ON TEST

Karan Acoustics KA I 180 Mk2

Integrated Amplifier

aren’t even labelled! Indeed, unless you f you’re a follower of hi-fi forums, it’s switch the KA I 180Mk2 on, you can’t even likely you will already have heard about see a brand name, because the Karan name this little-known Serbian brand, which only becomes obvious when you switch the takes its name from its founder, Milan amplifier on, the result of which is that a red IKaran, who manufactures them in his home light back-illuminates the grey glass plate in town of Novi Sad in the northern Serbian the centre of the front panel, after which let- province of Vojvodina (about 70km north tering becomes visible. of Belgrade). Or, rather, he doesn’t build ‘But how do you switch the amplifier on if est Labs the amplifiers himself, he employes a team T there’s no power switch on the front panel?’ I t of 6–8 workers who do that for him. It’s all hear various readers ponder questioningly.

done by hand, so it’s a slow process. In fact, wpor The answer to this question is that you do this painstaking handcraftsmanship means it Ne it via the single mains power switch on the takes around three days to build a single KA rear panel. This means two things. The first I 180 Mk2. is that if you want to be able to have easy access to this switch, you won’t be able to The Equipment put the KA I 180 Mk2 in a rack or cabinet Just a glance at the front panel of the unless you leave plenty of room above it Karan KA I 180Mk2 will show that it’s been a headphone socket or a power on/off switch. so you can reach in and feel around for the designed as a true ‘audiophile’ amplifier, All you get are two large rotary knobs, the switch. The second is that the Karan does because there are no tone controls, no loud- one on the left for input source selection, not have a ‘Standby’ power mode, so it will ness contour buttons, no speaker selectors, and the one on the right for volume. The always be ‘ON’ if you don’t switch it off, no record output selectors… there’s not even amplifier is so ‘audiophile’ that these controls drawing 35 watts continuously from your

