Analog Domain M75D integrated amplifier review

Analog Domain as a brand needing no introduction at the pages of the Mono & Stereo. Still, to refresh the memory. Analog Domain is a brainchild of charismatic audio designer Angel Despotov. His life long experience in both pro and high-end audio and decision to bring something of difference, led to establishment of a unique ultra high-end audio venture, that goes by the name Analog Domain.

For Angel the name reflects the fact that we live in analog world and he focuses on the analog circuit designs, which in his opinion outperform digital by a significant margin, and he’s more then sure, that they always will.

I’ve had a luxury of meeting Angel in person few times and spent  prolonged hours talking about the music, high-end audio and joint listening. His mind operates in a different way and with the both “by the book” and out of the box sets of rules. These is clearly audible from the even from the first few songs played through his creations. For Angel solid state is the way to go as he strongly believe in its high performance, long service life and consistent quality. On contrary to many strong opinions Angel feels, that for the listening to the music at natural levels high power output is a necessity. 

So even with M75D integrated amplifier you won’t stumble on a shy few dozen of watts. It stands cemented with the manly step size, authority and guide…


In the times of so called high-tech advancements many claims AB class power amplifiers are forsaken. I’m still waiting for any class D amplifier to become pensive. Many class A and AB amplifiers follows such route quite closely.

Let me slide into the more complex and “touchy” side. For some this might be to esoteric or even to technical. Yet, I really feel its needed to lay down the building blocks that differ so much around M75D integrated amplifier. 

With intriguingly vast amount of amplifier designs I’m too quickly affected with the interictal phenomena. This is not on the clinical side of the seizures, but more connected to the uncanny feeling, slightly or more pronounced uncomforted feeling. Depends on the product and design. Exploring this further resolves in an interesting pattern recognition. This seems to be closely connected to the high-frequency oscillations. Class D rings a bell?

There are quite some scientific explorations pointing into this direction. I always do my homework, especially as I wanted to find the common ground of why especially 80 -500 Hz frequency range is so affected with the actual listening affect. This range is one of the foundations of the enliven, potent and “materialized” three dimensional sound, that can create an emotional, interactive exchange of music and forms the needed energy flow. It’s also the objective range for laying the grounds of palpable illusion and M75D is no rookie witing this territory. It shows where the research, time and importance was dedicated to. 

The amplifier design is only as good as factual sonic output. Lurking further into the M75D performance of the last two octaves ranging approximately from 6 - 20 kHz reveals the grainless and feather like rendition, that is not exactly as a fact connected with even most expensive amplifiers, be it integrated or power.

This also where the “S” hubris takes its part and clearly one of the biggest reason why so many amplifiers presents unpleasant sibilants. This “phenomena” is usually associated with peaks at around 7 Khz. 

Human vocals are the most instant and primal source of critical, reference listening. The flow and energy impact connected to the recognizing three dimensionality and air/breathing flow is of utmost importance. This is more closely connected to the 15 kHz where also the metallic hisses on the rides, cymbals, hi-hats and all other metallic instruments timbres are instantly evident when things are not executed properly. That’s why the measurements and practical listening must go hand in hand. There is simply no easy way of doing things in right direction when it comes to the state of the art amp conceptualization and realization. No shortcuts can lead to creation of an amplifier, worthy of the high-end audio labeling. 


So why I’m fond on Analog Domain gear? For many reasons. Angel is taking both measuring and listening part utmost seriously. He managed to liquify the pure Class A sonics with Analog Domain proprietary circuit AB technology, that works with minimum heat dissipation. 

For me The M75D falls into the camp of very few products being able to reconnect the listener with the music for what it is. Rich, palpable and emotionally impacted, something we should cherish as a only holly grail. Music is of such empowered potency that can relate to the peoples inner world and materialize something special and lingering. Sad part is, that many of the current high-end product just offer a shiny, blinding shelf, a bling package, without actually being able to carry the musical message intact. 

The M75D work in the domain that vividly reflects Angel mind set. This integrated is fully charged with pure Analog Domain DNA and can transcribe a profound, enriched musical message across the “wire” unaltered. 

Among all other things we’re dealing with a subtle physical phenomena of transferring the energy across the “wire” is essential. When music is slow paced then amplifier should follow. When all morphs into the lightning fast experience it should relate to such time change instantly. You cannot change the formation of the attack, delay, sustain and release at any point if you want to keep the realistic impact. Nothing should be lost in the translation of the music via high-end audio system. Period!

