| Magnum Integrated
Amplifier Model MD 309 |
 I
was working in the retail audio industry when Manfred Breunig,
Magnum’s original designer, showed his
first offering — a
rather fine-sounding receiver that sold for about $300. That
was over 28 years ago and the foundation of Magnum Dynalab’s
focus to design and build FM tuners. Since then, the company
has established itself as the world’s premium tuner
manufacturer and offers a number of excellent designs, ranging
from entry-level to the ultra high-end MD 109. None of their
tuners can be considered low-end as they share much of the
technology throughout the entire product lineup.
After Manfred Breunig’s retirement, Magnum appointed
designer Mr. Zdenko Zivkovic as Director of engineering who’s
talent helped bringing the company’s designs into the
21 century. Currently, Magnum Dynalab offers 6 triode tuners,
a receiver and the item under review here — the MD 309
integrated amplifier (I was informed that additional components
are on the drawing board and will be introduced in the near
future).
The MD 309 is Magnum’s companion component to their tuners
and a close relative to the previously reviewed MD 209 receiver.
Appearance
Uniquely Magnum, the amplifier is a blend of conventional
configuration with a twist — a touch sensitive five-inch
window with an LCD readout for volume (gain), mute, input
and input sensitivity selection and a dimmer. A large knob
on the left is the input selector and another large knob
on the unit’s right is the volume control. Next to
these knobs, two large windows with VU meters complete
the amplifier’s front and lend the amp the classic
flair of traditional audio from the last century. I find
it quite appealing. If the weight of an amp is an indication
of its caliber, the MD 309’s 65pounds will certainly
impress you. Its dimensions are somewhat larger than most
similar components — 19 inches wide, 20 inches deep
and 6.5 inches high.
Upon powering up, the screen lights up, shows an appealing
logo and tells you that it is warming up. When the amplifier
is in operation, its lights are on, though can be dimmed.
All in all, this is a very handsome component and will likely
become a conversation piece, as it cannot be ignored. If
you have one of their tuners, the MD 309’s appearance
is an absolute complement.
The Sound
The first few hours auditioning the amp with my own source
components — I used an Elite transport/Bryston DAC/Audio
Alchemist DTI Pro — verified my expectations regarding
a family resemblance, a sonic similarity with the earlier
auditioned MD 209 receiver. Indeed, there were similarities.
The amp has the same overall smoothness, sweet sounding
highs and midrange segments as the receiver. Where the
MD 309 differs noticeably is in the handling of dynamics — the
loudness or intensity and softness or subtlety of musical
information. There is a more energetic nature to the sound,
a bit more drive all the way down to the upper bass region — in
the 80 to 160Hz range. Low bass, however, is more potent
than the receiver’s, though I sense a more relaxed
presentation. Bass resolution is around 30Hz which is the
frequency most high-end loudspeakers will be able to handle.
Loudspeakers with an efficiency rating below 89dB will
benefit from the amplifier’s power and bottom-end
energy, as its sonic trait will reveal harmonics without
inflating bass. With the speakers I used first — the
Ethera Vitaes — low bass was full-bodied, but not
entirely resolute (the receiver was a better match for
these loudspeakers as their bass resolution is limited
to about 33Hz). As I had a pair of Thiel MCS-1 on hand
as well (efficiency rated at 90dB) I checked out this arrangement
and found that they were an excellent match up . The Thiels
bottom end resolution is also limited to about 35Hz, but
seemed to go quite a bit lower without introducing bass
collection. Rather, bass was full-bodied with ample harmonic
structure. I really liked the tonal balance and the way
this amplifier handled the Thiel’s high frequency
and midrange segments. With some amplifiers, the Thiels
slightly emphasize the mids and highs, but the MD309 reduced
the intensity in that frequency range without diminishing
detail or timbre-related harmonics. In fact, the amplifier
bought out the Thiel’s strength, namely its ability
to focus (on the performance) and to conjure up a great
three-dimensional soundstage.
 The Preamplifier Section
The MD 309 has a pre out so that it is possible to connect
it with additional power amps; and it is important for the
preamp to allow a power amplifier’s quality or personality
to emerge.
I consider the preamplifier as the nerve centre of an audio
system, thus a very critical component that influences the
entire set-up. This is why one of my main interests was to
find out what the preamplifier section is all about. For
this, I connected a pair of Bryston 7B SST Squared to the
pre-out of the Magnum and connected my source component — an
Esoteric CD transport/DAC/Clock — and left my Ethera
Vitae loudspeakers connected to the Bryston amps. As I was
auditioning some new, very high-end prototype cables — I
used them as well (these cables will be reviewed when they
are available to consumers).
Based on what I have heard/auditioned when I reviewed Magnum’s
top of the line tuner, the MD 109 (all with a tube preamp
stage), I expected a decent preamp, but not one that can
compare with the Wyetech Labs Ruby, I have been using for
a few years. However, the initial listening test with the
Magnum’s pre/Bryston amps took my breath away as the
resulting musical information was nearly identical. There
were differences, of course. They included a slightly less
defined focus on instruments and voice, a somewhat softer
handling of bottom frequencies, thus slightly diminished
resolution. Highs were a bit laidback compared to the Ruby
preamp, but then again, I liked this attribute for its more
melodic character.
Next, I connected the single-ended Wyetech Labs Ruby monoblocks.
