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Quad Platinum DMP/Mono(s)Quad's Platinum Series promises a genuine high-end experience with the Mono poweramplifiers and the DMP (Digital Media Player), containing CD player, DAC and preampReview: Ken Kessler Lab: Paul Miller

or those who crave more powerthan that ol the Elite QSP, Quadhas delivered the Platinum Monopower amp. Concurent with its

release is the DMB the initials standingfor Digital Media Player, and it's a logicalprogression for those of us who havelong-enjoyed the earlier 99 Series digitalpreamp/CD player, the CDP-2.

Crucially, the D[,'lP updates the CDP-2'srole as a digital control unit by adding a

USB input. This, however, does not mean anincrease in the number of points of digitalingress, which remain at six. But where the99 had three Toslink and three coaxial, theDMP sacrifices one of the latter for the USB.

LINE PREEMP ON ITS WAYOutputs are the greatest area of departurebecause the number of digital sourceswith bi"directional usage has increased,especially in multi-room systems. The totalabsence, too, of analogue inputs meansthat those with analogue sources will feedthem into a conventional line-level preamp;the Platinum Pre is in the works to fill thatrole. To make the DMP as flexible as a

digital media player can be, digital outputsinclude one each of Toslink, coaxial, BNcand AESiEBU via XLR.

Both the Monos and the Dl\,4P

acknowledge current high-end practice byproviding balanced connection via XLRs forthe main line"level output from the preampand input to the power amps - preferred bymany of us. Other connections on the DMPinclude two pairs of conventional single-ended outputs through RCA connectors,'System Link'via Ethernet cables ratherthan the earlier 15-pin Quadlink, two 1 2Vtrigger outputs (cables are provided and I

used them to switch on the amps) and anIEC mains socket.

As a concept, the DMP is now a fairlycommon component, in which a CDplayer's DAC has been accessed and turned

RIGHT: Quad hasn"t sclimped on the powersupply, and the increase in volume over the cDP992 allolvs for better isolation ol subsections;daughter boards make servicing easier

into a digital preamp by the addition ofa level control. What has changed is theneed to accept not just the sort of djgitalsignals that have been around for decades,but feeds from a computer, typically viaUSB. For those using PCs, then, specialdrivers are required and Quad suppliesa fat manual to walk youthrough this. For those withMacs, synergy is instant: myAir was feeding iTunes intothe DMP within 17 secondsof inserting the USB cableinto both. As it turns out,the sound was so lame thatI reverted to other sources

'The Platinum

sintered bronze bearings, Quad says thisconstruction 'reduces noise and vibrationthrough critical damping of the mechanicalcomponents, allowing the laser to readthe disc with unerring accuracy'.5ufficeit to say, it performed on a par with theexcellent Denon DVD-2900 universal player

for CDs, while theDAC itsell managedto exploit the stillamazing MarantzCD-12 transport.

lnside are twinCirrus Logic 24-bit/192kHz Delta-sjqma

Monos made methink of the 9O9s

on steroids'

- the problem lies with my use of iTunes,not the DMP - so my findings refer mostlyto CD playback and downloaded content.

For its CD section, the DMP containsa transport constructed from die-castalumjnium and ABS compound, with a traysupported by steel rods running through

D/A converters used ina double differential mode. The upsamplingto 24-bit/192kHz complemented thesources I fed it, particularly the feed fromBBC Radios 3 and 4 via the iPlayer.

After the DAC, a fully differential signalpath feeds the balanced XLR outputs, andthe DMP allows the user to configure the

24 lt4ryw.hitinews.co.uk i IANUARY 2013

XLR and RCA outputs independently forvariable or fixed level operation (for whennot used as a preamp but as a standalonedigital source). I used it both as a systemcontroller, with the volume operated bythe slick remote, as well as through mymain system of Audio Research REF 55Epreamp feeding a REF 75 power amp IHFNNov'121 into Wilson Sophia 3s. As thesewere used throughout the sessions, it says

much for the N/onos, at a few pence shy oIE5000 for the pair, that they never balkedat driving the Wilsons even up to hooliganlevels lsee Ken's system at www.hifinews.

co.uk f news f atticle / meet-the-tea m;ken"kesslet/98271.

