{"id":20505,"date":"2019-11-14T22:43:46","date_gmt":"2019-11-14T20:43:46","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=20505"},"modified":"2021-04-19T20:59:26","modified_gmt":"2021-04-19T18:59:26","slug":"electrocompaniet-aw180-and-aw600-nemo-part1","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/amplifier-reviews\/power-amplifier-reviews\/electrocompaniet-aw180-and-aw600-nemo-part1\/","title":{"rendered":"Electrocompaniet AW180 and AW600 Nemo"},"content":{"rendered":"

Review samples supplied by Colab<\/a><\/h4>\n

Retail prices in the Benelux (including 21% VAT):
\nAW600 NEMO 16.598 euro per pair
\nAW180 8.998 euro per pair<\/h4>\n

After having reviewed the Zesto system<\/a> and pondering potential next steps, Pierre and Francois of Colab<\/a> and Bel Hifi<\/a> were quick to declare their appreciation for the Norwegian Electrocompaniet brand. If tubes do not apply then this brand is their first choice. Not having any experience with the brand I was absolutely happy to plan for a review. In order to provide the best perspective, I felt that it would be most interesting to review a mid-level model as well as their top-offering.<\/p>\n

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The Electrocomaniet logo glows in different places: on the front for the AW600 Nemo; on the top for the AW180<\/em><\/p>\n

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Established in 1973 in Norway, Electrocompaniet is known to voice their equipment to achieve a sound that they feel is most true to the live listening experience first and foremost and according to technical measurements second. Their amplifiers have been used in several Recording Studios, including Michael Jackson’s and Abbey Road Studios. In 2004, the company went bankrupt but the assets were quickly acquired that same year by Norwegian company “West Control”. Under the leadership of a new CEO, Mikal Dregggevik, all production was moved to Tau, near Stavanger. Importantly, the brand remained 100% Norwegian and today they are represented in over 50 countries worldwide.<\/p>\n

There’s an interesting story on Wikipedia about how Michael Jackson’s producer Bruce Swedien got hooked on the brand:<\/p>\n

In 1991 Michael Jackson’s producer Bruce Swedien was contacted by Nils Bjarne Kvam, a Norwegian producer, whom he told of the amplifiers of Electrocompaniet, and Swedien started getting interested. The amplifiers were packed and shipped to the US in September 1991. Bruce was busy at the time working on the last mix to Jackson’s Dangerous. He loved the amplifiers and wanted to use them on the album, but the mix was almost done, and he would then have to remaster it all over again since the difference was so large. But Swedien was ready to use the amplifiers on the next albums. The next two albums History and Invincible were mastered with the Electrocompaniet amplifiers, and both albums thanked Electrocompaniet with “Special thanks to Electrocompaniet” with a logo on their covers.<\/em><\/p>\n

It is speculated that the Nemo was specifically designed to work with the B&W Nautilus 801. A Stereophile reviewer found that he required four channels of serious amplification to drive them but, as rumor has it, the output of a single Nemo should be sufficient to drive one full-range 801. Either way, the Nemo name seems appropriately chosen and it is a fact that Nemos are or were used for driving N801’s at Abbey Road Studios in England.<\/p>\n

Soundcare super spikes<\/h3>\n

Both the AW180’s and AW600 Nemos do not have normal rubber or plastic feet, rather, they use the excellent Soundcare super spikes, also from Norway. These smart couplers contain a spike and base, contained within a holding cup which makes it possible to move the amps around (if you are strong enough and don’t have back problems:-) without having to worry about the spikes landing beside the floor bases.<\/p>\n

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The underside of one AW180 – these super spikes had been fitted with felt pads to allow for easy moving but this is not ideal for the sound.<\/em><\/p>\n

I used Soundcare super spikes with all the Apogee magnetostatic speakers as they not only proved very handy when moving the big and heavy speakers around but also sounded better than any of the regular spikes that I tried. I’ve not made a separate review but there’s a nice section about them as part of the Apogee Diva<\/a> review.<\/p>\n

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Soundcare super spikes as used in the past with the Apogee Diva loudspeakers<\/em><\/p>\n

The very strong Jerom<\/a>, I mean Francois, of Colab\/BelHifi handles these amps as if they are lightweights but he also told me that they use Stillpoints as couplers for these amplifiers. Of course, this can lead to even better results but at serious cost.<\/p>\n

