An Audio Shopper Review
The Classe' Audio DR-9: A Real Class Act
Brief Description
Classe' Audio is a Canadian electronics company of fairly recent vintage. David Reich was the Designer and President of the company during its pioneering years. He was responsible for the design of favorably reviewed preamps such as the DR-5 and DR-6. Mr. Reich has since moved on; hence, the recent products of the company no longer carry his initials. If I am not mistaken, he has joined McCormack.
The DR-9 transistor amplifier has a very conservative power rating of 100W RMS (150 typical) into 8 ohms, 200 RMS into 4 ohms, 400W into 2 ohms. It is convertible to bridged mono rated at 400W RMS into 8 ohms. Its dimensions are 19"W by 17 1/8"D by 6 3/4"H but allow about 1 1/2" at the front and rear for handles. It has a look of industrial elegance: black with front panel logo, off/on switch and handles in gold. Those handles are useful in carrying this behemoth of a 100 watter weighing in at 65 lbs. The back panel has heavy duty speakers connectors, regular and balanced input jacks, and stereo/mono switch. Overall, the package gives the impression of a sturdy, overbuilt instrument crafted for lifetime use. Classe' provides a lifetime warranty to the registered original owner only.
Provenance
The particular unit under review (Serial no. 98920870) was acquired from its original owner, a musician with the Dallas Symphony. I had, at that time just months before moved to Dallas from San Francisco, and had begun acquiring selected pieces of equipment in preparation for this publication. It was a cashless transaction--a barter for my conrad-johnson PV11 tube preamplifier. Joe, the original owner of the DR-9, was planning to move on to tubes. In this avocation, you will frequently encounter audiophiles switching from tubes to transistors and vice versa for a variety of reasons.
I recall having second thoughts about the transaction. You see, for the past several years I have only owned tube pieces, a bias acquired after continually being disappointed with transistor equipment. I looked upon this as an opportunity to get reacquainted with a genre of musical conveyors that I have long neglected. And it was an excellent trade.
A New Musical Experience
The following equipment were used to evaluate the DR-9: Audible Illusions Modulus 3 tube preamplifier, Pink Triangle Turntable with Sumiko MMT and Promethean Green cartridge, JVC XL-Z1050 compact disk player all connected through an Inouye power conditioner, Sound Dynamics 300Ti Speakers with Sound Anchor stands, Kimber 8TC speaker cables and MIT interconnects. Having had these front, back, and passive componentry for several months, I am very familiar with the nuances brought about by additions or deletions from my system. Essentially, that's what a reference system is for--as a gauge or standard to base other equipment.
In evaluating equipment, I first look at the whole or macro level performance of the unit and then scrutinize the relationship of the parts to the whole. Prior to evaluating the unit, I had it playing very softly for about two to three hours before any serious listening. As I alluded to earlier, my ears have grown accustomed to tube equipment. I thought therefore that I was setting myself up for a disappointment.
It was a delusion. The DR-9 is a mesmerizing ear opener and an artful performer. Its ability to be musical is indeed very high. From the start, it established its ability to let the music flow without apparent restraint. It presented music with superior vividness, dynamics, and pace. I was able to hear much more detail, dynamics, and nuances from Joni Mitchell's singing in her Blue album (Reprise 2038-1). Telemann's 5 Violin Concertos (Philips 411 125-2) seemed to be played with more verve and life than I had been accustomed to.
Most transistors amps, I recall, are afflicted with a bothersome sheen. There is glaze in the upper midrange and lower highs that is especially evident when listening to the human voice. This amp does not possess that irritating affliction. On the other extreme, some amps sound too polite because their highs have been subdued. The DR-9 does not fall into that category either. To my ears, its sound is somewhat lean but certainly not thin. I am usually easily bothered by thin sounding amps so this must not be one.
With the DR-9's ability to create a three dimensional sonic landscape and to resolve nuances, it enables the listener to peer within the soundstage. You can pinpoint the location of the players, where the voices are coming from, the overtones and other ambient detail. The recording of In a Monastery Garden, Music by Ketelbey (Angel S-37483) was rendered with all of its glory and detail intact. You could follow the birds as they were chirping and flying from one tree to another, also exhibiting the amps ability to recreate height. (Aside: If you ever see this record, snap it up. It is music easy to enjoy. The UK pressed record is better.)
Where the Nits Are
So far I have lavished the DR-9 with praise. While it certainly is ranked among one of those in the lofty echelons, it is bettered by others. (That's audio for you. There is always something better.) For example, it falls short in dynamism when compared to the Audio Research Classic 60s. These are hybrid tube amps, BTW. While the DR-9's lows are well defined, tight, and powerful, its bottom end has less authority and heft. Mind you the foundation is there; it's just not as strongly conveyed. The first cut in Stevie Ray Vaughan's Couldn't Stand The Weather (Epic EK 39304) album exposes the amp's subdued bottom end. Those looking for bottom end wallop, move on. I do not crave for bass so this slight shortcoming is a compromise that is liveable. Those of you with strong preference for bass may disagree.
The DR-9 conveys music with a darkish personality according to people I have talked to. I agree. To me, music flows as a whole with liquidity and grace. As an analogy, the forest is more important than the trees. In other words, the whole is bigger than the mere sum of the parts. I prefer roundness to shards of detail. There is this dichotomy that one encounters in audio--detail versus musicality. As you probably guessed, I go first for musicality. Overabundant detail will, in time, get in the way of your listening pleasure.
Another Caveat
Have you noticed that tube components retain their used value in the marketplace? In my experience, when I buy a used tube component, I can usually sell it at the same price even after I have used it for several months. Transistor equipment does not have that advantage--so far. There are exceptions of course, the Moscode 600, NAD 3020, and Bedini 25/25 to name a few. To that short list, one may one day be able to add the Classe' DR-9.
This does not have anything to do with musical enjoyment but as a used audio buyer and one who likes to try out other equipment I consider this aspect part of the total purchase decision.
Conclusion
The DR-9 is one of those amps deserving unequivocal recommendation. It will probably play music into the next century. These pieces are not often seen in the used market, and understandably so. At their original price, these were not within the reach of those less committed or less financially endowed. I have seen them advertised from $1600 to $1900.
Despite many temptations, I have not succumbed to selling my DR-9. To an individual with a predilection to tube equipment, it says loud and clear that this amp will, like its glowing cousins, serve the music for a very long time. This amp deserves a rating of 4 (out of a maximum of 5) clefs. Go for it!
by Rome Castellanes
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