Each Mono is rated at 180W into 8ohm

lsee Lab Report, p33], courtesy of itssubstantial output devices. Quad claimsthe specification of 'top quality, audiophile-grade components, from the large powersupply capacitors to the circuitry thatcontrols the amplifier open loop gain'as'carefully chosen for their combined soundquality, and dynamic pedormance.'

After trying both items on their own

- you'd be surprised how well the N.4onos

sing with Lhe RLI- 55E providing the drive -

ABOVE:@mprehensiveremote features acool loot' to raise itto an angle

LEFT: Power ampshave onlyon/ofibutton (rarelyused if triggers areemployed); DMPgroups inputs toupp€r left, with CD

controls lower leftand to right of tray

lsettled into the Platinum package drivingthe Wilsons, with YTER wiring throughout.

az,uj, Mrx'N MttTcH?Either the DMP or a pair of Monos as solopurchases for use with, respectively, otherpower amps or other front-ends, wouldcertainly present attractive solutions. TheDMP is more than a competent CD-playerwith-accessible DAC, while the Monosmade me think of 909s on steroids. Butone suspects, given Quad's history, that itsdevotees wouldn't dream of mixing andmatching with other brands... even nearlya half-century after the 33/303 affived.

ll you leave aside the cD player aspectol the DMB it is a superlative DAC with-volume-control. The Marantz CD'l 2

sounded a touch gentler through the Quadthan through its own Kl-modified DAC, as ifa slight roll-off had been applied. This wascertainly noticeable, even beneficial withThe cardinals"The Door ls Still Open', fromthe CD of the same name ICollectablesCOL-CD-99771, valve-y mono from 1958but with just enough edge to excite certainsystems. Through the DMP's CD drive,the sound recessed a few inches, providing e

Quad's Platinum separates are not an entirely new invention, for a CD andpre/power combo of the same name was previewed, albeit quietly, at thelnternational CES way back in January 2007. Quad traditionally has one rangeof solid-state electronics at any given time - currently it's the Elite series, whichreplaced the 99 Series. Howeve( tor some time, Quad has been monitoringdemand for a more upmarket range of solid-state electronics to run alongsidethe Elite Series (and the existing valve amp range, ol course)- So while Platinumhas existed in prototype form for a several years, the designs have graduallyevolved until the time was deemed right for a lull commercial launch. Thoughtypically innovative, Quad has never been a company that is prepared to rush!

JANUARY2013 ww\,v.hifinews.co.uk 25

HF,V spoke to IAG'S Director ofAcoustic Design, Peter Comeau,to iustify the Platinum system inlight of Quad's long-held tradition -which began with Peter Walker - offocusing on the middle sector. Alterall, Walker held a deep aversion towhat was called 'high-end audio'as defined by the community in thel97os, particularly the pricing-

Peter said, 'The Platinumseparates are a response tocustomer demand for higher-endsolid-state gear, as a step up fromthe Elite Series. Physical media isstill highly relevant for a companylike Quad- Our customers havelarge collections of CDs and/or vinylrecords, and our job is to deliver thebest possible way for them to enioytheir collections at home.

'Clearly, though, no manufacturerof audio electronics can ignore thetact that the way we consume musicis changing. That's whythe DMP is

not just a cD player: we've addeda range ot digital inputs, so virtualmedia stored on a comPuter canbenefit from the DMP's DAC andoutput circuitry.'

As for Wi-Fi Peter said,'Rightnow' we draw the line at wirelesssignal transmission - whichevertechnology is used, it remainsrelatively unreliable and sonicallyinferior to a correctly-engineeredwired connection, and cannotcurrently deliver the operationalsimplicity or perfo.mance wedemand- But we are alwaysresearching new technologies, so infuture, it might be possible.'

the illusion of greater depth (this is mono,remember), but marginally less immediacywhen the sax solo pops occur.

