Foreword
I
don’t love complicated items. The fact that I find it necessary
to find straight solutions to everyday problems is maybe
a consequence of my interior complications or of my weirdness.
Simpler is better, as they say; the simpler, the better.
I think simplicity, often confused with simplification,
almost always helps. Simplicity concern many aspects, operations
for sure, but of course aesthetics as well. This quest for
simplicity in our field, quality music reproduction, leads
me to pay more attention to integrated components, which
have evident advantages. The first I can name are jitter
reduction in an integrated CD player (versus a separate
transport-DAC combo), the ease in using an integrated amplifier
(versus a pre-power combo). “Tube or transistor preamp?”
“Integrated or stand-alone phono preamp?” “Which cables?”
“Tube or transistor power amp?” are only a few of the hi-fi
purist’s questions. I shall recognise this is part of the
game, but in most situations simple things often clear your
mind better. Direct consequence: if you use integrated components,
most of the times you get a minimalist system, with a single
source (an analogue or digital disc player), an integrated
amp and a speakers system. Of course, there is a lot of
solutions even if you embrace minimalism, and that’s the
game re-entering the scene.
Micromega
in general
It
was 1995 or so, not that long ago, when I had my first hi-fi
magazine between my hands, a “Suono” issue, a gentleman
named Bebo Moroni (what a name, I thought) was the editor.
Well, in that first issue there was a Micromega ad, portraying
a complete system, a black, elegant and simple looking one.
During these years, the range of this French manufacturer
has expanded. The most advanced products are those in the
“Reference” line, currently including the Reference SACD
and the Reference DVD, two excellent products, which will
shortly be joined by an amplifier of similar virtues. The
Tempo1 (50 watt integrated), Tempo 2 (75 watt integrated)
and Tempo P (preamp) amplifiers, are part of the "Concept"
line, together with the Stage CD players, the Drive transports,
the Dac digital to analogue converter, the Tuner FM tuner
(what a fantasy name) and the Diva floorstanding loudspeakers.
The Tempo amplifiers, the Stage players and the Drive transports
are updateable and upgradable, you can upgrade to the next
product up the range just by paying the price difference;
and maybe this is the “concept” which gives this line its
name, an intelligent way to protect the customer’s investment.
The exterior has become a classic and during these years
it has gone unchanged. The lower line (which isn’t precisely
an entry level range, considering the performances) of Micromega’s
line is named “Minium” (including, at least, Minium Amp,
Minium CD, Minium FM, Minium DVD).
…and
specifically our Tempo 2
I
found the simple, essential look I often search for as soon
as I opened the Tempo 2 carton. If you love lights and chrome
knobs, go away, as this is not your place. Our integrated
amp is completely devoid of those, but it’s got a really
nice black anodised aluminium facia, with a "Scotch Brite®"
finish, a kind of elegant and subtle brushed one, which
gives to it an elegant and clear aspect. On the left eight
buttons around the red LED display are used to perform the
microprocessor controlled functions: on/standby/off, input
selection, volume, muting, balance, input naming, sensitivity,
maximum volume. Right at the centre a backlit pa
nel
bears the product’s name and sports a headphone output (quite
unusual, but very welcome if, like me, you like listening
to music late at night and have children). The amplifier
stores the volume level used for headphone listening and
automatically disconnects the speakers output when you plug
the jack of your headphone into this output. A phono board
is optional. The cover panel has rounded corners and is
secured to the chassis from underneath, using TORX screws.
On the back panel, from left to right, a IEC inlet (fused
and incorporating the mains switch), the output connectors
(only bananas here, a thing I find intelligent and not in
the least unfriendly) and good quality, gold plated input
and tape monitor connectors. Footers are resistant and well
built. The remote is complete and functional, and, much
to my pleasure, it is able to control my CD player. The
user manual is correctly written (somewhat uncommon), with
useful advice (a very interesting part on main cables and
interconnects is included) and clear operating instructions;
kudos to the distributor. The internals are proof that form
and substance can integrate nicely. It’s really clean, cabling
is tidy and reduced to a minimum, PCBs are very good quality.
