Gdybym miał wskazać najważniejszą cechę brzmienia tego wzmacniacza, to byłoby to zrównoważenie. Choć przekaz obfituje w detale, to nagrania odbiera się przede wszystkim jako całość. Gatunek odtwarzanej muzyki, sposób jej aranżacji nie ma przy tym większego znaczenia. Czy będzie to "Crta" Ivan Kapec 5tet (FLAC 24/96), czy "Haydn String Quartets Opp 71 & 74" The London Haydn Quartet (FLAC 24/96), czy wreszcie "Boarding House Reach" Jacka White'a (FLAC 24/96) – pogodzenie muzykalności ze szczegółowością w każdym wypadku jest nieprzeciętne, a proporcje między drobnymi szczegółami a całością muzycznego obrazu są uchwycone bardzo trafnie.

Jednocześnie duże wrażenie robi przywołana już czystość brzmienia. Najwyraźniej zapewnienia producenta o zniekształceniach zredukowanych do minimum nie są tylko "pijarową" zagrywką. Nawet najdrobniejsze detale mają tu swoją moc, co wynika z nieprzeciętnej mikrodynamiki i prawdziwie wysokiej rozdzielczości. Czystość brzmienia powoduje także, że muzyki chce się słuchać głośniej niż zwykle, zwłaszcza że przy bardzo wysokim natężeniu dźwięku trudno odczuć oznaki kompresji.

Brzmienie zestawu HPA4/AHB2 jest świetnie zrównoważone, rozdzielcze, przestrzenne, a zarazem gęste i nasycone. Oba komponenty bardzo dobrze czują się we własnym towarzystwie, ale nie znaczy to, że nie można/nie powinno się ich rozdzielać. AHB2 może być świetną propozycją dla posiadaczy DAC-ów Benchmarka. Z kolei sam HPA4 świetnie sprawdzi się ze słuchawkami, zapewniając wyjątkowo czyste i rozdzielcze brzmienie.

Link do recenzji: Benchmark AHB2 – Hi-Fi Class

Całość brzmi spójnie, ale instrumenty pozostają wyraźnie od siebie odseparowane i dopiero pogłos łączy je w jeden obraz. I to właśnie on ma w sobie coś magicznego. Otacza instrumenty miękką, romantyczną chmurką, jakkolwiek dozowaną precyzyjnie, bez rozlewania się na boki ani tracenia kontroli nad wybrzmieniami. Panuje romantyczna atmosfera i specyficzna lekkość. Pomimo stada decybeli, nie jest to na pewno wzmacniacz do budowania ściany dźwięku ani kruszenia murów; nie spodziewajcie się wtłaczającej w fotel dynamiki. Owszem, w skali mikro kontrasty są rysowane dokładnie, ale nie poczujemy kalorycznych uderzeń ani impulsów masujących żołądek. Można powiedzieć, że dynamika jest wystarczająca, a uwaga kierowana na inne atrakcje.

Główną stanowi barwa średnicy. Jest ciepła, nasycona, ale na pewno nie lampowa. Okrągłość i mięsistość zaznaczono delikatnie, a jednak to wystarczy, aby zbudować określony nastrój. Po przesłuchaniu kilku utworów zauważamy, że tak ciekawie brzmiących klawiszy chyba jeszcze na tej płycie nie słyszeliśmy. Różnicowanie ich barw oraz koncentracja na subtelnościach nie wymagają wysiłku, ale dopiero po jakimś czasie dostrzegamy, gdzie tkwi tajemnica smaku, do którego chcemy wracać. To wspomniany pogłos, tworzący tło, które samo w sobie urzeka pięknem.

W pewnych aspektach Benchmark faktycznie może być „naj”, co nie oznacza, że firmowy duet jest ostatecznym rozwiązaniem i lepiej się nie da. Otóż da się, i podejrzewam, że nie trochę. Dokupienie drugiej końcówki pchnie system do przodu. A skoro dostaniemy blisko czterokrotnie więcej mocy, to rysuje się panaceum na wszystkie słabsze punkty. Warto też spojrzeć na wejścia i wyjścia – jak wiele uwagi poświęcono takiej rozbudowie systemu. To nie może być przypadek. Podejrzewam, że projekt wręcz zakładał konfigurację z dwiema końcówkami jako docelową. Jeżeli zamierzacie zaufać Allenowi H. Budrickowi, koniecznie rozważcie tę opcję, niechby nawet w przyszłości.

