Digital sources: California Audio Labs CL-20 and Panasonic A-120/CD DVD players, Meridian 500 CD transport, Musical Fidelity X-24K 24/96 D/A processor.
Loudspeakers: Evett & Shaw Elan, PSB Alpha A/V.
Headphones: Sennheiser HD-580, Sony MDR-5706.
Computer: Pentium MMX 166MHz with 20x CD-ROM drive, 32MB RAM, RME DigiPro/8 and Digital Audio Labs CardD Deluxe soundcards, and Apple Studio Display flat-screen monitor, running Windows 98, WinAmp 2.5, CoolEdit96, connected to Yamaha via USB and optical S/PDIF links.—John Atkinson
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Sidebar 2: Associated Equipment
Also of interest is the fact that the designers have chosen an input impedance of 560k ohms for the Music-4, which I'm told was motivated empirically and not as a result of some pet theory. That alone might indicate the use of a high-output moving-coil cartridge—not just because of the Music-4's lowish gain, but also because it might prefer to see a fairly high coil impedance—and owners of cartridges with drastically rising top ends will want to proceed with caution, if at all.
For its part, the Music-5 preamplifier—whose input impedance is an altogether more reasonable 50k ohms—is…
I think a lot of that sense of ease derived from the Final system's musicality—a word that I use for its obvious meaning, and not the one that comes to us from the decoder-ring world of "bloom" and "caramel colorations." These products played music well, meaning they communicated pitches and rhythms without the subtle distortions that cloud meaning and result in indifference, fatigue, or annoyance. With the Finals, music was never uninteresting or hard to follow.
There was more to it than that, of course, and while you and I have probably heard a few different amps that get the notes and…
But the flat-out emotion in the best modern rock records—like The Replacements' "Unsatisfied" (from a very different Let It Be), which can normally bend me in two when the drums and bass make their entrance, then leave me drained and almost crying by the end of the song? Nope, sorry: The Finals just didn't do that the way my usual amplification system does, even with four times the power. But just as bits ain't bits, watts ain't watts. All I had to do to know that was to hear this.
Conclusions
The Final Laboratory Music-4-5-6 system was consistently better than most but never quite…
Sidebar 1: Specifications
Description: Battery-powered solid-state phono stage (Music-4), line stage (Music-5), and power amplifier (Music-6). Inputs: 1 (Music-4, Music-6), 3 (Music-5). Voltage gains: 40dB (Music-4), 30dB (Music-5) not specified (Music-6). Input impedances: 560k ohms (Music-4), 50k ohms (Music-5), not specified (Music-6). Output impedances: 60 ohms (Music-4, Music-5), variable (Music-6; see text). Power output (Music-6): 10Wpc, DC-100kHz (10dBW).
Dimensions: All three active components: 9" W by 1.9" H by 6.3" D. Weights: 2 lbs (Music-4, Music-5), 2.5 lbs (Music-6).…
Sidebar 2: Associated Equipment
Analog sources: Two Linn LP12 turntables with Linn Lingo and Naim Armageddon power supplies; Naim Aro and Linn Ekos tonearms; Supex 900 Super, Tubaphon TU2, and Lyra Helikon Mono cartridges; Audio Note AN-S2 moving-coil step-up transformer.
Digital source: Sony SCD-777ES SACD player.
Preamplifiers: Fi, Audio Note M3.
Power amplifiers: Fi 2A3 Stereo, Audio Note Kit One.
Loudspeakers: Lowther PM2A drivers (15 ohm version) in modified Medallion horn enclosures, Linn Sizmik subwoofer.
Cables: Interconnect: Audio Note AN-Vx, Nordost Valhalla,…
Sidebar 3: Measurements
Each of the three Final Laboratory components was powered from its battery power supply for the measurements, the single-box DC-5 for the preamps, the two-box DC-6 for the power amp; when appropriate, I list the battery voltage.
The Music-4 phono preamplifier offered a maximum voltage gain of 49.6dB, making it suitable for use with moving-magnet cartridges or high-output moving-coils. (The battery voltage was indicated on its meter as "±18V.") The '4's input impedance was around 500k ohms. This is far higher than normal for a phono preamp and as Art Dudley…
At low output voltages, the spectrum features second-harmonic distortion at a very low level (fig.7). (This graph was taken with the trim control at 12:00; the spectrum was virtually identical with it set to maximum gain.) At high levels, however, higher-order harmonics make an appearance (fig.8), though it is fair to note that the level is far above that necessary to drive the partnering power amplifier into clipping. Intermodulation distortion was vanishingly low in level (fig.9).
Fig.7 Final Music-5, gain trim at 12:00, spectrum of 1kHz sinewave, DC-10kHz, at 1V into 8k ohms…
Because the Music-6 is battery-powered, I suspected that it would not have much in the way of output-stage bias current. That this appears to be case is shown by fig.15, which shows the waveform of the distortion riding along with a 1kHz sinewave in the amplifier's output with the feedback at minimum. Although the THD percentage appears moderately low, at 0.13%, note that every time the sinewave crosses the zero line, a large spike overlays the residual waveform. Such classic crossover distortion has been found to be very audible because of the high-order harmonics it introduces. Fortunately…
Sidebar 4: Michael Fremer wrote about the Music-4 in January 2002 (Vol.25 No.1):
My honeymoon with the Manley Steelhead phono section is over. Not that I didn't buy it after my review last month, not that I don't love it, and not that it isn't now my reference—it's just that it isn't perfect, nor does it do everything better than every other phono section I've heard.
For instance, take the quirky Final Labs Music-4 from Japan ($3700), which requires an outboard power supply. Final Labs sent both power options: the AC-5 ($2750), which uses vacuum-tube regulation, and the DC-5 ($…