Doesn’t that just make for an old-fashioned amp with old-fashioned sound?
In one sense (the good sense, where ‘old-fashioned’ stands for musical integrity and a rhythmically coherent performance) the answer is, “Yes”. But that is far from the whole story. The HQA treads a fine line between maintaining musical integrity and the cost of doing so – whether that relates to the componentry in the circuit or the contribution of the casework and hardware. This is a holistic design in the true sense – and it shows in the completeness of its performance.
Finally, this wouldn’t be a Neodio if there wasn’t something innovative or unusual about the circuit and, in this case, it’s a new approach to Global Feedback. Neodio claims to have developed a new approach that delivers the control and transparency of GFB without the all too frequent downsides of poor timing performance and musical articulation. While being understandably coy about the details, it’s a claim that’s certainly bourn out in practice, one of the things that makes this amp so special.
Plug the HQA into almost any speaker and even faced with a genuinely demanding load it will give a surprisingly unflustered account of itself. I ran it variously with the Wilson Sasha DAWs, the Vienna Acoustics Liszt Reference and the Peak Consult Sinfonias – all speakers that are considerably pricier than the HQA, all speakers that like power. Yet the modestly rated and modestly priced Neodio delivered a remarkably coherent and engaging performance, even in these unlikely scenarios. Timing, phrasing, articulation and musical communication were all first rate, even if it lacked the absolute weight, scale and dynamic authority that comes with vastly more expensive amplifiers. This wasn’t the stumbling, clumsy and inarticulate result you normally get when a modest amp is over-faced by its partner speakers. It’s almost as if the HQA was intentionally sacrificing the last ounce of bandwidth, weight and low-frequency impact in order to preserve its remarkable musical coherence, a coherence that extends well either side of the middle.
Which brings us to an oft neglected but universal audio truth. Making an amplifier’s job easier results in a better sounding system. Yes, the HQA’s musical equanimity is unperturbed by even quite awkward loads, but just because it can drive difficult speakers without falling in a disorganised heap, it doesn’t mean that it should. The easier the load you present it with, the more it blossoms. Pair it with a relatively sensitive, non-reactive speaker like the Living Voice OBX-RW4 or the Stenheim Alumine 5SE and the results are seriously surprising. Start to exploit its inherent versatility, with a better preamp or bi-amping and the system becomes almost shockingly musical and engaging, especially given the modest price of the amplifier(s).
It’s really not hard to understand why. Put a 1600cc, four-cylinder engine in a family saloon and the performance will be sluggish: slow to accelerate, lift off the gas and sheer momentum will keep it gently rolling along. Take the same engine and build it into a lightweight sports chassis, like a Caterham Super 7 or Lotus Elise, and you get serious acceleration and engine-braking that throws you at the steering wheel as soon as you lift your foot. The engine can dominate the dynamic performance of the car, in exactly the same way as an amplifier can exert better control over a more sensitive speaker. Your Lotus Elise might not have the top speed of a Ferrari or Bugatti, but in the performance range that matters and can actually be used on real roads, it’s remarkably competitive at a fraction of the price.
Willing partners…
The challenge with any musically capable but affordable power-amp is finding a pre-amp that doesn’t kill its performance. I reached straight for the TEAD The Vibe with its match Pulse power supply. It proved a remarkably cost effective combination, punching well above its musical weight. After living with the TMA, it’s no surprise that playing the Rouvali/Gothenburg Sibelius 1 (Alpha Classics 440 the HQA captures the halting conclusion with perfect poise, gradually gaining momentum before allowing emotional release and the music to expire in the final two, gentle notes. It’s a case of perfectly structured control, but combined with a presence and immediacy that evokes drama and emotional range. In the same way, it captures the pulsing rhythms and abrupt changes of pace that typify En Saga.