To the next point intimately associated. The flow of the music! Most current designs belong to the camp of mediocrity and blank transcription. If music does not relate instantly to the rhythm and pace it simply cannot flow properly and potently. Facts of reality stands still. Only rarely synaesthesia arise and this is closely related to the dynamic simplicity, something about what I’ve already elaborated many times. Exploring the dynamic simplicity logically encapsulate linearity and coherence, further translating to the time dimension impact. Imagine piccolo and grand scale of atomic leveling tier related intervals forming an ultra complex network of decays, delays and reverberation points. Analog Domain M75D exhibits expansive amount of attributes and focus points needed for the recreation of time domain related advanced attributes. 

Contemporary high end audio integrated amplifiers tend to perform up to the certain level where you’re only allowed to lurk into the woods without ever entering. Analog Domain M75D is an epitome integrated amplifier in this regard and non perilous concept. It was design to last and impress with the scenic sound output. 


In reality dynamic amplitude determine the loudness of the energy impact. This goes beyond audible and when amplifier is designed properly you don't hear instruments distorts per se.

This prolonged to a crest factor in live sound and translates to how much the peaks are above the average level. In a live performance you’ll easily get 20-26 dB peaks above the average sound level meaning 100-400 much more power for the peaks, relative to the average level. If you’re listening at only 10W of average power on a system of 90 dB, you would get 100dB average, and you would need actually a 4000 W for the peaks for everything to sound natural. So 400 times (+26dB) 3dB = double power…

This reveals interesting facts and the logic behind much needed power, especially with the modern dynamic speakers. Its not strange why there is a lack of musical flow that is essential for recreating the live musical experience. Summing all up logically refers to the discussion of to much power. Reality strikes. How can you jump five meters in a room that is only three meters high... This is a perfect analogy regarding to the proper power implementation.


Analog Domain M75D implements unique The Excalibur Circuit and M75D is the first brand product with it in a serial production.

"The figure below shows a highly simplified schematic of the M75D power amp stage. We have named this topology “The Excalibur”, knowing you understand the humor ;) The main difference from popular topologies is in the final stage topology - the output devices are connected in a “common emitter” (CE) rather than the popular “common collector” (CC), also known as emitter follower, Darlington configuration. The drive currents in a CE configuration flow between the supply rails and ground and not into the load as in CC, leading to improved linearity, among other benefits. Despite its advantages, the CE topology is not popular as it is prone to thermal runaway and self-destruction if conventional bias control methods are attempted. Our proprietary DXDriveTM technology resolves this “minor inconvenience”, allowing us to take full advantage of the superior common emitter topology. "

One notable advantage of the Excalibur topology is its unrestricted current delivery capability. The internal resistance of the circuit is essentially zero as there is no local current feedback loop in the signal path. There are no “difficult loads” for the Excalibur. The near-zero internal resistance reduces back-EMV-induced distortion when driving loudspeakers. Back-EMV1 created by loudspeakers and its interaction with the output resistance of a power amplifier is a significant contributor to overall distortion and is one of the reasons why most NFB designs fail to perform adequately with real world loudspeakers. The Excalibur uses multi-point negative feedback to vastly improve performance over conventional NFB or non-NFB designs. 

Only protection circuits limit the current output current of the M75D. The protection circuits would disable the output stage if the load attempts to draw current in excess of the safe maximum. Normal operation resumes automatically when the overload condition is remedied, e.g. when a short circuit is removed.


Let us for the start explore and elaborate the Analog Domain view of the ultimate integrated amplifier:

Why and how exactly does the stepped analogue volume attenuator operate?

The volume control in the M75D is done by a precision resistor matrix, switched by high performance reed relays in steps of 0.75dB. It’s a 7-bit logarithmic scale binary ladder. This is not unique and can be done in a number of ways. I prefer to use relays over solid state switches or dedicated IC’s for their superior sound. There is a penalty of the occasional quiet "pop" when switching – the relays cannot be synchronized with the signal to switch exactly during a zero transition. This is a small price to pay for the excellent sound and long life.

How do you see the role and importance of the preamplifier section in the integrated amplifier?

The preamp section is extremely important, as is anything in the signal path. The preamp in the M75D is a DC design with extremely low distortion. It can be used to control more than one amplifier as in a bridged stereo setup, where the amps are configured as monoblocks, or as in multi-amped systems.

What is the difference between stepped analogue volume attenuator and linear analogue attenuator?