Link do recenzji: Benchmark AHB2 – Hi-Fi i Muzyka

These surprising and delicious details were evident from the bass up through the midrange and extreme treble, which nonetheless remained silky and diaphanous. One example was Hans Theessink's voice at the end of the phrase "as I lay sleeping," in "Late Last Night," from his album Call Me (CD, Blue Groove BG-4020): I could now distinctly hear how his gravelly tone faded off well before the fade of its ambient resonance. Yes, this was now audible through my other amps as well, when I returned to them—but until the AHB2, I hadn't heard it—or, at least, hadn't noticed it.

Similarly, the AHB2 uncovered so many of the little niceties peppering "Ride Across the River," from Dire Straits' Brothers in Arms: 20th Anniversary Edition (SACD/CD, Vertigo 9871498), that it was like savoring the spicy bits in a Xi'an broth for the first time. Classical music, of course, benefited from this newfound richness of information, as was clearly demonstrated by the last minute or so of Adám Fischer and the Budapest Festival Orchestra's recording of the Adagio of Bruckner's Symphony 7 (SACD/CD, Channel Classics CCS SA 33714). As the horns enter, the fading strings diminish but remain audible as they continue to provide the tonal foundation. The resulting impression was one of transparency, neutrality, and liveliness. I could hear into the ensemble and aurally navigate the soundstage. Or, better, I could just surrender to the warmly touching denouement.

In addition to quantity of soundstage detail, the AHB2 was also "large" in power output. It was clear that this 100Wpc (into 8 ohms) stereo amp had all the power needed to drive with aplomb my Bowers & Wilkins 800 Diamond speakers to any reasonable level.

Tonal balance is a curious audio parameter. Careful listeners often hear what sounds like an uneven or tilted frequency balance, even when measurements taken under lab conditions show it to be flat. Lots of real-world factors might account for this, including interaction of an amplifier's output stage with the complex input impedance of a loudspeaker. At first, I thought the AHB2 sounded less bright, and less full in the bass, than the other amps I had on hand, but after only a few days of listening I began to accept that it sounded more "right" than any of them. Now the treble wasn't so much un-bright as smoother and unaccented. The bass had all requisite extension and detail (see above), but seemed to be more naturally balanced with the rest of the audio band.

Just because I found Benchmark Media Systems' AHB2 not to be absolutely perfect under all conditions—after all, what is?—doesn't mean that I want to represent it as anything less than a marvelous-sounding amplifier. The AHB2 was capable of drawing more music from my B&W 800 Diamonds than I'd anticipated, and, mostly, sounded better than the other amplifiers I've used to drive those speakers. Combine the AHB2's superb sound quality with its low weight, low noise, low heat, and low cost, and it's clearly an amplifier that must be heard—even by those who can afford amps costing as much as 10 times more. That makes the AHB2 more than a Benchmark. That makes it a bargain. 

Link do recenzji: Benchmark AHB2 – Stereophile

I don’t have much to say about the sonic qualities of Benchmark’s new AHB2 power amplifier because there isn’t that much to say. Used within its limitations and for its intended purposes it is in any practical sense perfect.

So, yes, coming after both of these units, the Benchmark would by comparison sound a bit crisp. Within a remarkably short period of time, however, this adjective dropped from mind as my mental processes shifted from comparison mode to enjoying music, all the attention drawn to the source material and the rare sensation of feeling as if I were listening back to the source. The Tokyo Quartet’s valedictory recording of the late Beethoven quartets is close up and slightly dry but the instruments are nevertheless warm and beautifully rendered. By comparison, the Belcea’s traversal is recorded more distantly, the acoustical space—a lovely one—far more enveloping, and it sounds that way. In neither case does the Benchmark appear to overlay any sound of its own—nor would I expect it to. What is there to overlay? Used within its specifications, distortion is nonexistent, while the noise floor is claimed to be lower than the lowest digital by as much as 10dB.

What about the big stuff? Well, I don’t know much bigger stuff than the lowest organ notes on Kei Kioto’s Bach recital, and they’re not transients, either, but deep, long, sustained notes. No problem on the Quads or the Super HL5plus. But the response of those speakers does not descend into the deep, deep depths (the Falcon LS3/5a obviously doesn’t go anywhere near as deep as even the 2805 or the Harbeth), so I will defer to REG for further comment on that. But Benjamin Zander’s recording of the Mahler Sixth with its hammerblows was awesome enough in slam and weight to satisfy. If you need more power, you can always add a second AHB2 and bridge both for mono operation.

