The Best Amp for the Price of Dirt

Johnnyb53

I have also been really happy to read this thread - thank you.

I continue to enjoy my Behringer amps for my desktop applications, but was very intrigued to read about the Art amps, and happy to see that Parts Express carries them as in my experience they have an absolutely no questions asked return policy.

At a glance, I would think a pair of SLA2s might also be a biamping dream on a budget?

Can anyone else comment on how the build and/or sound quality might compare to Behringer and other cheap as dirt candidates?

09-23-08: Cwlondon
Johnnyb53
At a glance, I would think a pair of SLA2s might also be a biamping dream on a budget?

How about an SLA4? It is a 4x100wpc (8 ohms) amp with the same wide bandwidth (10-40KHz), low noise ( 100) as the SLA4, and also fits in a single-height rack space. It also has a 2-ohm rating, so its current delivery must be pretty good. Although the Behringer is advertised as a 280wpc amp, it tested at about 120 wpc into 8 ohms, both channels driven, with the frequency response rolling off at 10KHz and fairly high noise levels.

For about the price of two A500 Reference amps you can get an ART SLA4, with 4 channels or 100wpc, wider bandwidth, lower noise, and better stability into lower impedances.

Can anyone else comment on how the build and/or sound quality might compare to Behringer and other cheap as dirt candidates?

I'm also active on a guitar discussion page, and while Behringer is considered OK there for the low amount of money spent, it's with the understanding that the build quality is not that great. The ART Pro Audio, however, is considered high quality.

Aczel stated that no one should be able to hear the HF rolloff. I say "poppycock!" For one thing, cymbals and violins make overtones out to at least 16KHz, and overtones define the tone quality and personality of the instrument.

Secondly, HF rolloff below 20KHz means the amp has an audibly slower rise time. If the ART SLA series is truly linear out to 40KHz as claimed, their rise time is four times as fast as the Behringer. This makes a significant difference in keeping the music sorted out and clear. Definitely translates into inner detail among other things.

The Stereophile Review of the Outlaw Audio RR2150, which also rolls off starting around 10KHz, also shows a visibly slower and rounder corresponding square wave response as illustrated and explained here.

04-26-08: Rodman99999
Davemitchell- Perhaps Mr. Aczel is a re-incarnation of Mr. Hirsch?

Mr. Hirsch may have shared Mr. Aczel's "It all sounds the same" philosophy, but he was never as hateful, condescending, nasty, and mean as Aczel is on every page he writes.

I don't agree with the late Mr. Hirsch, but he was a gentleman, at least in print.

Johnnyb53 : Can we please keep Aczel out of this? He certianly causes blood to boil. Unfortunately, I never appreciated the anger issue when I mentioned his review. He detracts from the fact, the 500A's as mono blocks are certianly outstanding driving the Nova Enolution , a full range speaker in my home.

As for professional stage amps ,I agree, I also would never use them . My cousins are professional musicans (LA, Vegas & Touring) & I also play guitar as an aside. I prefer nos tube Marshall, Fender and VOX , although lately my cousin ,Tony Scuito, has been using some strange named Chinese gear he gets from the distributors. Having been on the road before I understand the issues. Of course, for a coffee house singer & player on a tight budget a 500a could work.

I'm going to give a look to the SLA's . All the best.

Does this mean the SLA4 can be bridged in some way to combine 2 of the 4 channels per side?

Of course, as an audiophile I would be disappointed to not have 2 chassis, which means a pair of SLA2's might still be better....