploded over my Magnepan 3.6/R speakers, and you know what they say about Maggies: they need a bit of juice to really come alive. The Éloquence 150i has a rock n’ roll heart beating inside that compact chassis.

I played a couple of DVD videos, listening to their LPCM stereo mixes over the Éloquence 150i. Cream’s Royal Albert Hall 2005 sounded big and bold as Jack Bruce’s bass and Ginger Baker’s drums laid down massive grooves. Eric Clapton doesn’t have the fire he did way back when, but his sound was first rate.

LP sound was good, if veering to the lean side of neutral with my van den Hul Frog moving-coil cartridge. As they say, your mileage might vary. No matter, the funk-a-licious Tom Tom Club LP set my toes a tappin’. Vinyl was more alive than digital, that’s for sure. Bass transients were lightning fast, and considering the nature of the music, the soundstage was huge. It’s been a while since I heard this 1981 recording, and it’s a lot better than I remember it.

I finished up with another LP, The Cowboy Junkies’ Trinity Revisited from 2006. The new record had a tighter, more-focused sound, but it was brighter and dimensionally flatter in the ways that many contemporary recordings are. Not that I blame the Éloquence 150i one bit for that; it was just telling it like it is. If you’re looking for an amp that makes everything
sound pretty, keep looking. This ain’t it. The Éloquence 150i tells the truth, no matter what. That’s what I like about it.

Andre Marc – Audio/Video Revolution

The Eloquence 150i is not your father’s integrated amp. It is a very sophisticated component with cutting edge and proprietary technology. Sophisticated, but incredibly easy to use. The technology enhances the user experience, in my opinion, rather than making it more cumbersome.

I can assure you, in the weeks I spent with the amp it never ceased to amaze me.

I have demoed flagship integrated amps in various setups, apart from my own, from a number of well known companies that market stratospherically priced components. So I have broad points of comparison to utilize in my own demo. The Perreaux, based on my memory of those auditions, held its own and then some, and was even superior in musicality and enjoyment.

Walter Swanborn, of Fidelis AV, summed it up perfectly when he offered ” Finally, a product that offers all the modern conveniences of a user customizable interface and expandability in a beautiful package, that approaches the sonic performances of the best separates, from a company with a 36 year history of making well designed and reliable products.” I would have nothing to add after spending a good amount of hours with the Eloquence 150i.

Perreaux Eloquence 150i Integrated Amplifier Review:

In years past, I’ve usually rolled with an integrated amplifier. Reasons included less space, fewer cables, tons of inputs, conveniences like headphone jacks, remote controls, and even subwoofer connectivity. But there are integrated amps and there are integrated amps.  I was in the budget component and midfi camp during my college days.  At that point, integrated amps were not known for being state of the art. Things have changed quite a bit since then. Integrated amplifiers have approached, if not crossed into the state of the art. Most exalted high end audio manufacturers are currently offering battleship integrated amps along side their flagship separates. Many designers are even offering built in world class phono stages, Digital Audio Converters and digital inputs.

It has been a number of years since I have had any experience with a high grade integrated amp in my own set up, since I use tube separates most of the time. I was quite excited to receive delivery of the Perreaux Eloquence 150i integrated amplifier from Gene Rubin of Gene Rubin Audio, a well known California dealer, and one of the business’s true gentlemen.

Background:
Perreaux was founded in 1974 in New Zealand, and soon began working towards perfecting solid state amplifiers using MOSFET designs. They quickly developed a reputation as being innovative and began exporting their products worldwide. A good thing too, since the total population of New Zealand is just under four million; certainly not enough to sustain a high end electronics business! Today the company sells components in 30 countries. Perreaux products became known as great sounding, but also as super reliable. But Perreaux at one point disappeared from the North American market for a few years.

Now that has changed as highly respected importer Fidelis AV of Derry, New Hampshire has picked up the line for exclusive distribution in the United States. Fidelis’s Walter Swanborn is known to be very choosey about his brands, and when I saw a press release earlier in the year about the deal, I took note. Previously, I had only been exposed to the Perreaux brand through reviews in foreign audio magazines.

Design:
The Eloquence 150i is not your father’s integrated amp. It is a very sophisticated component with cutting edge and proprietary technology. Sophisticated, but incredibly easy to use. The technology enhances the user experience, in my opinion, rather than making it more cumbersome.

The 150i is specified at 150 Watts Per Channel into 8 Ohms and 300 Watts Per Channel into 4 Ohms.  It features four RCA inputs, and one set of XLR inputs. There is one set of preamplifier outputs, for use with an active subwoofer and more. There is a Tape Out, which I used for headphone listening, and most interestingly a user selectable function for Separates. This disconnects the preamplifier and amplifier sections in the unit. It allows you to use an outboard preamp to drive the amplifier section and vice versa. Very clever indeed. Lastly, there is an included infra red remote control.

The sophistication comes in for form of the user programmable interface. You can decide what the initial default volume is for each input. You can select the maximum volume output and custom label each input. You can disable the volume control completely for unity gain. The balance can be customized for each channel as well, a great inclusion.  It’s obvious that a great deal of thought went into making this amp easy to personalize.

To add to all that, there is an optional phono stage, and an optional DAC module available for purchase that includes a 24 bit/192khz chip that allows for 2 Coaxial, 2 TosLink, and a 1 USB connection. Talk about a one box solution.  Lastly, the 150i is visually stunning, with the Perreaux logo notched onto the thick faceplate, a large, centered volume knob, and a well lit display, and six small selector buttons. The unit itself is built like a tank, and like previous generations of Perreaux products, should last a lifetime.