Each section is easily identifiable; on the left, the preamplifier,
using only discrete component if you exclude the common
Crystal CS3310 used to control the volume level. Input selection
is performed via a bank of inert atmosphere relays. Critical
circuit point capacitors are very good quality polipropylene
Wimas. On this same PCB the designer has placed the ICs
controlling the amp’s functionalities, which include an
Intel 8082 and an EPROM that stores the settings. The review
sample is equipped with a MM phono board, based on the common
NE5534P IC. Micromega has implemented a microprocessor-based
protection system, which controls overheating and DC offset,
in addition to the common fast-blow fuses. On the centre,
the discrete components based power section, on the left
the PSU, which is characterised by a beefy toroid transformer,
which accounts for half of the amp’s weight alone, and 20000
uF of Philips Audiograde capacitors as a main reservoir.
Listening test
The
Tempo 2 has took the place of the hybrid Bartolomeo Aloia
GY50 in my system (Marantz CD16, DIY standmount speakers
based on a Vifa mid-woofer and a Morel MDt33 tweeter in
a solid wood cabinet, DIY stands and cabling). The two amps
are quite different, in circuit choices (the Aloia is a
hybrid with tube preamp section, the Micromega is a completely
solid state unit), in sound and in user interface (the Tempo
2 is the quintessence of good engineering, my GY50, even
if consistently engineered by its designer, ends up, as
many DIY items, to be a work in progress, and user interface
is a strange concept for an item which I have left for two
years with a single input and a volume control for each
channel). The Tempo 2 sonic family is patently different
from the one to which Aloia’s hybrid amp belongs to. My
first impressions were of a certain coldness, and of less
low frequency extension. The truth is that the French amplifier
places no emphasis on any particular frequency range (a
fact that can be deducted from its specs, which declare
an absolute linearity from DC to half a megahertz). Power
reserve is evident, and it’s when power and poise are required
that our Tempo 2 comes into its own. I have the sensation
that it prefers to be operated at high levels, confirmed
by the fact that something seems to be lost at low volume
settings.
A
kind of test I often do is listening from another room.
Maybe it seems strange, but this listening condition sometimes
helps me understand if the system is harmonically sounding,
if it communicates independently from the ideal listening
conditions and the sweet spot. Obviously you can’t judge
soundstaging this way, but balance problems are really noticeable.
I did this strange test listenting to Toscanini’s Traviata
recording, libretto in hand. Recordings' limitations granted,
I had the pleasure to take notice of the good treatment
our amp reserves to vocals. This is, in my book, a good
sign of quality. This voice reproduction capability was
evident listening to Elisa’s “Here Comes the Sun”, too,
for instance. The Italian singer’s voice is crystal clear,
but the Tempo 2 brings to my attention the fact that electronic
percussions were used where a good, old fashioned drum kit
would have been better; this without marring my enjoyment
of the music. Pogorelich’s Pictures at an Exhibition (on
Deutsche Grammophon) are involving and realistically reproduced.
The piano is tonally correct, and the bass lightness is
to ascribe to my standmounted speakers, which, while being
very good in most situations, can’t do everything. I took
out a record with Narciso Yepes playing Rodrigo's Concierto
de Aranjuez. His guitar is easily recognizable, with its
warmness and its dynamic contrasts. The accompanying orchestra
is ample and majestic. Stan Getz and Joao Gilberto get my
imagination running to Ipanema's beach and make me long
for the sun's warmth, which is saying something, considering
the zero degrees temperature out here while I listen.
Bottom
line
What are the qualities that characterise this integrated
amp? In general, the impression is one of balance, restrain
and transparency, a transparency not reached by pushing
up high frequencies, as it’s often the case; it’s rather
the ability to spotlight the incorrect or unrealistic aspects
of recordings. The great build quality and accuracy is reflected
in a way that is not obvious in its sonic character. A product
of this kind is a little audiophile pearl, which needs partners
of its class and an attention to accessories that can help
in reaching a high quality result