Because accuracy allied to absolutely reliable performance is the goal of all the Benchmarks, they are not products that tend to attract cults or other sorts of starry-eyed enthusiasts, wholly lacking any of the quirks, foibles, idiosyncrasies, sonic flavorings, euphonic distortions, and so on that characterize the objects of most audio cults. Professionals buy Benchmark because they know the products work and are reliable and accurate—indeed, reference caliber. Music lovers buy them because they are neutral and accurate and thus reproduce the tonal character of voices and instruments correctly (and also, I presume, because they are reasonably priced, most musicians, like most other people, being typically not wealthy). But audiophiles? Well, the longer I’m in this racket, the less I sometimes think I understand what audiophiles really want except that a lot of dallying about with components, equipment swapping, and coloration matching seems to be what amuses them. I’m not sure I can in good conscience recommend this amplifier to them as I am not sure they are in search of what it offers: a precision instrument designed to perform the precisely defined task of reproducing music and sound accurately, which it does essentially to perfection. But to anyone else, the AHB2 gets as high, enthusiastic, and confident a thumbs up as my arm is capable of reaching.

Link do recenzji: Benchmark AHB2 – The Absolute Sound

While the AHB2 does not possess the liquidity of a fine tube power amplifier, I would describe it as masterfully (if not mercifully) detailed and transparent. Nothing in the music escapes the clutches of the AHB2. The smallest details on Steve Howe's acoustic guitars, such as the decay of each harmonic during the opening bars of "Chord of Life" or the clarity of his 12-string acoustic guitar on "The Preacher, The Teacher" from "And You and I" (Close to the Edge, MQA, 24/192), came through clearly. It improved my listening pleasure for a song that I have probably heard 500 times and is part of my favorite album of all time.

Furthermore, the tonality of the AHB2 is also absolutely spot-on. I recently scored a 24/192 DVD-Audio copy of Art Pepper Meets the Rhythm Section, and it is nothing short of a marvelous disc. It is so intoxicating that I cannot stop listening to it. Every song has a jazz nightclub feel, and I would put it up against any jazz record from any era in terms of sound quality. Throughout the album, drums played by Philly Joe Jones had such striking realism that even my wife, a casual listener, made an unsolicited remark on how lifelike they sounded. The tonal balance of Art Pepper's saxophone and Red Garland's piano were nearly without flaw. Well played.

The Benchmark AHB2 embodies everything that a solid-state amp should. It is a technologically advanced and remarkable amplifier that can hang with any amp in its class because it is sonically transparent, images beautifully, and produces authoritative bass. While costing only $2,995, it is hard to imagine asking for much more in a power amplifier. In fact, if the AHB2 cost another $1,000, I would still call it a bargain. Interestingly, while my Focal speakers are easy to drive, the AHB2 can probably drive a set of modestly inefficient floor-standing speakers to reasonable listening levels without any strain whatsoever. If you are looking to spend between $2,500 and $4,500 on a stereo, solid-state amplifier, it would be foolish not to consider the AHB2 a strong contender.

Link do recenzji: Benchmark AHB2 – Home Theater Review

The Benchmark AHB2 Power Amplifier is one of the finest sonic experiences to ever come through my system. The AHB2 belongs on every audiophile’s short list. Yes, it’s that good.

One of my first critical listening sessions was with Sade’s Soldier of Love. Sade’s husky yet smooth contralto vocals can serve as an audiophile’s aural panacea. The DAC2 and AHB2 combo reproduced this album with an intoxicating quality. The opening track, “The Moon and the Sky” evoked palpable, audible images of a “you are there” experience. Sade’s vocals streamed forth as though emanating from a pitch black, quiet night on a desert island. Bass lines on every cut were clean and taut. They also had great punch.

Even though I was initially playing the AHB2 in stereo and it was rated at only 100W, I never felt like I was lacking power and performance. Not once did I sense that the amp was gasping for breath. Soldier of Love was like a clinic in speaker control. Instruments started, stopped, and snapped with precision; and the black, quiet backdrop of Benchmark’s dynamic duo allowed me to hear deeper into the music, picking up delicate nuances and details that ordinarily would be overshadowed or muddied by a lesser signal chain.