Listening:
All of the very clever bits would be pretty meaningless if the Eloquence 150i did not sound great. And I can assure you, in the weeks I spent with the amp it never ceased to amaze me. As noted, I have only had mid-fi level integrated amps in years past. But in the last year or so, I have demoed flagship integrated amps in various setups, apart from my own, from a number of well known companies that market stratospherically priced components. So I have broad points of comparison to utilize in my own demo.  The Perreaux, based on my memory of those auditions, held its own and then some, and was even superior in musicality and enjoyment.

I have had tube separates for a few years now. The 150i did not suffer in comparison in any way to my separates, much to my great surprise. It was accurate harmonically, spatially, tonally, and most importantly, musically.  I did not feel short changed, which is a typical feeling, even if just imagined, when comparing an integrated amp to a very good separate preamp and power amplifier set up.

The biggest surprise for me was how wide the soundstage was. It made my speakers seem like they were spaced a few feet wider than they really were, but without any loss of focus and locked center image. If that was the biggest surprise, then the most delightful aspect of this component was that it did absolutely nothing to give away that you were listening to either solid state or tube amplification. It was so grain free, so natural sounding, so musical, and refined, that that question never entered my mind. From my experience, it is one of the few components that transcend the comparison.  It just delivers the goods, in spades.

I enjoyed so many musical moments with the 150i, that I won’t bother to describe the performance in the usual compartmentalized aspects of bass, midrange, treble, etc. With the Perreaux, I don’t see a point. It offers such a coherent presentation, and did not have me shying away from any genre of music. That is a rarity.  I was able to use the 150i in my secondary system first, and in my main system with consistent results. It worked immaculately with my Spendor S5R mini monitors, and with my Harbeth Compact 7’s.  I would have loved to have had it with the DAC module installed so I could have used it my music server and Logitech Squeezebox.  But I can’t imagine the module quality is not commensurate with the rest of the 150i.

I recently bought a copy of the 30th Anniversary Edition of Bruce Springsteens’ Born to Run. I have never heard the album in such a fleshed out, lifelike manor. I also have a copy of the mid 90’s Gold Disc version of this, and the differences were easy to hear. The recent remaster has a bit more sparkle, and bit more detail, but the Gold Disc holds up well I must say.  Moving forward to 2009, I also spun the latest offering from Springsteen, Working on a Dream.  It is much better sounding than his previous trio of albums, The Rising, Devils & Dust, and especially the horrible sounding Magic. Not only does is sound great, the songs are first rate. Springsteen specifically was looking to tap into some of his earlier, more romantic work like Born to Run, and he pulls it off in spades, without sounding like a cheap effort to capitalize on his classic, most celebrated period. The Perreaux made listening to the dense, beautifully crafted arrangements heavenly.

I also had on hand a few Police remasters as well.  I was shocked at how well these albums were recorded and through Perreaux everything sounded so lifelike, so much so it transported me back to my early teens when these albums were new and how excited I was to hear them for the first time. I also put on quite a few singer songwriters like Ray Lamontagne, Paolo Nutini, and Lisa Hannigan. These artists are obviously big fans of an earlier, analog dominated era, and the Perreaux was superb at offering up an organic, musical portrait of each of these artists.

In addition, I recently purchased the 40th Anniversary Edition of King Crimson’s In the Court of the Crimson King. This one of my all time favorites and the Perreaux brought me closer to the music than before. The same goes for the 2009 double disc remaster of the David Bowie mega classic Space Oddity.  One more rock example is the 2001 remaster of the Guess Who’s American Woman.  Only a great component can make a 39 year old recording sparkle, and rock out to the point that its age is utterly irrelevant.

I also had some pleasant listening sessions with classical and jazz. The RCA Living Stereo recording of Dvorak: New World Symphony is an all time favorite. The entire spectrum of colors was reproduced gorgeously through the 150i. Strings, brass, percussion, and woodwinds retained all their natural timbres, and dynamic contrasts. It was quite the stunning presentation. The opening of the 4th movement was a goose bump inducing experience. Acoustic jazz was just as remarkbely rendered. Classic Miles Davis, John Coltrane, and McCoy Tyner recordings sounded ageless and agile.

Quibbles:
It would surprise me greatly if any audiophile found issue with the Eloquence 150i’s build quality, sound, functionality, or flexibility. I did not.  I should mention two minor annoyances though. I was not thrilled with the small plastic remote control. I found myself holding it upside down on many occasions. For a $5000 plus component, a more substantial remote would be more appropriate. Secondly, the ground plug above the IEC connector will limit the type of after market AC power cords you can experiment with. I was only able to fit my Shunyata Venom, but not my Transparent or Acoustic Zen cables with Wattgate round body connectors. However, I got great results with the Venom, but I did not like being limited by size.

Conclusion:
To quote from Perreaux’s own website “After much study and experimental work had been completed, the company began to realize that the power MOSFET could, if used correctly, go a long way towards achieving the sonic warmth, sweetness and realism of valves combined with the physical practicalities of transistors.”  I believe they have achieved this goal with flying colors. Yes, there is a sweetness, warmth, and sonic realism to this integrated amplifier. One that I wish I could enjoy well beyond the review period!

The 150i exudes class, does so many things right, has world class build quality, and more than enough power for any real world listening situation. The channel separation was superb, among the best I have heard. It ran cool, barely producing any heat, and requires relatively little warm up time to sound its best.  If I were setting up a system from scratch, the Perreaux would be at the top of my list as the centerpiece. I am now am very interested in hearing other Perreaux products.

Walter Swanborn, of Fidelis AV, summed it up perfectly when he offered ” Finally, a product that offers all the modern conveniences of a user customizable interface and expandability in a beautiful package, that approaches the sonic performances of the best separates, from a company with a 36 year history of making well designed and reliable products.” I would have nothing to add after spending a good amount of hours with the Eloquence 150i.

Andre Marc……

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