It made me think of a now-forgottencontrol once seen on 1950s and 1960ssystems labelled'Presence': the lvlarantz-via-Dl\,4P was more forcelul, the CD-via-

Quad more subdued. one could alter theperformance merely by changing cables,let alone speakers, sothis must fall under theheading of'subtle'.

CATCHING I'PPlaying the same materialvia my Mac was an

oblect lesson in why I

believe iTunes sucks. I

'Some of the

ll CD seems the best wayto exploit theDMP, that's to ignore the virtues ol theDAc for other sources. For a chuckle, I feda Nagra voice recorder though the Quadand it revealed jusl what a fine recordingwas captured by a hand-held device ontoan sD card; and the use ol the Quad witha couple of sub-€100 iPod docks {one ofthese under E30) merely reinforced the

convenience of the DMPif not its full potential.

GRI'NT TO SPAREProbably the best soundI managed to eke outof the DMP was withthe N,4arantz CD12 viacoaxial, while the amps

tracks on ListenTo Mehave

sonics to die for'

ABOVE: Lots of space within ensures cool running for the Platinum Mono. The main board is packed

with good{uality components and an extensive PSU Eservoir bank (transfomer below)

,i\t

transfer music to my iPod with the leastcompression, but'red book' cD showedjust how much is lost through all thatcomputer jiggery-pokery. Which tells you

that it's not just the standard ear-budsthat make iPods worthwhile otly for travel.What is undeniable, though, is the ease

with which lwas able to leed the BBciPlayer and other'catch-up' sites to mymain system. This, however, is a privilege ofdiminishing worth, now that Sky has addedthe BBC and others to its'On Demand'section. To his end, il you're using a skyHD+ box through the DMP, you can bypassyour computer, whether PC or Mac.

have qrunt to spare. lt was nothing shortof revelatory for a combination costing€2500 per unit (l know that's a lot ofmoney, but in relative terms, the Platinumsare not priced in the manner of theprecious metal that gave them their name).

2011's spectacular Buddy Holly tribute,lisfen Io Me [WrasseWMSS295], is a CD

that almost made our'Twelve Discs For

Xmas'lsee p18-23] because it contains 15phenomenal covers (plus a risible piece ofdrivel from Erjc ldle), a number of thempossessing sonics of the to-die-for variety.Stevie Nicks'scarily rocking 'Not Fade

Away' places her distinctive, slightly nasal G,

TANUARY 2013 | www.hif inews.co.uk I 2?

AEOVE: All untu are clearly labelled and fiaed with good{uality connectors. Notebalanced )CR connection lor pretopower, and four types of dighal outputs and six

digital inputs, including USB, on the back of the DMP. The Monos facilitate biwiring

QUAD PLATINUM DMP/MONO(s)The DMP clips at volume 82'with a odBrs input (cD, S/PDIF

or LJSB) and so all measurements were run at volume'80'(2.59Vvia the 115ohm balanced outputs). Distortion is a

moderate 0.001% at this level across allfrequencies, fallingto a mere 0.00005% at lodBFs and 0.0002%at 3od8Fsthrough the midrange with 24-bit digital inputs lsee Craph1, belowl. Quad has opted fora digita I filter with minimumphase characteristics, offering less pre-than post-event ringingin the time domain and encouraging a verygentle treble rolloff, amounting to -0.6d8/20kHz (44.1ia8kFq, -a.odBia5kHz(96kFs) and l0.6dB/gokHz (192kFs). Digital jitter is lowestwith CD at the 16'bit level of I 1 5psec and slightly higher at160/1gopsec with 24-bit inputs at 48/96kFs, respectively.