Class A<\/h3>\n

With “Class A” written on the front panels, one might be led to assume that these amplifiers actually work in Class A rather than Class A\/B. However, these amplifiers are really cool to the touch which doesn’t rhyme with typical Class A behavior. The manuals do not specifically state the working principle so, in order to get clarity, I emailed Electrocompaniet and my mail was promptly responded to by Volker Hunger. As it turns out, Electrocompaniet uses the Class A label similar to how Technics used the Class AA label on their amplifiers in the ’80s. As Volker explained:<\/p>\n

“All our amplifiers are Class A\/B and have been for approximately 40 years. “Class A”, in this case, is rather meant as a quality designation, like reference… , first-class… High quality… We know, this term can be confusing if someone does not know about the technical details but it has been on our front plates for a long time, so this designation has been kept for historical reasons, just like the acrylic material for our front plates and the golden knobs. All pre- amplifiers and output circuits, for example in CD-players, Steamers, and the like, are a completely class A design. It\u2019s one part of our design philosophy that transistors in these circuits \u201cwork on high class A operating points. It is also correct for all circuits of our power amplifiers in up to the output circuit. These are all Class A designs, but of course not the output section”.<\/em><\/p>\n

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System Context<\/h3>\n

The system used to review these amps consists of the CH Precision C1 DAC<\/a>, CH Precision A1.5<\/a> power amp and the Kroma Audio Carmen<\/a> and Martin Logan ESL15A<\/a> electrostatic speakers. The source is the Antipodes CX<\/a>, straight into the C1 DAC via its Roon-Ready ethernet board<\/a>. Apart from the aforementioned equipment, some more equipment that was simultaneously over for review was also used, such as the Lejonklou Sagatun dual-mono preamp, as well as three different other speakers. I found that the Electrocompaniets’s sound, as per usual, can be influenced with interlinks and power cables but found that they sound best to my ears using straightforward and open-sounding cables such as Siltech Paris MXT interlinks, Jorma Trinity<\/a> speaker cables and Belden power cables<\/a> or, in some cases, the supplied standard power cables. In the case of the latter, any components that the sound was compared to were also outfitted with the same basic cables.<\/p>\n

Both the AW180’s and the AW600 Nemos are true balanced designs where the latter are bridged and, in effect, quadruple-balanced. As I have not always had positive experiences with bridged designs, I was curious to find out how the two models compared.<\/p>\n

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First Impression<\/h3>\n

Class A or not, based on their appearance and information from others, I was kind of expecting a rich and voluptuous sound much like a stereotypical Class A amplifier but this is not what is served here. The Electrocompaniet 180’s and 600’s are both very even-handed in their delivery. Not bright, not dark, not slow and not too fast, not smooth or warm but also not cool or clinical. The timbre is very natural and convincing and there is absolutely no electronic signature here, not even in the least. The bass is solid and confident and tonally full without becoming slow or thick. By these descriptors, they seem to thread a perfect middle road and while that is indeed the case, the amps are not necessarily universally applicable. In order to get the best result, they need to be partnered with well-matching loudspeakers. But that goes for many products and when the partnering is synergistic then they provide a non-fatiguing yet impactful and super-engaging musical ride. What follows is a description of how they work with various speakers.<\/p>\n

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Paradigm Persona B<\/h3>\n

Starting with the CH Precision C1 DAC’s output directly into the power amps, the Electrocompaniets make the Paradigm Persona B’s<\/a> sound very powerful and with deeper and fuller bass than most of the alternative amps. They don’t quite have the CH A1.5’s tightness and articulation or the Lejonklou Tundra’s nuance and fluidity. On the other hand, none of the other amps have the Electrocompaniet’s body and tonal fullness. Great tonality aside, with speakers so utterly refined and transparent as the Persona B’s, it becomes evident that low-level detailing is not these amps’ strongest aspect, nor is treble air. Macro-dynamically, however, these amps are absolutely unphasable. They relay large dynamic swings with a seemingly infinite power reserve. In spite of the amps’ impressive power, however, there is also a certain sense of restraint in terms of lyricism and musical flow and I don’t find that the overall delivery with these speakers is very lively.<\/p>\n

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I think this has its source primarily in the amplifier’s enormous control, apparently too much of it for these speakers. When combined with analytical speakers that are extremely linear and transparent as well as very controlled themselves, such as the Paradigms, this can result in a relatively flat and uninspiring sound that doesn’t involve the listener as much as it should. Perhaps counter-intuitively, the 24-watt Lejonklou Tundra, which is softer and gentler, does sound more lively even if it doesn’t have the Electrocompaniet’s full tonality, midrange prominence or bass solidity.<\/p>\n

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Complete Lejonklou stack in the Artesania Modular rack: Sagatun stereo and Sagatun mono preamps and Tundra stereo and Tundra mono power amps. Around it, a flock of Bryston and Electrocompaniet amplifiers.<\/em><\/p>\n