As I played album after album and track after track, I became increasingly sensitized to the absence of noise and distortion and the beautiful cloak of silence. It is so incredibly hard to put into words the experience that the DAC2 —> AHB2 —> Revel Ultima2 Salon setup produced. There was simply no distortion, no noise, just a blank stage. Regardless of genre, vocals and instruments popped to life and they did so with a almost true-to-life “you are there” feel to them.

Transitioning to the AHB2 to bridged mono was like loading the Salon2s with bazookas. There’s bass and then there’s bass. The Salons are some of the most capable full-range speakers on the planet. When paired with the AHB2s in bridged mono, bass notes were the cleanest, most detailed, and most controlled I’ve ever heard out of the Salon2s. What I appreciated most of all was how increasingly detailed the bass became. It’s as though the noise floor was lowered to such a degree that you no longer had something fighting for attention. I was able to hear more and discern more.

Saint Saëns Symphony No. 3 is a well-known classical masterpiece and audiophile test track. With its beautiful, deep, resonating organ notes, this symphony is a rite of passage for any full-range audio system. What impressed me immensely was not only the AHB2’s command of the entire audio spectrum but also the pristine presentation from top to bottom. The organ notes were deep and rich. I cranked the volume. No noise. No distortion. No hint of strain.

Moving back out the realm of high-res to rock, I popped in U2’s classic album, the Joshua Tree. The first notes of the synthesizer from the opening cut, “Where the Streets Have No Name” were deep, tight, and intense. My entire room pressurized without any bloat or distortion. The Edge’s characteristic guitar riffs had clinical precision; but it was Bono’s vocals that stole the show. Never—and I mean never—have I heard such a detailed, spot on vocal presentation through the Salon2s. Bono’s vocals came to life, not only through their timbre, but through the presence of the slightest audible cues that you can discern in an intimate audio session. I pursed my eyes closed and just blurted out an ecstatic “wow!” What I’m going to say isn’t a hyperbole. Although I’ve been playing the Joshua Tree for almost 29 years, this was the first time I ever heard the album in all its glory.

Link do recenzji: Benchmark AHB2 – Poor Audiophile

The first thing I noticed with the AHB2 is the lack of idle noise. Put your ear to the tweeter, and none of the low-level hiss you hear with conventional, high-gain amps can be heard. With no signal, nary a whisper from the Benchmark — even when adjusting the sensitivity switch to the higher gain positions.

As with the prototype listening sessions, I first played Warren Bernhardt — So Real SACD, an album that has a full dynamic range and spacious soundstage — piano, drums and bass recorded direct-to-stereo. The Warren Bernhardt recording’s dynamic range is vast, and the AHB2 showcased its dynamics — with a live, accurate, musical portrait of the album, wrapped in a stunning smoothness. The transients were dead-on accurate — without the shrillness I often hear in bipolar amps. The AHB2’s sonic character is dynamic, open, with quick, taut bass — yet with the silky ease of the best tube amp. But tube amps don’t have the energy and speed in the transients, nor bass, that the Benchmark possesses.

On the Gene Bertoncini - Body and Soul SACD, the production AHB2 relayed the same character — that warm, percussive guitar tone that I had heard on the prototype. This is one of favorite acoustic DSD recordings — with an expansive stereo image; Mr. Bertoncini’s expert, plucky dynamics were reproduced with precision and the album’s imaging is wide with oodles of depth between the layers.

No matter what music I played through the Benchmark, the sound was always first rate in the midrange and treble — and with bass authority and smooth delivery at any level. And it did not matter which speakers were connected. Within each speaker’s character, the AHB2’s attributes shone through. Heavy metal. No problem. The fizz and thunderous volume of the Thin Lizzy - Jailbreak CD was a bit easier to listen to with the Benchmark’s smooth (but not soft) delivery. Yet, this amp also handles the delicacy of a wide range of classical instruments, such as Janos Starker - Bach Complete Cello Suites on SACD.

As a jazz guitar fan, I appreciated the AHB2‘s ability to convey the Kenny Burrell - Midnight Blue SACD, circa 1963, with that warm analog tape sound of Mr. Burrell’s Gibson hollow-body electric guitar. Ditto, for my audiophile LP version of Wes Montgomery - Full House and the Grant Green - Green Streets SACD.

BTW, that ease and ability to deliver the finesse and fine detail, does not go away with the bridge mono operation. You just get more oomph (over 300 watts of extra oomph) to fill up the bigger rooms. And the noise still stays low.

