I have been fortunate to have one of Dan D’Agostino’s just released Momentum pre-amplifiers in my system for a week now. My dealer graciously allowed me take home this brand new, never opened unit and see if it would sound as good as the demo I attended at the Paragon event last November.
Set-up
Many of you know my current set-up consists of Wilson Alexandria X2 Series 2 speakers, Momentums mono block amps, Meridian 808.3 acting as a CD player, endpoint for my MDMS (aka SooLoss), Dac for my SonoS , MS-300 and pre-amp for my connected Pro-Ject Phono Box RS. Speaker cable is Transparent Opus, interconnects are Transparent Reference MM2 and power cables are Reference Powerlink MM2x. Each amp has it own dedicated 20 amp circuit while all sources share another dedicated 20 amp circuit.
I disconnected the Transparent Reference LowZ interconnect from the Meridian to the amps and connected that to the Momentum pre-amp then I entered the set-up menu on the Meridian and switched the output from variable to fixed . I then inserted the Momentum pre-amp using my Reference HiZ interconnect between the pre-amp and amps. Since I only had a one meter interconnect I had to place the pre-amp in close proximity to the amps. Unfortunately I did not have a dedicated outlet available for the pre-map so it shared the line with non-dedicated lines in my room.
I guess I was too excited to get going and forgot to take a photo of the unit before I removed it from its flight case. The first photo below shows the inside of the case. The second photo shows the repackaged unit ready for return.
As many of you are aware this is a two-piece unit with the dedicated aluminum stand that also functions as the power supply. The nest two photos show the top and back of the power supply. The included cable connects the two units together.
If you like the casework of the Momentum amps you will probably like the looks of the pre-amp. In my opinion the final design is much nicer than photos I had seen of early prototypes . All of the Momentum series are rectangular in shape. The amps were designed with the shorter side facing towards the front. Like the unit I saw in November the final version of the pre-amp has the long side of the rectangle facing forwards. If I remember Dan’s comments correctly this allowed him to optimize the signal path and so that the front controls would not appear crowded. See photo 5 below
All inputs connections on the rear of the pre-amp are XLR, no single ended. There are six input and 2 output. Inputs can be selected directly from either the front panel or supplied remote. A colored light in the middle of the each button illuminates to identify which source is currently active. The remote control has buttons to select each of the inputs, one to swap phase, one to select turn tone controls on/off, one to mute/un-mute the system, one each for volume up and down , one to adjust balance, and the last to power on/off the pre-amp. The remote is show in the 6th photo.
I haven’t played with the tone controls at all. When you select the Tone control button on the remote, the two controls on the amps right front panel light up along with the tone button on the left side. See photo 7.
I haven’t yet figured out if there is a way to have the volume remain at the last level I had set after you power down the unit. When you power it back on it stays at zero until you raise it with the remote.
Listening Sessions
I have virtually no patience so once I connected everything up the music started. No extended break-in before I settled down to start playing familiar tracks.
As I noted in earlier posts this might be the first time I remember hearing any piece of gear actually breaking in as I listened. Remember this was a brand new unit. The first tracks sounded a slight bit lean. I can only assume the caps were energizing and song by song I could hear voices getting smoother, the upper mid registers filling out and the bass deepening. Within the first hour I knew this was something special.
One of the first tracks I played was Tom Jones cover of “
Tower of Song”. It starts out with just s couple of repeated guitar notes before Jones’s voice comes in clear as a bell. The backing instruments build across the soundstage as the track progresses each located in it own space.
One of the next tracks was Chris Jones “
No Sanctuary Here” The bass notes had added body that I do not remember hearing on this well recorded song before.
When I was comparing Chuck’s Meridian 808.3 to my MCD-1100 one of the tracks Chuck suggested that might identify differences was Trace Adkins “
I Can’t Outrun You” I can’t say I am a big fan of his music but I love this track. His deep voice seems to start way down in his gut. Backed by just piano and a string instrument the growl of his voice in the last couple of lines in amazing.
We all know how well recorded
“Live“ by Alison Krauss & Union Station is. I played the familiar “New Favorite” track that I often use to demo gear. I found her vocals to be a bit less strident than I may have heard in the past. The soundstage spread beyond each speaker to the walls. Each instrument (dobra, stand-up bass, drums, and guitar) isolated in it own space.
The next track I tried was from the 2 Cellos sophomore effort “In2ition” titled “
Benedictus”. The tonality and passion of the 2 Cellos(Sulic & Huser) playing against one another on this track is mesmerizing. (I know this is not classical cello, rather Popera)
I then tried some tracks with a bit more pace and complexity such as Denis Matsuev with the Marinsky Orchestra playing Rachmaninov’s Piano Concerto No.
3, III. Finalle Alla Breve. Matsuev’s piano is separated nicely from the orchestra. At times the strings float above the piano. When listening closely the piano and orchestra seemingly emit from a silent background.
I could go on about how Tracy Chapman’s debut album sounds so new and well recorded. Richard Hawley voice and guitar., the newfound body to the bass in Mumford & Sons “Ghosts That We Knew”, the clarity of KD Lang’s voice on “Hymns of the 49th Parallel”, Saint Tangs drum music on “Soul of The Great” from the Usher Sampler, how long the initial piano note lingers on Gary Girouards “Opus”, or the play between the piano and guitar on John Hinson’s “Hello Thursday”, or …………….
Conclusions
I have never been a huge proponent of pre-amps. In the past I have felt that the flexibility they provided were often offset the lack of immediacy and attack. I did not miss the C-1000,. I tried a Krell Phantom and liked what I heard but did not miss it when I returned the unit. When I auditioned a Doshi tube pre I enjoyed the additional depth in soundstage but like with every other tube piece I lose interest quickly. It is similar to speakers, there are a lot of speakers I can enjoy and appreciate but only a few I could live with.
Bottom line. My system has never sounded better. I don’t want to stop listening each day. It is quite possible that I am going to have a hard time enjoying my system without the Momentum pre-amp in the loop. I guess I will know once I return the unit on Wednesday. The clarity, the additional weight to piano notes, the width and depth of the soundstage, the added musicality for strings and bass and the synergy between the power amps and the pre-amp. Shear bliss.
PS: As I was sitting here adding the photos and trying to edit the text, I have been listening to my system sans the Momentum Pre-Amp.
It still sounds great but the body and soul seems to be missing.
Hmm. maybe Joe won't like his.