A change to another brand that makes very powerful amps provides some more perspective. The Bryston 4B and 14B Cubed<\/a> both\u00a0don’t have the same measure of midrange communication, as tight a grip on the bass, or as full-bodied timbre as the Electrocompaniets but their smoother and more relaxed delivery makes for a more involving listen with the very neutral Paradigms.<\/p>\n

Between the Electrocompaniet AW180 and the AW600 Nemo, paradoxically, the latter provided the most lively and engaging sound. Even if the Nemos are more than twice as powerful, they don’t sound overly controlled and rather have more bounce in their delivery and an overall more energetic sound.<\/p>\n

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So far, the amplifiers were driven directly from the CH Precision C1 DAC using its hybrid analog\/digital volume control which is arguably also a pretty “unforgiving” setup. When adding an analog preamp in the shape of the Lejonklou Sagatun dual mono or even the stereo version, at first, a subtle softening is noted along with a less apparent solidity. But along with this comes a very pleasant subtlety and fluidity and once having become accustomed to the more relaxed delivery, the Electrocompaniet does indeed work much more synergistically with the Paradigms. This seems to confirm my suspicion that these amps like to be partnered with less analytical components and speakers.<\/p>\n

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Graham Audio LS5\/9 and LS5\/9f<\/h3>\n

Keeping the Lejonklou Sagatun preamp in place but swapping to another set of speakers while using the AW600 Nemos, the result is now pretty much the inverse of the Paradigms! With the Graham Audio speakers,\u00a0 the sound is big, solid, and confident as well as free-flowing, highly involving, and emotionally captivating. This really is a sound to be immersed in and forget all about time passing. Another comparison with the Bryston 4B or 14B Cubed amps confirms that the Electrocompaniets have nothing to fear in the bass department, either. And since Brystons are widely regarded as being bass-champs, that’s saying something. I’d even say that the Electrocompaniets have more upper-bass slam and -solidity than either of the Brystons along with a more highly communicative quality in the midrange.<\/p>\n

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What’s worth noting is that pretty much throughout my listening tests, the Electrocompaniet amps seem to work best with an analog preamp (in this case the Lejonklou), otherwise sounding a little bit too factual when fed directly by the C1 DAC. The Brystons have a different point of operation and are happy to work directly with the C1 DAC directly or via a preamp. In terms of resolution, the two brands are not far off but the tonality and character in the midrange are very different. In a nutshell, the Electrocompaniets are darker and acoustically very convincing, the Brystons a little brighter and cleaner and perhaps even more neutral but arguably also cooler in spite of their more relaxed (less controlled) smoothness.<\/p>\n

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As part of the Graham Audio review (forthcoming), I also listened to the positively huge LS5\/8’s. As this review is already getting long, suffice to say that with these models, too, the Electrocompaniet AW600 Nemos proved to be the perfect partners.<\/p>\n

The bridged Bryston 14B improves on the 4B’s sound in a similar way as the Nemos improve on the AW180’s although the 14B is not quite as smooth and liquid as the 4B, making the 14B also a little bit more factual. The Nemos, on the other hand, improve on the AW180’s across the board, even in terms of emotional satisfaction.<\/p>\n

One can argue over transparency and resolution and I certainly have a tendency to get stuck on this but this really is only part of the performance. With the Grahams, I find that the Electrocompaniets, and then especially the AW600 Nemos, provide the most outgoing, engaging and simply most fun<\/em> performance.\u00a0 They really have a way with these speakers that simply communicates music in such a grand way that it makes me want to play more and more music while turning up the volume. Isn’t that the essence of what music should be about?<\/p>\n

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Kroma Audio Carmen<\/h3>\n

Although the CH Precision A1.5 is my favorite amplifier for the Kromas, the Brystons also work remarkably well. These speakers are quite rich-sounding themselves and for my tastes, they are best partnered with clean and articulate electronics. When judged in terms of resolution, tightness, and refinement, the Brystons are no CH, but the sound of this combination is neutral yet relaxed and a little smooth with enough resolution while being musically involving. It’s also a sound that, for better or for worse, does not really attract attention to itself.<\/p>\n