The partnering Platinum [,4onos easily best their170q8ohm ratins at 200q8ohm and 34oq4ohm and soon to deliver 250W 470W 820W and 1.34kW into 8, 4, 2 andlohm loads under dynamic conditions lsee 6raph 2, below].These surprisingly cool-running boxes pack plenty of muscle.Distotion is lowtoo, rising gentlyfrom 0.0006% at lW8ohmto 0.001%/l0W and 0.003% at l00W through the midrange.At thefrequency extremes - high treble and very deepbass distortion increases quite quickly, reaching 0.015% at2OkHz/10W and 0.05%at 5Hz/l0W The response has a gentletreble roll-out although it's more extended than the D[4P at-0.15d8/2okHz to -2.0dB/100kHz. 45the output impedanceincreasesfrom O.08aohm above lOkHzto 0.5ohm at 100kHz

{in line with the increase in THD),the amp's Hr response alsorolls away quicker into lower impedance speaker loads, PM

tod.*ho)Disnar sisnll.d " @

ABOVE: Distortion vs. decreasing digital level (l kHzat 24"bit/48kHz via S/PDIF = red, via UsB = black andlkHzvia CD = orange,2OkHz = blue)

Dyhanic Pow.r outp,x '> EABOVE: Dynamic power output versus distortion intoSohm (black trace),4ohm (red), 2ohm (blue) andlohm (green) speaker loads

voice in front ol lean percussion andan array of backing vocals. Whenjoined by subtle electric guitar,the sound coalesces into a liquidwhole despite the contrastingtextures, the amplif iers providingthe requisite dynamic swings. Andthen, in slices some vicious fuzztone,sandwiched between acousticguitars - a bouillabaisse of soundsboth amplified and unplugged. The

Quads deftly gave none of themtoo much emphasis. The result wasan iff esistible rhythmic experience,especially when the song reverts tonaught but hand-clapping, that justoozes atmosphere. I don't wish tobelabour this point, but switchinqfrom CD to iTunes and backreinlorces the groundswell revival ofinterest in CD as a format that didn'tdeserve to be dissed so recklessly.

A CAPPELI,A FE,ASTAlthough the tracks on this CD

are recent, Linda Ronstadt's '1976

classic emerges half-way throughand, damn if it doesn't still sparkle,with astonishing transient elementsand rich lower octaves. Again, it'sthe way the DMP handles such amelange of textures, especiallyduelling, piercing guitars and oneof rock music's clearest voices, withequal assurance.

All of this is arrayed across a widestage allowing the most curious oflisteners to zoom in with Zeiss-ianfocus on specific musical details.

But it's the leanest track that mademe fall in love with this system.Zooey Deschanel, the multi-talentedactress. has a rich voice that tomy ears renders her almost a CherMini-Me. Her mainly-unpluggedversion of 'lt's 5o Easy', with a simplybeautiful choral group behind her,is as valuable for the silences as lorthe vocal sounds themselves. Whenthe track turns into a near-Cregorianfeast ol a cappella,you really won'twant it to end.

As for Natalie Merchant's'Learning The came', just strings andpiano, well, it proved the system is

capable of such finesse that I couldonly imaqine the 303 had beenreincarnated as a six-times-the-power great-grandson. O

By virtue of the Monos' easewith the sophias, and the lack oldrama with the DMP's faultlesssegue from CD to iTunes toiPlayer, and with prices nowherenear the high-end norm, thePlatinum pairing is a marvel. As

separates, the DMP has rivalslrom Cambridge, Naim, ef ar, theMonos have rivals from everyone,but as a coherent system, it'smanna for those who still loveBritish hi-fi's most revered name.

Sound 0uatity: 84%

0 - - - 100

Poweroutput (< ljl IHD. 8/4ohm)

Dynami. power (<r%rFrD, 3/4/2/lohm) 25OW / 470W / 820W I r.34kW

0.087-0.r6ohm (r r5ohm, DMP)

+0,0 to 0.58d8/+0.0 to -O,l5dB

1l0.3dB (0dBFs) / 86.9d8 (0dBW)

lr5p5ec/ l6opsec / l90p5ec

JANUARY 2013 w\ r /.hifinews.co.uk 29