18 Australian Karan Acoustics KA I 180 Mk2 Integrated Amplifier ON TEST

mains power supply. This is apprently exactly has them custom-made in Germany—a as Milan Karan intended, because according country that is apparently Karan’s preferred to Radiance AudioVisual, Karan’s Australian source for most of the resistors, capacitors, distributor, ‘Karan designed the amplifiers to diodes and other semi-conductors used in be ‘always on’ as this provides the best possible Karan products. (One exception to this is sonic performance. Milan believes that his amps the use of two pairs of Japanese Sanken need at least 48 hours of standby before they 2SC3264/2SA1295 epitaxial planar ring really sing.’ emitter output transistors per channel, est Labs Once the Karan is switched on, not only T arranged as differential pairs.) The resin- t do the words ‘KARAN ACOUSTICS’ become visible on the front panel, but also the name wpor of the input source that’s selected. There Ne Karan Acoustics are only four of these: Line 1, Line 2, Line KA I 180 Mk2 3 and Balanced. As you’ve probably already Power Output: Both channels driven into Integrated Amplifier guessed, the Line inputs are unbalanced 8-ohm and 4-ohm non-inductive loads at 20Hz, 1kHz and 20kHz. [KA I 180 Mk2] (accessed via RCA sockets on the rear panel), Brand: Karan Acoustics while the balanced input is accessed via a Model: KA I 180 Mk2 standard three-pin XLR socket. The wiring buttons: Volume Up and Volume Down. In Category: Integrated Amplifier for this is also standard (Pin 1/Ground, Pin 2/ other words, you can’t use it to select input RRP: $11,000 Negative, Pin 3/Positive). When you use the source, nor is there a ‘Mute’ function, both of Warranty: Five Years Transferable Source Selector to move through these four which would have been handy! It’s powered Distributor: Radiance AudioVisual inputs, you will discover that the control’s by two AAA batteries and when I checked I Address: Unit 33. 5 Gladstone Street action is not continuous, in that once you was pleased to find that either Karan or its Castle Hill have turned it to the right to click through Australian distributor had fitted good-quality NSW 2154 the Line inputs to get to the balanced input, alkaline batteries, so you won’t have to worry (02) 9659 1117 you’ll have to click backwards again in order about them leaking and possibly damaging [email protected] to select Line 1. the remote. www.radianceav.com.au The volume control on the right of the All the connectors on the rear of the front panel has a smooth action and what Karana KA I 180 Mk2 are gold-plated, and • High power appears to be a LED inset into it. However, of extremely high manufacturing quality. • Quiet backgrounds no matter what I did, I couldn’t get the LED In addition to the inputs and outputs I • Superb build quality to glow, so figured it was either not a LED at expected, there’s also a record output (also all, or it was not connected, or it was a LED via gold-plated RCA) so you can use it to send and it was connected, but it didn’t work. All the selected input to a recording device, or to this guesswork was entirely wrong. It turns a distributed sound system, or for some other • Line outputs out that what I though was a LED is actually purpose. • Single-function remote a cubic zirconia, which is intended to reflect Karan doesn’t want you to remove the lid • Standby circuit light from within the room to allow easy on its amplifiers, because there are dangerous identification of the rotational position of voltages inside, yet the company realises the control from any distance. The remote is that many people will be curious about a motorised so that it can be operated via the hand-made amplifier, so it has included in LAB REPORT supplied remote, but unlike most motorised the Owners’ Manual a very large photograph Readers interested in a full technical volume controls, the version Karan uses showing the inside of the amplifier with the appraisal of the performance of the ‘feels’ like an ordinary control when you turn caption: ‘This is your amplifier inside please it manually… in other words, it doesn’t have don’t open.’ However, I did ‘lift the lid’ on Karan K I 180 Mk2 should continue on the usual ‘dead’ feel of a motorised volume mine and was very impressed by absolutely and read the LABORATORY REPORT control, and there’s also no control ‘backlash’ everything I saw inside, from the quality of published on page 22. Readers should when you stop turning it. In fact the tactile the individual electronic components Karan note that the results mentioned in ‘feel’ and feedback you get when operating uses to the high standard of workmanship, the report, tabulated in performance the volume control is fantastic. right down to the layout of the tracks on the charts and/or displayed using graphs Speaking of the remote, it is very PCB boards. It truly is a work of art. and/or photographs should strange! Firstly, perhaps taking its design Although the huge toroidal be construed as applying only cues from Denmark, it’s circular, rather transformer is branded Karan, Karan to the specific sample tested. than rectangular. Second, it has only two does not make them in-house, but Lab Report on page 22