Link do recenzji: Benchmark AHB2 – Everything Audio Network

Immediately upon cuing up the first musical selection, it was perfectly obvious that the AHB2 has outstanding extension in the upper treble, seemingly unlimited. In this regard, the Benchmark amplifier should be compared to excellent Class A or AB amplifier technology. However, the AHB2 lacks the characteristic, almost subliminal harshness in the upper frequencies that is observed in some push-pull amplifiers, but absent in single-ended amplifiers.

The bass has outstanding definition, with just slightly less dynamic power in the lowest bass, below about 30 Hz, as a big solid state amp might perform. Of course, this is very much related to the loudspeaker and the listening room. The AHB2 is not at all deficient in the bass. This observation is just comparative, not qualitative. This observation is also nitpicky, relevant to a review, and possibly unreliable in a different system.

The overall sound is very true to the recording with regular ‘virtual reality’-like experiences. These last for long periods of a listening session, not just as a momentary feeling of great sound. This is due to the exceptional linearity across the musical spectrum. The coherence and resolution of all sounds – which have stunning low level resolution – is special, encouraging the listener to maximally enjoy a musical performance. This used to be called “digging it”.

The Benchmark amplifier’s dynamic performance is exemplary. I value my hearing and enjoy listening at average sound pressure levels (SPLs) around 80 dB, which gives peaks reaching 105 dB. At these levels with the 86 dB sensitivity of the Magico speakers, the amplifier’s front panel clipping/fault indicator lights never lit up. The amplifier is barely warm to the touch. Both small, micro dynamic nuance and huge, explosive changes in volume are always delivered with a clearly defined leading edge and plenty of energy.

The Benchmark AHB2 is a very fine sounding, easy to live with, zero-maintenance power amplifier that has enough power for most systems. If more power is needed, two amplifiers configured for mono can provide it. 

Link do recenzji: Benchmark AHB2 – 10 Audio

The sonic results of all the time and effort spent refining this circuit and developing this design are nothing short of extraordinary! Bass is rendered with exceptional detail and speed, and brother can it go deep! In fact, I can't think of another amplifier (or pair of monos) I've experienced for under about $6000 that can do what the AHB2 can do with the bandwidth below 100 Hz. It has jaw dropping, chest-thumping impact while still being able to render remarkably accurate and refined pitch definition. In many ways, its bass performance reminded me of my time with the $65,000 WAVAC MD-805 Mk II monos, which rendered some of the most engaging bass I've yet heard.

Midrange is simply captivating, rich in both musical resolve and harmonic texture. It affords an exceptionally well-balanced mixture of both tonal truth and emotional expression. Instrumental voices are provided the body and bloom needed to complete the "live" illusion, recording permitting, and are related with the proper texture and tonal color, if ever so slightly to the dryer side of natural.

Treble is extended, airy, and resolute. Once again, I'm hard pressed to think of an amplifier for less than twice as much as the AHB2 that can even begin to compare, let alone match, this amps performance with the spectrum above 2.5 kHz. This extended and replete high frequency performance bestows a sense of ease and relaxed enchantment to well-recorded materials previously unheard of in this price point.

One of the areas where the AHB2 really shines is in its ability to render the space between and the sense of both the space occupied by, and the interrelationships of instrumental positions and locations. Instruments and vocalists occupy an uncannily realistic sense of size and locale. I was left speechless more often than I cared to count by this engaging and enchanting ability.

I've made some lofty comparisons in my descriptions of how well the AHB2 accomplishes its sonic tasks. To say that the AHB2 has met its lofty design objectives would be like saying that it gets cold at the North Pole in December! The Benchmark AHB2 succeeds wildly at bringing outrageously high performance to a size and price point that, prior to its introduction, was largely unobtainable.

Link do recenzji: Benchmark AHB2 – Enjoy the Music

スピーカー環境ではどうだろうか？MacBook ProをトランスポートにDAC3 BとLA4を組み合わせ、パワーアンプにAHB2を用いて、モニターオーディオPL300Ⅱに接続した（図：接続④）。ヘッドホン環境での好結果に期待値が上がるが、想像通り同傾向のサウンドが得られた。

帯域バランスについては聴感上フラットで、全帯域の音のスピードが整っている。ホセ・ジェイムスでは、等身大のヴォーカルが前方に定位して、マスタリングのクセと思われる音像の小さな移動感さえ秀逸に表現する。ジョン・ウィリアムズは、奥行や高さが正確に表現されたサウンドステージが眼前に現れる。しかも適度な抑揚表現も兼ね備えており、分析的一辺倒に聴こえないのは興味深かった。