A quality potentiometer will attenuate up to about -80dB. The resistive track will inevitably degrade over time due to wear and oxidation, producing the infamous crackle. Channel balance is rarely better than 2dB over the full travel of the wiper. The advantage is in the smoothness of level adjustment, yet remote control is a challenge.

The stepped attenuator in the M75D maintains perfect channel balance over the entire range and provides up to -96dB attenuation. The steps are 0.75dB which is a pretty smooth level transition. It will maintain its peak performance over the lifetime of the amplifier and has the advantage of remote control.

Nobody exactly talks about the current. Please elaborate?

It’s current that actually drives the speakers. The impedance of loudspeakers can vary wildly during operation, which can be a significant problem for the amplifier if it cannot provide enough current when needed. The Excalibur circuit has no intrinsic current limitation. Its output impedance is essentially zero. Anything we measure as output impedance is actually the resistance of the internal connecting cables – a few milliohms.

How about the slew rate?

The required slew rate of an amplifier is easily calculated from the desired maximum output voltage at the upper frequency of its intended operating range. An audio amplifier should be capable of full power over the audio band, with some reasonable margin, and that is already beyond what one may actually need in reality with music.

There was a study conducted by Roger Russel, formerly Director of Acoustic Research at McIntosh. Mr. Russel experimented to find out how ‘fast’ the fastest sounds are – glass breaking, gunshots, metal hitting metal, etc. They could not find a sound in nature whose upward slope reached the peak level in less than 12 microseconds. Here’s a link to his page which will definitely be an interesting read for many:

There is nothing to be gained by achieving spectacularly high slew rates in audio amplifiers, period. Actually, that may potentially create significant problems as the amp would be capable of providing its full power at frequencies well above the audio band. This in turn may transform the speakers into an unexpected smoke effect. Some of today’s digital sources can produce a lot of ultrasonic garbage. You definitely don’t want to amplify and feed ultrasound into your speakers, especially at high power. Your dog will certainly not be amused! J

What makes The M75D such a potent combination?

It would be hard if not impossible to say which component in the M75D Isis contributes most to the overall performance. Every stage in the signal path has been carefully designed for minimal distortion. The advantage of the Excalibur topology is enabled by a rock solid power supply which has the ability to deliver extreme current peaks when required.

You seems to carry a lot of pro audio logic with your designs. Common sense, oversized build …?

Pro audio and high end audio have completely different design goals.

In pro audio the number one priority is reliability and adequate performance, at minimal cost. You cannot imagine the chaos that would result at a rock concert if the sound system would suddenly fail. While this is a real danger in terms of crowd response, it is no less annoying and infuriating when something in your home system fails. I guess this is the most important aspect I’ve brought over from the pro world – unconditional reliability that’s built into the design.

The concept of reliability extends beyond the amplifier: for instance there is a built in limiter in all my designs which prevents clipping. This protects the loudspeakers as well as ensures clean sound when listening at very high levels.

What makes the pro audio and high-end audio products different beasts?

Pro audio customers are extremely sensitive to cost and price/performance. Designers are often limited in their choices by the requirements of the accounting department, forcing them to make compromises. The final product barely meets design specifications, at the lowest possible cost, and those specifications are not terribly stringent with respect to the actual sound. Furthermore, pro audio gear is used mainly at live events where the sound engineer has a lot of knobs and buttons to tweak the sound.

In contrast, high end audio is about maximum performance and aesthetics, aiming to achieve natural sound. Cost is a secondary factor. The recordings you play come ready-made and assume a linear, distortion-free reproduction chain. However, not all recordings are born equal. Ironically, the better your system – the more defects you are likely to discover. The quest for good sound starts with the source material.

Why does The M75 sound completely different like similar and more expensive integrated?

To put it simply – because the distortion remains consistently low at any power output level and regardless of the load. Loudspeakers are not one-way devices – they will return significant energy back into the amplifier because of the moving mass coupled to the voice coil. How an amplifier responds to that returned energy is crucial to performance. A real world loudspeaker may appear as an inductor or a capacitor to the amplifier.

One of the tests we do is to connect a 2uF (microfarad) capacitor directly across the loudspeaker terminals while playing 20kHz at full power. Nothing happens except an increase in power draw. Try this on another amp if you are brave...

How does music translate into the energy?