avhub.com.au 19 ON TEST Karan Acoustics KA I 180 Mk2 Integrated Amplifier

encapsulated toroidal transformer has full changed? A bigger, potted toroidal transformer 500×90×310mm (HWD) and weighs 18kg. dielectric insulation between primary and for starters. This necessitated a re-laying out of all secondary windings and is also encased the centre power supply board… and that gave In Use and Listening in a non-magnetic shield… despite it Milan Karan the perfect opportunity to revisit Sessions being a toroidal design. The a.c. from this almost everything about the 180, changing Depending on what brand and model of transformer is rectified to d.c. by a network of and improving where necessary. It’s a tribute interconnects you use, you may experience discrete BY550 high-surge capacity diodes (to to how good the initial design was that not a a few cabling issues when installing the make use of their low reverse current and low great deal ended up changing. Where the last Karan KA I 180 Mk2. As you can see from the forward voltage drop) rather than a standard few years have changed the face of the audio photograph of the Karan’s rear panel, all the off-the-shelf bridge rectifier. The resulting world is there’s now even greater acceptance of left-channel inputs and outputs are on the d.c. rail is then smoothed by a total of eight the importance of audiophile-grade electronic right side of the rear panel, and all the right- 10,000µF 63VW electrolytic capacitors, each components in products. In some places, channel inputs and outputs are on the left carrying Karan branding. Although I don’t this manifests itself as a burgeoning hot-rod side of the rear panel. (This sounds weird, but know which company makes the specific community, whether home-grown or ‘bodger since we’re looking at the panel from behind, capacitors used in the Karan KA I 180 Mk2, built’. In others, it’s the dealer or distributor the ‘left’ side of the rear panel is actually the based on past history I’d venture a guess that making the changes for consumers. Here, the ‘right’ side and vice versa.) What this means they’re made for Karan by Roederstein. amp is upgraded at source. Look closely and is that your signal cables cannot be a type It appears Karan has instituted a multi- you’ll see audiophile-approved names like Vishay where the two cables are physically joined disciplinarian approach to quality control and WBT in place of the standard fare. This not together: you need to use signal cables where because after each amplifier is built, it’s tested only adds to the cost of the product, but seriously the left and right channel wires are com- by a one person, auditioned by yet another ups the performance, as we’ll see.’ pletely separated. Also, the high-quality gold- person, and then given a final check by yet One other difference is that the Mk1 plated speaker terminals have no insulating another person, so by the time it gets to apparently did not have a remote control, shroud, so that if you use bare-wire connec- you, at least four different people will have so presumably also the volume control has tions, rather than pins or spades, you will signed off that the amplifier meets Karan’s changed, because there would be no point need to make very certain that no stray bits standards. (And when I say ‘signed off’ I in fitting a motorised volume control to of wire come into contact with each other, or mean this literally, because each person has an amplifier that did not have a remote to with the chassis. to physically sign that they’ve made the operate it! You need also be made aware that specific check.) And speaking of standards, in So far as dimensions and weight because the Karan is a fully balanced design, addition to the internal components being are concerned, the Karan measures the ‘negative’ speaker terminal is not at state-of-the-art, from recognised ground potential, so you should connect audiophile manufacturers, the terminals only to passive the quality of the loudspeakers, and never to assembly is second to electrostatic or other ‘active’ none, with outstandingly loudspeakers (or subwoofers) soldered joints, beautiful which have their negative wire dressing, and superb terminal referenced to ground. component alignment. Karan also warns in its manual As for this being a ‘Mk2’ (on page 6) that the amplifier model, I am afraid that is ‘not recommended for loads I never saw or heard the less than 3Ω’ so you should original Mk1, because take heed of this very specific Karan has only recently recommendation also. commenced distribution Karan warns that the in Australia, but AV Guide’s amplifier can become quite hot, Alan Sircom, who had but I did not find this to be the seen a Mk1 version, said case during the period I was of the differences in his using the amplifier. It certainly review of the Mk2 version became overly warm, particularly that: ‘The rest of the specs are after extended listening sessions identical, as is much of the at high volume levels, but every amplifier board layout and time I felt the casing and/or the even the internal geography heat sinks, I didn’t think it became of the amp. It also has that ‘hot’. However, because I was unique—as in ‘how does he do constantly feeling the heatsinks it?’—Class-A sound without to monitor the temperature, I Class-A inefficiency. The secret, certainly became aware of another apparently, is sliding bias, low danger—that the individual fins current and treating the whole have extremely sharp edges…I voltage rail like the base of a hurt my fingers a couple of times. transistor. The one specification I certainly would not recommend that has changed begins to putting the amplifier anywhere that give the game away. The new someone walking past could catch KA I-180 is 10kg heavier their clothing on the heatsink fins! than its predecessor. What’s In terms of physical placement, I