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Switching to the Electrocompaniet AW180’s tightens up the Carmens’ lower bass while adding extra solidity to the upper bass and darkening the timbre a little. It’s perhaps a fuller sound than neutral, but not in a detractive manner, and the Kroma’s certainly appreciated the extra grip that the Electrocompaniets exert over the drivers. Most notable is the magic that now happens in the midrange. Mind you, this is not a “tube” kind of magic. It’s not a sweet or rich sound but rather a very lifelike, live-band-like communicative power that becomes ever more invigorating the longer (and the louder:-) you listen. Listening some more the next day, I noticed that I did not perceive the sound as slightly dark anymore and neither did I feel that the resolution was lacking. So, while subtlety and resolution are now no longer state of the art, when comparing directly to the CH or other amplifiers that excel in these areas, this is of less importance than it may seem at first. And, of course, different things matter to different people.<\/p>\n

Switching to the AW600 Nemos confirmed what I already knew at this stage. Basically, if one is in the market for Electrocompaniet monos but the Nemos are outside of the available budget, then I strongly advise to not even listen to them. The AW180’s really are great in their own right and you will not know what is missing until a comparison is made with the AW600’s Nemos, at which point it will be immediately obvious why they are the King of the Electrocompaniet mountain. Lest one think that these are merely doubled-up versions of the AW180’s, while partially true, they are also redesigned.<\/p>\n

<\/p>\n

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Martin Logan ESL15A<\/h3>\n

As the Logans are normally connected to the CH Precision A1.5 and this combination majors on resolution and refinement which were also some of the areas that matter most to me with this system, it took me some time to appreciate the very different presentation after switching to the Electrocompaniet AW180’s connected via the Lejonklou preamp.<\/p>\n

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Bigger and more voluptuous but with less precise bass, darker in the treble and more sonorous overall, the delivery worked wonderfully with some tracks and not so great with others. With fast music such as Jamiroquai’s Butterfly or Depeche Mode’s The Dead of Night, all the subtleties that are buried deep into the mix, do not really stand out enough. But play something more relaxed such as Bebel Gilberto’s Somewhere Else and the appeal of the Electrocompaniets is immediately clear. With such music, they provide me with an instant emotional connection, even more so than with the CH A1.5. They also create a very wide soundstage with subjectively better-differentiated vocals. It’s not that the imaging has improved or the delineation is sharper, but still, vocals seem to come across somehow more vividly. The midrange is quite strong but also has a certain clarity to it that cannot simply be described as forward or loud or edgy. Classical music also fares very well with these amps as they lend a very convincingly natural “wooden” timbre to violins while creating a large and very believable impression of the acoustical venue.<\/p>\n

Moving on to the AW600 Nemos works out precisely as in earlier comparisons: also with the Logans, these amps take what the AW180’s do and improve the sound across the board. The sound is now tighter, more confident, and more communicative. While I feel that the balance is still a little overly dark and voluptuous, I should indicate that the A1.5 is not exactly voluptuous itself, requiring a certain setting on the speakers’ woofer sections that no longer is ideal for the fuller sounding Electrocompaniets. All that was needed is a slight decrease of the bass level on the Logan’s woofer sections.<\/p>\n

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With the bass level well-balanced, the sound is positively energetic and highly enjoyable. Depeche Mode now has the necessary grunchy feel and the other more crowded-sounding tracks now also sound more clear-cut. After listening some more, I succumbed to the idea that the Electrocompaniets are not meant as laboratory precision instruments but rather for simply enjoying music. And that is precisely what they encourage, to not worry about details. What also happens is that due to their darker balance, less focus is drawn to the foils or their inherent character. In that sense, these amps are something of a perfect antidote if one wants to some extent “normalize” Martin Logans’ generally very open delivery. Of course, with the ESL15A’s we are talking speakers with absolutely massive<\/em> active bass sections. These particular models don’t need any help in the bass department and they also don’t have such an exposed upper midrange as some of the smaller models can have in some circumstances. But I can definitely imagine that the Electrocompaniet amps would work wonders with smaller and\/or passive Martin Logans.<\/p>\n

DAC-direct<\/h3>\n

After I found that adding a preamp helped the Electrocompaniet amps sound more engaging when partnered with very transparent en articulate ancillaries, I left it in place for the majority of the remaining listening. The Lejonklou preamp’s smoothness proved to mate extremely well with the tight and articulate A1.5 and especially when using the very accurate Paradigm speakers. But with the much fuller and darker sounding Electrocompaniets, could it be that the Lejonklou’s gentle character is no longer ideal when using speakers that have a full and rich character, such as the Kroma’s or the Grahams?<\/p>\n