The energy is in the music! Whatever the artist had in mind – it’s in the mix or at least that was the intention in the studio. Reproduction should not add or take away anything. Any alteration to the sound will distort the artist’s intention. The closer you are to the original, the more of the artist’s energy will be relayed through the music. That applies to playback levels too. Have you come across a quiet drum set? J

Is integrated like M75D a compromise?

Not necessarily. An integrated amplifier has the benefit of short internal cabling. Its parts are intended and tuned to work together. There would have been inevitable compromises if there were initial cost limits to the design. Can it be cheaper? Certainly! It could be housed in a “cheap and cheerful” folded metal chassis, using the cheapest available components, an undersized power supply and stressing every component to its limit. The price would then probably be 1/5 of what it is now and the amp would probably survive the legal minimum warranty term. But then – would I do it? No, thanks! It would not qualify as an Analog Domain product.

Saying that, all my designs are minimalist. I strongly believe that good circuit design is about achieving your goal with the minimum number of parts, yet with generous derating margins to ensure maximum reliability. No part is stressed over 50% of its rating even under the most extreme operating conditions.

I consider myself lucky because I don’t have to report to anyone except my customers. I do things the way I believe they should be done and if they like them – they buy. Simple as that. Since I’m also on the listening side, it turns out we seem to like the same things quite often.

Lots of time people say, that when amps are bridged in mono regime, performance fails and its not an natural way of dealing with the musical energy...

That would be the typical case, as in common designs there is an extra phase inverting stage for the mirror channel. The M75D is completely different: the inputs to the power stages are balanced, so making them work as a bridged mono amplifier is really simple - the inputs are connected together in inverse parallel, so no extra stages are required. Therefore the performance in bridged mode is not compromised.

You seems to be very passionate and enthusiastic about The M75D. Your precious baby? Why exactly?

The designs are an expression of myself in a way so it’s only natural to be passionate about them. If I stop being passionate about what I do then I should probably consider a job change. On the other hand, I learn something every day so the quest for “better” goes on!

How do you create an emotional impacted amplifier as The M75D is?

It’s very simple actually: you do a thorough research on what exactly in the schematics works for good sound and what does not, then you put everything you know into the product, without taking shortcuts.


If you look back in the era of great high-end audio texts, there was always a strong focus on the functionality. Integrated amplifier is a closed box machine and its versatility is of utmost importance. Analog Doman M75 shines in this regard and certainly set the building blocks for the industry standard. 

Let me start with the M75 remote control. Along with the volume adjustment, power on/off button, input selection and mute button there’s also a dedicated button for inverse phase as well as 2 second delayed up and down control buttons to switch to the next input.

M75 elegantly recalls the last volume setting upon the new restart from the stand by. It counts up and down when its turn on or shut of. Nice!

Remote control is super easy programmable. By pressing 1 and 4 input buttons on the front plate and holding them while pressing the on/off standby button you’re entering the program mode. Here  you can quickly dedicate all the remote functions to any remote button. Remote just needs to be pointed to the left LED display and desired button pressed. Volume knob let you scroll through all the programable options and when you’re finished a single press of the standby button confirms the new given commands. Voila!

Display dims via remote control or by pressing the on/off stand by button via long pressing. There are three levels of dimming to suit ones preferred lightning. 

Displays are regular 5x7 dot matrix LED types, but the CPU that controls the electronics is an automotive type with high reliability.

Hidden from the outside is an limiter circuit, but there is a dedicated white led indicator above the headphone jack input. Yes, you can connect headphone directly from the front panel… Angel implemented limiter to prevent clipping distortion, that can consequent damage the speakers. It's only active if you overdrive the input.

As with the abundance of controls on the front the back side offers a great set of input/output paraphernalia. RCA and XLR inputs are joined with pre output and amp inputs side by side. These opens up a great possibility to use M75 as both sole power amplifier and dedicated preamplifier.  

Further on there is a gain switch for matching the levels of different sources. Sadly we are still not having the standardized input levels from sources like in pro audio industry. Some will produce 2Vrms, others 0.7Vrms, some even 6Vrms. If you have a mix of all three types of sources its difficult to get the gain match properly. However, if you only have 0.7 and 2V, then the difference can be compensated with the switch. Same is with 2V/6V sources.

Most of the upper echelon gear these days offer a dedicated  grounding post and Analog Domain M75D also sports one on the back side.. Its there for convenience, to enable the use of outboard grounding boxes. It helps with avoiding of the ground loops, as the ground is also present on the mains socket. A 2-way cord should be used when connecting to another grounding point.