20 Australian Karan Acoustics KA I 180 Mk2 Integrated Amplifier ON TEST

was also gratified to find the amplifier had holographic soundfield. At one point, I was sound on this album. Sometimes the sound only three feet, rather than the usual four. enjoying a piano sonata when the pianist is so perfect that Higgins is with you in the This means that no matter how uneven the accidentally kicked one of the piano’s room, and you can just feel her pain. (At surface on which the amplifier is placed, it pedals and the image was so real that the some other moments, though, I do think will never ‘rock’ or become unstable. Yes, it’s instant I heard the sound, I actually looked there is a little unwanted overproduction… only a small thing, but it shows that someone downwards, to where the pedal would have did we really need the cello on Any Day Now who cares about even the smallest design been, to double-check… even though I knew, for example?) details has designed this amplifier. of course, that there was nothing to be seen! It’s a great album for auditioning The sound quality of the Karan also Certainly, with solo performers and small equipment, too: for the purity of the capture, reveals that it’s been designed by someone ensembles, the sonic prowess of the Karan and for the incredible way Higgins varies who really cares about sound, because it is sufficiently good that you can suspend the tone and colour of her voice, sometimes manages to combine the raw power of solid- reality… albeit for the duration of a track or almost bar by bar. When this album come state with the rich warmth of valves, so three! out, I also couldn’t quite believe the lyrics… you get the best of both worlds: impressive This means, of course, that if your and ten years down the track I am still dynamics and superb musicality. However, speakers are up to it, the Karan can be amazed. Just take the opening stanza to to an even greater extent what you hear brutally revealing with CDs that have been ‘Unbroken’: ‘Red handprint on the white of from the Karan will depend largely on the recorded poorly. If a vocalist wavers back and your cheek, pack your bags quiet while the lion speakers you choose, because in my sessions I forth in front of a microphone, for example, I sleeps. Watch your mother put her name on the found that the sonic ‘signature’ of the Karan can guarantee you that the movement of the line, next to the place where your father signed. changed subtly—and most noticeably in the image will drive you crazy… it certainly did And inevitably what you used to be succumbs bass—whenever I changed loudspeakers, so me! The same is true if you’re listening to a to the pull of gravity and you will never, no you it’s clear that the KA I 180 Mk2 and your close-miked acoustic guitarist who’s making will never see with virgin eyes again…’ Phew! speakers will form a symbiotic relationship. a fair bit of noise on the fretboard: the sound No wonder the album didn’t chart so well in Certainly I found that with models that is so realistic that it’s easy to be distracted the US! claimed nominal impedances of 4Ω, I was from the main event, the music. You’ll also tending to write in my listening notes that the bass was ‘full’ and ‘rich’ and ‘rounded’, The sound is so perfect that Missy Higgins is with whereas when using exactly the same musical passages, but with the Karan connected to you in the room... and you can just feel her pain. speakers that were rated at 8Ω, the descriptors I used to describe the bass changed to words need to be a little careful with orchestral Conclusion such as ‘tight’, ‘controlled’ and ‘great depth’. CDs that have been multi-miked, because I Designer Milan Karan obviously has a very Interestingly, in both situations I was still found these to sound a little cluttered and clear idea of how he wants his amplifiers to noting down that the overall sound was confused. When listening to a properly- sound…and perform… and a very focused ‘warm’ and the cryptic reminder to myself miked orchestra, however, the timing and personal vision as to how to go about achiev- ‘valve-like!’ was written down multiple times precision of the Karan is so good that it’s as if ing it, which is no doubt why he is building across many pages. you can hear every instrument individually, them by hand, using a solid-state output One thing that never changed was the yet without losing the overarching orchestral circuit topology that is rarely used in hi-fi sheer amount of power that was instantly presentation. amplifiers (though Dan D’Agostino used it available, no matter what speakers I used. The arrival of the Karan KA I 180 Mk2 when he was at Krell and it’s is still being used This not only allowed me to increase the handily coincided with the arrival of my by Hans Ole Vitus at Vitus Audio in Denmark, volume far beyond ‘safe’ listening levels, replacement copy of Missy Higgins’ debut to name just two famous users). but meant that the dynamic realism of the studio album (The Sound of White) so with Select your loudspeakers carefully and the sound was exceptional irrespective of the the Karan’s help I spent many, many very Karan KA I 180 Mk2 will reward you with a volume level. This overall impression was happy hours rediscovering this fabulous sound that combines the musicality of valves further enhanced by the contrast between album… not to mention wondering with the power of solid-state, presented in a the silky-smooth, ultra-quiet noise floors where my original CD had got to. (For beautifully executed electronic package. that meant you could, literally, hear a pin the record, TSoW is rated #86 in the book greg borrowman drop. What I also found impressive was that ‘100 Best Australian Albums’ compiled by when listening, I always had the uncanny Toby Creswell, Craig Mathieson and John SPECIAL NOTE: This review is slightly sense that I was at a live performance… or, O’Donnell.) It’s not just the music on this different from that which originally ap- if you like, that the performer (or in a small album either—though in the end, it is all peared in the magazine. Several factual ensemble, performers…) was in my living about the music!—but I just love lots of the corrections have been made to the text, room. This was partly because of the almost production and the incredible reality of the email address and warranty details.

