Beschrijving
De veel geprezen, Exposure 3010s2d. Met ingebouwde dac.192/24-bit PCM and DSD64. Uit 2019.
Net wat vloeiender en soepeler dan de nieuwste 3510.
Specs zijn geweldig.
2×100 watt 8 ohm
2×200 watt 4 ohm
Deze cijfers zijn krap genomen.
2× 555 watt dynamic power aan 2 ohm.
Geweldige reviews.Slot the new Exposure into your system and you’ll immediately get a great big smile on your face. For – like its predecessor – the 3020S2-D majors on musical connectivity. The midband is very well resolved, bass sounds bouncy without being too forward, while there is a good stage depth to the overall sound. Playing Bjork’s ‘Black Lake’ the Exposure had the ability to really dig out low frequencies. Some amplifiers struggle with this track due to its density but the Exposure seemed to take it in its stride. Not only that, it throws out an expansive soundstage. Vocals went way beyond the height and width of the speakers and had tremendous detail. Switching to something a little more detailed such as Kraftwerk’s live ‘Minimum-Maximum’ collection the Exposure captured the ambience of the various venues extremely well. Listening to the start of ‘Autobahn’ I could hear the atmosphere in the hall. Then, once the electronic bass kicked in, there was a realism and three-dimensionality to the sound that – while not exactly valve-like – certainly lacked the electronic edge of some other transistor designs. It was immersive and captivating – which is what a good amplifier should be. Moving over to the 30102S2-D’s digital input via USB on a MacBook Air running Audirvana Plus, it became obvious Exposure has not stinted on this aspect of this design. Playing Daft Punk’s ‘Random Access Memories’ via the digital input revealed much greater depth, vibrancy and definition on the 88/24 download than a standard CD rip. Everything became more natural, crisper and had a greater sense of flow. The start of ‘Lose Yourself To Dance’ sounded emphatically more sinuous and propulsive while the vocals and lower registers on ‘Contact’ displayed a silky smoothness that made the effort of connecting a computer to the Exposure worthwhile. Staying with the MacBook and going through a selection of high-resolution tracks proved the Exposure’s digital board is no slouch. Actually, it’s very impressive. ‘Man On The Moon’ by REM (24/96) was very detailed. The leading edges of Peter Buck’s guitar were not just highlighted, they positively rang. Similarly the bass took on better resolution than I get through silver disc. The only criticism to be made is that the DAC section seemed a little fussy about connections – a good quality cable being needed to get the best from high-resolution material. And no, there’s not quite the overall silky smoothness and outright definition you’ll get from an outboard DAC equipped with something like the excellent ESS Sabre32 convertor – but that costs much more. Instead, at its price the Exposure option works a lot better than I had expected and was a very tempting digital option. With analogue alone the basic 3010S2-D is, at heart, an outstanding amplifier for the price. It gets on with the job in an inherently musical manner, managing to get the most out of all genres of music. It had the timing and definition to let me hear the interplay between individual musicians. With pounding rock or dance it raised itself to the task without missing a beat, having a propulsive thrust that was truly infectious I found. It may not look the flashiest amplifier at the price, but it’s the sound that counts and on that score the new Exposure scores highly. CONCLUSION The new 30102S2-D is an excellent update of what was already a very accomplished integrated amplifier. It has depth, definition and detail, allied to ample reserves of power, while the addition of the optional digital board brings welcome flexibility. For the price it’s a bit of a bargain. Exposure’s remote does the job – but feels a little flimsy. HI-FI WORLD HI-FI WORLD
Denk aan naim en rega, moon, krell.