Below the speakers terminal there are red LEDs indicating when amplifier is in bridge mode and below you’ll find also two trigger inputs and outputs. 

Hidden from labeling, M75 comes as standard with the built in limiter engaging only when you attempt to overdrive the amplifier. It prevents distortion, and more importantly – it protects the speakers from the clipping.

On the bottom of the end chassis four adjustable feet can level the amplifier on almost any surface. 

M75D uses a unique paint finish. It's a special soft-touch coating, that have a very pleasant texture to the touch and is extremely resistant to scratching.

M75D power amplifier is exactly the same as M75P, only in the absence of the volume control and you feed it directly into the power stage thought the dedicated XLR5 input and the outboard break out XLR cable. Impedance is relatively low to keep noise level down, about 5k differential. In this way you get 100% fully fledged Analog Domain power amplifier. Not bad right!?

While M75 performs greatly via XLR and RCA input and with volume to the maximum it's better to go directly in as there are no extra stages in the signal path. If you use am M75P in mono with a M75D in mono, you get exactly the same performance for both channels.


Listing through my listening notes summed up an interesting conclusions. I’ve given great remarks across all the genres and thats is quite a statement. Yes, I’m fully committed to it. 

I’m always grasping for the dynamic impact and realism for any song, album or genre. There are many amplifiers performing good or great in a specific genre, but they’re to often reserved in others. Analog Domain possesses an uncanny, organic realism and timbral correctness across them all. Let it be female or male vocals, guitar, violin, cello or piano there was always an intrinsic natural imprint with the reproduction of the music.

Let me go outside of typical track rulers. Black Crows are among my all time beloved rock bands and I’m sure many of you heard more then once well known “She Talks To Angles”. Original album version is a real gem, but there is also a superb rendition on the acoustic based compilation called Crowelogy. If you like the first born you’ll love this version that even further unlocks the song message to a greater plane. Its never easy to capture rock music in a great spirit with any amplifier. Hard task! M75 dynamic headroom really allows for this song to come alive in its full scale locking to Black Crows renowned grip. I’m not talking about the energy exchange only. There is something right and spot on about the emotional bond. Generally I’m rarely thrilled, but when this happens, its a big thing. 

Stella By Starlight performed by the legendary Joe Pass blooms when all is set right or of mediocre abilities it can crush the amp instantly. Its the same with soulful Envie’D Aventure by Lokua Kanza and what to talk about Raul Midon’s If You Really Want from his Limited Live Editon Ep. All these songs burst with majestic energy and emotional performance. There is simply no easy way to convey them without highest order power at play. 

Analog Domain M75 was never shy with any of these compositions. This is where Excalibur potency comes into the equation. M75 was never pedantic. It shown circuit inner strength via grand coherence over a wide bandwidth. It can quickly get to crowded and too complex task for so called properly design amplifier even with simplest note overlapping. M75D boldly showed no lacking of pace and dynamic empowerment. If always felt like V12 car machine operating firmly and locking to the the road under the perfect control of the expert driver. Outstanding. 

I could daringly say that if Daniel Deffayet - Bizet: L'Arlésienne Suite No.1 - Adagietto will not move you, then there is something constitutionally wrong with the modus operandi, but then I could be instantly called an elitist. Same goes for the Våren / The Last Spring – feat. Nina Gravrok and Primadonne - Grieg Unheard by Reza e iRagazzi. Still, I have to point out how there is something essentially potent withing these performances and they really demand an unaltered amplifier potency to come to life. M75D flow was fluent through these compositions and performances, feather like and with grand reserve of peaceful like calmness when it was dealing with dynamic shifts and non the less with the emotional bond. 

Brahms: Scherzo In C Minor For Violin & Piano (From The FAE-Sonata) Brahms: The Violin Sonatas - Leonidas Kavakos,Yuja Wang is another hard challenge. These two talented artist performs jointly with such an ardent, yet lyrical and synergetic virtuosity that emabrks a real triumph for the senses. Such pacing is not easily achieved through the amplification and M75D majestically rendered their spirit in such way that it was hard to keep enthusiasm bottled. When energy of music is in the absence of coloration and compression the so called magic and flamboyant eruption can occur. M75D certainly posses such mojo!

All in all Analog Domain M75D integrated amplifier enrich the musical reproduction with a fuller sound, coherency and tremendous attack ability. To draw the line, its not trend setter but industry exemplary product in the service of the music. 