LAB REPORT ON PAGE 22

avhub.com.au 21 ON TEST Karan Acoustics KA I 180 Mk2 Integrated Amplifier

CONTINUED FROM PAGE 18 Test Results I was interested to see that Karan rates the power output of the KA I 180 Mk2 in the following way: ‘Pink noise RMS power: 180/300W into 8/4 ohms.’ It’s interesting be- cause this is a measurement technique I have never heard of previously. It could be the industry standard for power measurement in Serbia. I presume that Karan uses some type of pink noise as the signal source (though as there are several quite different types of pink noise, it’s incorrect to simply state ‘pink noise’), connects a true RMS-reading voltme- ter, then observes the pink noise on an oscil- loscope whilst looking for signs of clipping! Nonetheless, it’s an interesting approach to measuring power output that I will look into myself, though I suspect it’s not without its issues, not least of which is the type of pink noise to be used. Rather than try to replicate an unknown non-standard power measurement technique, channel at 1kHz and 231-watts (23.6dBw) per than 1Hz to 110kHz –1dB. Across the audio Newport Test Labs used the world-standard channel at 20kHz. band, Newport Test Labs measured the Karan’s amplifier power output measurement However when driven into 4Ω loads, frequency response as 20Hz to 20kHz ±0.05dB techniques recommended by the Europe’s the Karan fell a little shy of specification, when driving a standard non-inductive International Electrotechnical Commission returning figures of 222-watts (23.4dBw) laboratory test resistor, which is self-evidently (IEC), as well as the USA’s Institute of High per channel at 20Hz, 225-watts per channel excellent! When driving a more demanding Fidelity (IHF), and Australia’s own Australian (23.5dBw) at 1kHz and 231-watts (23.6dBw) simulated speaker load (Newport Test Labs Standards Association (ASA), the results of per channel at 20kHz. And when I say ‘a little uses the same circuit as John Atkinson does which are tabulated in the accompanying shy’ I mean that, because the lowest power at Stereophile), the frequency response was table, and illustrated graphically in the form output figure it returned (at 20Hz) was only measured as being 20Hz to 20kHz ±0.75dB. of bar-graphs in the main body of the review. 1.3dB below specification, a difference so This is still very flat indeed—the human ear Using this system, the KA I 180 Mk2 easily small it would not be audible, even under would detect it as being perfectly flat, and met its specification into 8Ω loads, returning perfect listening conditions. again an excellent result, but indicative of a test result figures of 223-watts (23.4dBw) per The Karan KA I 180 Mk2 has a very wide fairly high output impedance and resulting channel at 20Hz, 236-watts (23.7dBw) per frequency response, extending from less in a low damping factor, as you can see in the table. The variation in the trace that’s been graphed in Graph 5 (red trace) is due to the Karan Acoustics KA I 180 Mk2 Int. Amplifier — PowerO utput extreme vertical scale of the graph, where the very top of the graph is at +1.5dB and the Channel Load (Ω) 20Hz 20Hz 1kHz 1kHz 20kHz 20kHz (watts) (dBW) (watts) (dBW) (watts) (dBW) bottom is at –1.5dB. Channel separation was exceptional 1 8 Ω 276 24.4 283 24.5 264 24.2 at very low frequencies (119dB at 20Hz), 2 8 Ω 223 23.4 236 23.7 231 23.6 outstanding at midrange frequencies (87dB 1 4 Ω 272 24.3 300 24.7 272 24.3 at 1kHz) and good at high frequencies 2 4 Ω 222 23.4 225 23.5 231 23.6 (60dB at 20kHz). Channel balance was an Note: Figures in the dBW column represent output level in decibels referred to one watt output. excellent 0.24dB at 1kHz. Interchannel phase errors were also outstandingly low, Karan Acoustics KA I 180 Mk2 Integrated Amplifier —T est Results with a best result of just 0.01º at 1kHz, spreading to 0.1º at 20Hz and 0.59º at 20kHz. Test Measured Result Units/Comment This is not only outstandingly low from a Frequency Response @ 1 watt o/p < 1Hz – 110kHz –1dB technical viewpoint—it would be completely Channel Separation (dB) 119dB / 87dB / 60dB (20Hz / 1kHz / 20kHz) impossible to detect such errors with the Channel Balance 0.24 dB @ 1kHz human ear… particularly that 20kHz result, Interchannel Phase 0.1 / 0.01 / 0.59 degrees ( 20Hz / 1kHz / 20kHz) since few people can hear 20kHz at all, much

