The power amp section uses multiple bipolar transistors (the E-480 uses MOSFETs) to give 240W of continuous rated power into an 8Ω load, rising to 320W into 4Ω. This is probably the one, obvious area where the integrated amp starts to concede ground to the power amp. The P-7300, while only rated at 125W into 8Ω, doubles into 4Ω, and doubles again into 2Ω, ultimately delivering 800W into a 1Ω load. The old, “If you’re using Apogee Scintillas…” mantra echoes vaguely in the distance, but these days it’s a lot less relevant. Modern speakers are, generally and specifically when it comes to full range ribbons (Return Of The Thin White Duke… – Gy8) considerably easier to drive, while you’re probably not going to be using a £13k integrated with $150k loudspeakers. Probably time to get back into the real world, then. A real world where the E-5000 is right at home…
By now, you’ll have gathered that this is an integrated amplifier – but in this day and age, that previously clearly defined category needs some qualification. The E-5000 is an amplifier in standard form it offers a choice of balanced and single-ended, line-level inputs. But it’s a traditional, Japanese, integrated amplifier; which means that it also offers balance, absolute phase, a mono switch, defeatable tone controls, switching for two pairs of speakers, a headphone socket, loudness button, balanced pre-out and power-in connections and a defeatable tape loop. It’s got a 20dB attenuation switch on the fron panel – in case the phone rings. It probably does loads of other stuff too. It might even make the tea… What it doesn’t have – at least in standard form – is digital inputs or a phono-stage. But, dear reader, both can be added… Look at the back panel and you’ll see a pair of option slots. These will take the DAC-60 module (USB, optical and S/PDIF inputs – £1,250) and/or an AD-60 MM/MC card (£1,030), with the appropriate switching already incorporated in the E-5000’s control functionality. The speaker terminals accept banana plugs, which is a blessing for those who don’t want to clamp down spades with plastic binding posts.
By combining much of the key technology and approach found in their upper-end separates into a single box, Accuphase are definitely following the high-end integrated playbook. The compromises, separation and isolation of the functions aside, are likely to relate to the power supply. With one transformer and central reservoir serving both parts of the amp, the E-5000 lacks the sheer dynamic headroom and reserves of the bigger pre and power amps. This is where reality bites: Integrated amps are by definition, intended for and lodged firmly in ‘real world’ territory, so you’re never going to get all the benefits of separates under the same (domestically acceptable sized) hood. But having said that, there is no missing the fact that the E-5000 represents a significant step in the evolution of the Accuphase approach, building a bridge (or shortening the gap) to the performance of the ‘full-fat’ separates.
Power not corrupting
The promise, the proposition (arguably the fantasy) of high-end integrated amplifiers has always been that they give you the performance of uber-expensive separates in a more affordable and more easily accommodated package. Most don’t come close to that ideal. Separates exist for a reason and yes, unfortunately, they do justify their cost. Like its volume control, the E-5000 takes a slightly different approach. It concentrates on core musical values and builds from there, preserving the human dimension, the natural, organic sense of people doing stuff, a fluid, non-mechanical, living, breathing impetus behind the music – and distilling it into a smaller (if not exactly small) solution. In doing that, it has delivered more music than I’ve experienced from other integrated solutions at anything like this (or in some cases, a far higher) price. It’s easier to follow individual lines even when they are playing supporting parts. Individual instruments remain distinct, separate and intact, even when things get busy. It’s like every component has its own allotted space in the same way that the parts of an orchestra can be discerned at a live performance. It’s not a question of deconstructing and reconstructing the sound. It’s simply that the levels of resolution extend down to the micro, where others get a bit fuzzy at the edges where crosstalk or intermodulation starts to make its presence felt: It’s about bringing a natural, unforced clarity and organisation to the performance.