Taking the plunge with the Kroma’s and with the C1 driving the AW600 Nemos directly using CH Precision Balanced Link XLR cables, the sound is definitely drier and more direct but still slightly warm, only now it’s a dry warmth rather than a wet warmth. At first, I was not so sure if I actually liked this more direct and less dreamy sound. But after playing more tracks, especially some fast-paced and dynamic pieces, and cranking up the volume, I knew that I did! The Electrocompaniet amps certainly like to play a little (or a lot!) louder, thereby enhancing the dynamics as well as the perceived resolution. Depeche Mode is now precisely as edgy as it needs to be but also explosively powerful in the bass and the differentiation of instruments is now very good. Meanwhile, the sound did become less dreamy which affects other kinds of music such as slow R&B or soul with sultry vocals.<\/p>\n

So, should a preamp be used with the Electrocompaniet amps? Well, that is something that depends on the combination that is made and also is entirely a personal matter. As I found out, a preamp can help make the sound more involving but this just is not a hard rule. The proof of the pudding will be in the eating.<\/p>\n

The matter of control<\/h3>\n

Both the AW180’s and the AW600 Nemos have an iron grip over loudspeakers. The thing is that this is not always required and perhaps not ideal for all speakers.<\/p>\n

Indeed, the first pair of speakers that I tried, the very highly refined Paradigm Persona B’s, are an example of speakers that don’t pair so well with the Electrocompaniets, especially when used without a preamp. But even then, the feeling is of a portion of the playfulness and expressiveness having been squeezed out of the performance. The Kroma Audio Carmens’s certainly loved the extra grip. These speakers’ inherently voluptuous bass and lower midrange are nicely kept in balance while the already great communicative powers of the speakers are even further enhanced by the Electrocompaniet treatment, making for an engaging delivery. The Martin Logans don’t necessarily need<\/em> so much control but as I found out with the Electrocompaniets as well as other very powerful and controlled amps, they certainly don’t mind it. The Graham LS5\/9f’s sounded utterly fantastic with the Electrocompaniets and I suspect this is because these speakers sound very relaxed and free-flowing themselves, making the Electrocompaniet’s ass-kicking work like a charm. I also suspect that these amplifiers like to flex their muscles a little and they seem not to be made to be only idling along. To confirm this suspicion, I had wanted to try the amps with the Magico Q5’s which are known to be a pain in the butt in terms of getting their bass to be well-controlled but alas, this could not be organized in time.<\/p>\n

The matter of resolution<\/h3>\n

As I wrote earlier, I have a tendency to get stuck on matters such as tightness, articulation, and resolution. These things can translate to very accurate bass and a retina-like portrayal of all the subtle sounds that make up the musical performance. For the largest part of my audio journey I have used ribbon tweeters, planar magnetostatic loudspeakers and electrostatic loudspeakers and these products excel in the aforementioned areas which explains my focus on these aspects. With such speakers, the natural tendency is to find partnering equipment that also has superb resolution and I found this in Jeff Rowland<\/a> previously and currently in CH Precision. While the Electrocompaniets do not have a retina-like resolution I should note that precious few other amplifiers do. The Brystons don’t and neither does the Soulution 711<\/a>, to name an extreme example. So, this is very much a relative matter, especially so because music is more than just resolution. While I love an articulate and highly resolved delivery I also care a lot about a believable timbre and a lifelike, energetic and impactful sound, and all this, the Electrocompaniets deliver in abundance.<\/p>\n

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Above: the AW180’s have the speaker connectors positioned in a strange fashion: right next to and on top of each other, making turning them very hard. As can be seen below, the AW600 Nemo’s do not have this problem.<\/em><\/p>\n

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Conclusion<\/h2>\n

Having tested the AW180’s and AW600 Nemos simultaneously and with various loudspeakers has given me a very good handle on their respective performance. Both models provide a ballsy, sonorous and slightly dark sound with a very natural timbre. These amplifiers’ immense power reserves make that they won’t run out of breath easily but their iron grip also means that the sound can become too controlled when partnered with other electronics and speakers that are tight-sounding themselves. I have the distinct feeling that these Norwegian heavyweights are happiest driving power-hungry speakers although they also worked fabulously well with the very relaxed but relatively easy to drive Graham Audio LS5\/9f’s.<\/p>\n

The AW180’s are really great and actually very similar in character to the AW600 Nemos. Like their bigger brothers, they have no trouble driving any loudspeaker that I connected to earth-shattering volume levels and they remain stable under all circumstances. However, if the budget does not stretch as much as is required for the Nemos, I wholeheartedly suggest not listening to them because they will spoil a person. Even if more expensive or more powerful models need not always be universally better than their lower-end stablemates, the Nemos simply outperform the AW180’s in literally all the technical aspects as well as lyricism and emotional involvement.<\/p>\n

Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer’s website: Electrocompaniet<\/a>
\nDistributor for the Benelux: Colab<\/a><\/p>\n

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