THD+N 0.61% / 0.12% @ 1-watt / @ rated output less detect a phase error at that frequency! Signal-to-Noise (unwghted/wghted) 82dB / 94dB dB referred to 1-watt output Newport Test Labs’ graphs of the Karan’s output spectrum show the relatively high Signal-to-Noise (unwghted/wghted) 95dB / 102dB dB referred to rated output levels of distortion I would expect from a Input Sensitivity (CD Input) 120mV / 1.63mV (1-watt / rated output) balanced output circuit topology that does Output Impedance 1.3Ω @80Hz not employ overall feedback, which is exactly Damping Factor 6.15 @1kHz the type of circuit Karan says is used inside Power Consumption N/A / 35 watts (Standby / On) the KA I 180 Mk2. At an output of one- Power Consumption 102 / 1,037 watts at 1-watt / at rated output watt, into either 8Ω or 4Ω loads, odd-order Mains Voltage Variation during Test 241 – 255 Minimum – Maximum harmonic distortion components dominate—

22 Australian LAB REPORT Karan Acoustics KA I 180 Mk2 Integrated Amplifier

again as I’d expect—with the third harmonic components right out to 20kHz. The ‘spikes’ sitting at around –40dB (1.0%), the fifth clustered around the fundamental and the at –50dB (0.31%), the seventh at –60dB individual harmonics are signs that the (0.1%), and the ninth at –70dB (0.03%). power supply is under considerable stress Higher-order harmonic components extend at these output levels—not surprising since right out to 20kHz. There’s an even-order the Karan needed to consume more than (second) harmonic at –80dB (0.01%) and a a kilowatt from the 240V mains supply for fourth at –110dB (0.0003%), with the other the amplifier to be able to deliver such high even-order distortion components being power output levels. If you look at the power more than 115dB down (0.0001%). Despite consumption figures you can see that the this, the summed THD+N was still relatively Karan KA I 180 Mk2 is fairly power-hungry low, at 0.61%, which is ‘way below the no matter how you’re using it, and as it 3.0% figure that’s deemed to be ‘audible’ by has no standby mode you should probably psychoacousticians, and also significantly switch it off whenever you’re not using it. lower distortion than from most valve The graph of CCIF-IMD (at an output amplifiers. into 4Ω loads. In the case of the 8Ω result, level of one watt) shows high levels of Output distortion levels are lower at the third harmonic is down at –60dB (0.1%), ordinary harmonic distortion, as you’d rated output—again as I’d expect given the the fifth at –63dB (0.07%), the seventh at expect given the results in Graphs 1–4, but circuit topology—though performance is –70dB (0.03%), and the ninth at –72dB interestingly, there’s very little regenerated now clearly better into 8Ω loads than it is (0.02%), with further odd-order harmonic signal down at 1kHz, with the signal at this level nearly 90dB down. dBFS dBFS 0.00 0.00 Newport Test Labs Newport Test Labs This is completely unlike valve amplifiers, which -20.00 -20.00 have high levels of