Once in a while I come across the product, that is so versatile and logically designed as Analog Domain M75D integrated amplifier. So my enthusiasms is rocket high. M75D can act as integrated amplifier, power amplifier and dedicated preamplifier. I’ve addressed the mighty functionally separately above in length, but to sum it up, this is a real hard work machine with the pristine sound ability. 

Analog Domain M75 reveals what is usually happening in the background and mostly hidden. Real resolution, musical potency and realism comes to life when in play. All this is packed in the reliable product package, that was design from the ground up to stand up in time and perform involvingly. 

I’m fan, or better to say a gain junkie. Attack and suddenness of the music is crucial to me when it comes to the performance. M75 resolve in a battery like power reserve, that is black quiet  and imposingly powerful. 

Angel is not the strongest advocate for power cables but they do adds on to the M75D performance. As with Robert Koda K-10 M75D is less prone to them. Still, when connected to some of the upper echelon cabling solution there was a noticeable and worthy benefit.

M75D act with finesse, delicacy and mostly important with the refined realism, that locks intimately with the music’s pace. This is a technically profound amplifier that’s not vague at any point, but responds to what is given at the input. M75D is an emotional performer when partnered with a stand out front end and I’ve highly enjoyed it on digital front with Aries Cerat Kassandra II and TotalDac DAC’s and on the analog side via Thrax Audio Orpheus phono preamplifier. All these in a closed loop created a world class sounding high-end audio system for true musical enjoyment. Its a combination more then worthy to be explored by any real connoisseur. 

When a stand out high-end product really address my inner clocking, familiar logic of operation and most importantly the sound performance I’m so to say bound to it :). Analog Domain M75 encompass the best attributes of both listening and reference testing device. So, now what!?

I simply cannot let go such might machine out of my hands. It would be extremely stupid if I’m impressed by such stupendous product. During my first listening to the prototype and now for the second time to the full production version the affection is even more intimate. During my tests and reviews it become an indispensable tool for my type of work. 

Not only M75 acted with such a grand impact and impressive performance as integrated amplifier, but also when paired with my beloved Robert Koda Takumi K-10 preamplifier, this combination proven to be match made in heaven brining out the best in music. 

This is not only one of my true highlights of the year, but a personal recommendation and a product, that vividly shows what an industry standard should stand for.

I very rarely give out Mono & Stereo Editor Choice award. Its not just a matter of printing the awards and sway around with them like its fashionable these days. Its moral and ethical obligation to stand behind what’s written on the pages of the Mono & Stereo in both business and cultural aspects. So I’m putting my action where my mouth is. Analog Domain M75D is not leaving my premises and its staying as a reference component and a part of carefully selected and matched high-end components. 

For those following my venture closely and for some years it already clear. All Editor Choice awarded products became my personal reference system gear…

Text/photos: Matej Isak

Price: 17'990. EUR excluding VAT


• Volume control via switched, low-noise discrete resistor matrix
• 96 dB attenuation range in 128 precise steps of 0.75dB
• Stereo mode and bridged mono mode
• 2x 250W @ 8ohm, 2x 400W @ 4ohm in stereo mode, 2ohm capable
• 1x 500W @ 8ohm, 1x 800W @ 4ohm in bridged mono mode
• 2x XLR balanced line inputs + 2x RCA line inputs with individual gain adjustment
• 6Vrms input level compatible, 10Vrms max input level
• Pre-out and Main-in connectors for connecting an auxiliary processor or power amp
• High-performance dedicated headphone amplifier
• Full function remote control


Power output:
8 ohm, sine wave, rms 250W
4 ohm, sine wave, rms 400W
8 ohm, bridged, music material 500W
4 ohm, bridged, music material 1000W
Damping factor: 1kHz, 4ohm load, single-ended >1000
1kHz, 4ohm, bridged mode >500
THD+N: 20kHz BW, 8ohm, nom. power

THD+N: 20kHz BW, 4ohm, 1W output <-93dbr i="" nbsp="">

Power bandwidth: 2 ohm, THD<0 nbsp="">
Peak current: 50A
Noise output: 20kHz BW, rms <35uv i="" nbsp="">
Dimensions (mm): Including feet and rear handles 440W x 454D x 123H
With packaging 560W x 560D x 200H
Net weight ~25kg


Analog Domain Audio GmbH 
Bergstr. 12
D-82024 Taufkirchen

Tel.: +49 (0) 1608 173 193
Mobile: +49 (0) 1520 202 54 04