The sixth song "September in Montreal" by Anne Bisson was played. The piano and drums at the beginning of the song showed the darkness of the background. The weight of the piano continued to increase slightly in the space, the drums were clear and tidy, and the voice of Anne's singing was naturally revealed.
Emotion and details, no matter the volume is high or low, it does not reduce the clarity of the sound. The low volume also has sufficient subtle dynamics, and the high volume maintains an excellent sense of detail.
Play the first song "The Little Black Lake", Onix OIA- 82 interprets the piano sound as if facing a quiet lake in the night light, fully showing the weight of the piano sound, and the darkness of the background shows a sense of silence, which is not inferior to Anne's singing.
w/Harbeth M40.1 loudspeakers
Onix amplifiers, however, but also those from Naim, show what we lose by that ("pretty sound design") – dynamics, freshness and immediacy. Proper attack transients combined with a clean sound will get us an amplifier that is capable of conveying inner sonic relationships not only by means of its high resolution but above all by its perfect timing of sounds. The Onix belongs to such a group of amplifiers.
The amplifier under review can perfectly feel the track’s pulse. With the almost trance-like rhythms on Depeche Mode’s remixes we get one of the best, if not the best for the money, imaging of impact, dynamics and speed. Without any hardening of attack. The kick drum, whether synthetic like with Depeche Mode, or real as on Black Sabbath’s 13, is presented as if we listened to it here and now. In a similar manner, that is, as reproducing the “live” sound at home is – for many reasons – impossible. It is very well complemented by the amp’s overall tonality.
Differentiation is one of the amp’s strong points. Apparently, a combination of a fast slew rate, proper phase relations and good resolution resulted in a detailed sound that is open and has a “breath”, without glaring exaggeration.
Its clean, fast sound is not only speed and clarity for their own sake, but also the lack of annoying quivering. Cleanliness also means the lack of grain between the instruments, and their easy sustain.
Actually, a large number of “warm” amps only simulate that depth due to their better vividness. The Onix shows it just as it is. What comes out great is events across the soundstage and in counter-phase. They seem natural and immediate, just as the saxophones on Ornette Coleman’s album The Shape of Jazz to Come, which emerge suddenly and unexpectedly from nothingness only to be firmly and “permanently” located on both sides of the soundstage.