-40.00 -40.00 regenerated 1kHz signal. Signal-to-noise ratios -60.00 -60.00 were excellent, with the KA I 180 Mk2 returning -80.00 -80.00 best measured results

-100.00 -100.00 of 95dB (unweighted) and 102dB (A-weighted) -120.00 -120.00 referred to rated output. S/N ratios referred to one- -140.00 -140.00 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 watt (which are the ones GGraphraph 1: TTotalotal har harmonicmonic distor distortiontion (THD)(THD) at at 1kHz 1kHz at at an an output output of of 1-w 1-wattatt into into an an 8-ohm 8-ohm non-inductiv non-inductivee GGraphraph 4:4: T otalTotal har harmonicmonic distor distortiontion (THD) (THD) at at 1kHz 1kHz at atrated rated output output (300 (300 watts) watts) into into a 4-ohm a 4-ohm load,load, referencedreferenced toto 0dB0dB.. [Karan KS 180MkII Integrated Amplifier] non-inductivenon-inductive load, refreferencederenced toto 0dB0dB.. [Karan KS 180MkII Integrated Amplifier] you’d use to compare with the results gained dBFS dBr 0.00 1.50 Newport Test Labs Newport Test Labs by other amplifiers) were also good, with Newport -20.00 1.00 Test Labs measuring S/N at 82dB (unweighted) -40.00 0.50 and 94dB (A-weighted)

-60.00 respectively. 0.00 Mains power -80.00 consumption was very -0.50

-100.00 high, with the Karan

-1.00 needing to consume -120.00 more than 100-watts

-1.50 from the 240V mains to -140.00 10.00 Hz 100.00 1000.00 10000.00 30000.00 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 deliver just one watt to GraphGraph 5: FFrequencyrequency responseresponse of of line line input input at anat anoutput output of 1-watt of 1-w intoatt an into 8-ohm an 8-ohmnon non- GraphGraph 2:2: T otalTotal har harmonicmonic distor distortiontion (THD) (THD) at at 1kHz 1kHz at atan anoutput output of of1-w 1-wattatt into into a 4-ohm a 4-ohm non-inductiv non-inductivee inductivinductivee loadload (black (blac ktrace) trace) and and into into a combination a combination resistive/inductive/capacitive resistive/inductive/capacitiv load e load the loudspeakers, and load,load, refreferencederenced to to 0dB 0dB.. [Karan KS 180MkII Integrated Amplifier] representativrepresentativee of of a a typical typical two-way two-w ayloudspeaker loudspeak system(reder system trace). (red trace). [Karan KS 180MkII] more than one thousand

dBFS dBFS 0.00 0.00 watts (1kW!) to deliver Newport Test Labs Newport Test Labs

-10.00 its rated output at 8Ω

-20.00 -20.00 (180-watts). Because

-30.00 of this, I’d suggest -40.00 -40.00 considering installing a

-50.00 -60.00 dedicated power-point

-60.00 exclusively for use by the

-80.00 -70.00 KA I 180 Mk2 in order to

-80.00 ensure you can extract -100.00 -90.00 the best performance

-100.00 -120.00 from this powerful, -110.00 extremely wide-band -140.00 -120.00 amplifier. 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 24000.00 28000.00 Graph 6: Intermodulation distortion (CCIF-IMD) using test signals at 19kHz and 20kHz, at an GGraphraph 3: TTotalotal har harmonicmonic distor distortiontion (THD)(THD) at at 1kHz 1kHz at at rated rated output output (180 (180 w atts)watts) into into an an 8-ohm 8-ohm Graph 6: Intermodulation distortion (CCIF-IMD) using test signals at 19kHz and 20kHz, at an Steve Holding output of 1-watt into an 8-ohm non-inductive load, referenced to 0dB. [Karan KS 180MkII Amplifier] non-inductivenon-inductive load,load, referencedreferenced to 0dB0dB.. [Karan KS 180MkII Integrated Amplifier] output of 1-watt into an 8-ohm non-inductive load, referenced to 0dB.

24 Australian