This combination clearly revealed the amplifiers’ personality
and, as with the Bryston amps, showed somewhat diminished
focus, although soundstage, harmonics and detail were exceptional.
All in all, I was impressed with the MD 309 preamplifier
section and have no doubt that it can compete with some of
the better separates I have auditioned. I believe that the
preamp section alone is worth the price of the MD 309.
A few words about the unit’s DAC are in order. It is
one of the best, built-in devices I have listened to —and
I tested it with an external clock from Esoteric. Yes, there
were differences, but it may take a real “golden ear” to
hear them. This DAC, however, obviously eliminates most jitter-related
timing errors and provides almost 90% of the focus, harmonics
and resolution of an external master clock costing nearly
$5000 (what a deal).
Synopsis & Commentary
 The MD 309 is the kind of component that offers a stylish
alternative to separate power and preamplifiers. It’s
ease to operate hands-on or with its remote and it offers
amazing audio. Though the design is rather sophisticated,
with loads of technical innovations; yet, it isn’t
over-engineered and fulfills the most important element:
it makes great music. While one may be impressed with the
Magnum’s workmanship, parts selection and appearance,
the end-user should not forget that the technology is merely
the vehicle to provide what the audio industry is intended
to achieve, namely musical entertainment. The MD 309 provides
plenty of this. If, like most audiophiles, you are going
to make changes, you’d be wise to keep this component
and use its preamplifier section and DAC. In other words,
this is a keeper. |
| MODELS |
MANUFACTURER |
| Magnum Dynalab MD 309 |
Magnum Dynalab |
| RATING |
CONTACT |
♪♪♪♪
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Magnum Dynalab Ltd.
8 Strathearn Avenue, Unit 9
Brampton, Ontario
Canada
L6T 4L9
US Office:
2775 Broadway
Buffalo, NY 14227-1043
1-800-551-4130 (Toll Free)
www.magnumdynalab.com |
| PRICE |
With DAC $8,500.00, Without DAC $7,500.00
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TECHNOLOGY
There are a lot of components in this amplifier, which, in
addition to a mean preamplifier section houses another
noteworthy component — its DAC. First, however, here
are the amp’s most important ones specifications.
It delivers 225 watts/channel into 8 ohms and 450 w/c into 4 ohms; signal to
noise ratio is 110dB; frequency response is from 2Hz to 100kHz; it operates in
Class a up to 3 watts, then kicks into Class A/B; input impedance is 10k; output
impedance is 2K (preamp out). Output sensitivity is 1.2V (RMS); THD is 0.05%
at full power; headroom is quoted as 3dB ( as though you need it); The preamp
section employs two 6922 Cryovalves (tubes).
Two balanced (XLR) and three single-ended (RCA) inputs (surround sound processor
input included), two coax digital and one USB input (total of three) are easily
accessible on the unit’s rear. A preamplifier output (RCA) allows connection
to any power amplifier of your choice (see my listening test).
The amp is designed as a fully balanced component and boasts 10 Sanken output
transistors per phase. In a fully balanced amp each phase (positive and negative)
is amplified, thus there are 40 output devices in use with this design. Magnum
implemented a diagnostic system that continually monitors voltage and current
and assures top performance regardless of AC conditions.
The MD 309 is a hybrid design that employs a solid-state power amp section and
a tube preamp. Magnum has specially selected JJ 6922 Reference Cryovalve tubes
in the preamp and carefully integrated the design with a beefy power supply.
The cryogenic treatment of the tubes is a technique of deep-freezing them to
minus 360 degree F and the consequential benefits are numerous. They include
avoiding most internal stresses in materials used to assemble them, stabilization
of the tube components and significantly lowering of the noise floor. To improve
the tubes’ socket contacts, all pins are cleaned back to base metal and
polished. Magnum burns in each tube for 100 hours to assure peak performance
and to extend tube life. The preamp’s premium parts include Mundorf Gold
capacitors in the tube gain stage and Kimber Hyper Pure wiring throughout. All
in all, the design is straightforward high-end audio technology with an exceptional
system that provides a fully balanced signal before the output stage.
The power amp section provides enough headroom/current to all important components
within the power plant, which includes a shielded torroidal transformer and 8
Mundorf M-Lytic capacitors delivering 22,000uF each (total of 176,000uF of filtration).
This assures ripple-free operation with zero noise at 60Hz, 120Hz and 180Hz.
Each channel has its own axis bridge from the transformer.
The built-in DAC employs two industry- leading core components for the receiving
and rendering of the digital signal, with the front end of the board driven by
the CS8416, a 192kHz digital audio receiver/interface from CIRRUS Logic, capable
of incredibly high performance standards. In addition the signal is fed through
state of the art components, first through the CS8416 then to the C8416 up-converter,
then the OPA 827 OP AMP — known as some of the best available. This system
is combined with Texas Instruments PCM1794, 200kHz current output Delta-Sigma
over-sampling DAC for audio rendering . The signal is always operating at 24
bit/192kHz, ensuring a perfectly clocked, incredibly accurate output that is
virtually jitter-free. Jitter (always present) is greatly reduced in this design
and practically eliminates the use of an external clock.
Finally, solid aluminum feet with Vibrapods Isolators, 24K gold plated .093" thick
circuit boards, hefty internal heat-sinks and a burly chassis provide a solid
foundation for all of the above. |
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