今回試した5機種に共通する最大の魅力は、リファレンスとして絶対的な信頼がおける音質であること。スペックだけではオーディオ機器の音質を推し量ることはできないが、ベンチマークの製品が出すリファレンス的なサウンドは、多くのオーディオファイルや筆者のように基準となる音を求める者にはこれ以上ないほどにフィットする。

　その中でもDAC3 HGCは、DACとヘッドホンアンプが一体型なのでシステムをコンパクトにしたい方に向いているし、DAC3 BとHPA4の組合せはセパレート志向の音質を求めたい方におすすめできる。LA4とAHB2の組合せはリファレンス的なクセのないサウンドをスピーカーシステムで実現したい方におすすめだ。

Link do recenzji: Benchmark AHB2 – Stereo Sound

Turning to the Benchmark AHB2 power amplifier for a moment, it also brought similar transparency revelations when inserted into my existing system although from a different perspective. The three available gain settings (via a mini-toggle switch on the back panel) allowed me some flexibility when mating it with different preamplifiers. My Bryston BP25 worked just fine with the amp’s lowest gain setting (the same used with the HPA4) while the Anthem STR needed the highest setting. Swapping out my Class D Audio SDS 470C amplifier for the AHB2 quickly and rather starkly revealed how colored the SDS 470C actually sounded. I’ve known for a while that the SDS 470C had a warm and sweet character to its sound making it, and things connected to it, sound very agreeable but I don’t think I was quite expecting the dramatic difference that replacing it with the AHB2 would show. The sweetness and roundness to the sound were now completely gone. The result was not harshness or a flattening of the music, but more clarity. I could now hear more of the speakers and their true nature. More subtle nuances in vocals were the first details that I noticed. Then a tighter and more accurate pitch in electric and acoustic bass lines. The sound did not get leaner per se, it got more focused. That was the predominant takeaway. The difference was less dramatic when comparing the AHB2 to the Anthem STR power amp. I felt that the AHB2 still had a transparency advantage over the STR amplifier but it was more subtle. If anything, swapping to the AHB2 now reaffirmed my earlier observations on the limitations and characteristics of the other preamps. It also should be said that I suspect that the power ratings on the Benchmark AHB2 are conservative. While I didn’t have any truly demanding speakers to drive, my Bamberg Series 2 MTM Monitors are moderately demanding 4-Ohm speakers along with my original Salk SongTowers and I was able to drive both to fairly silly levels without a hint of strain or indication of amplifier clipping. 

It should come as no surprise that, when the Benchmark DAC3 B, HPA4 preamplifier, and AHB2 power amplifier were used together they performed especially well. I dare say that they produced as clean and noise-free a stereo playback chain as I have ever come across. I found this type of transparency and neutrality very appealing but I realize that others may not necessarily agree because it is thoroughly revealing of any less-than-stellar source material. I have heard speakers and equipment in the past that I considered ruthless in their ability to reveal recording flaws but there really is no wiggle room with this Benchmark stack. Case in point, listening to vinyl through the HPA4 was not always an enjoyable experience as it laid bare the medium’s dynamic range and noise limitations more often than not.

Probably my favorite Wes Montgomery live recording. The engineers did a great job not only capturing the sound of Wes and his band, but they also captured a great sense of the concert space, the balance is very complimentary. The Benchmark stack’s transparent and revealing nature did a fantastic job of letting me enjoy the subtlest details of both the performers and the space they were in. During the opening of “Jingles,” both Montgomery and his piano player Harold Mabern play identical repeated phrases together to set the tone and pace of this instrumental. With my trusty Bryston/Class D Audio setup, the tone and ring in the piano portion of these little duet parts got buried/smoothed over when listening on a few different speakers. In contrast, the Benchmark trio of components allowed me to hear the two distinct instruments completely during those same passages. The jazzy ring of the guitar strings and the ring of the piano notes were no longer blending together into one tone. Even the Anthem STR preamp and amp combo weren’t quite as revealing of these details. Better than the Bryston/Class D Audio combo but not as all-seeing as the Benchmark.

Link do recenzji: Benchmark AHB2 – Home Theater High Fidelity

Properly set up, I was impressed by its creamy character; there's no audible distortion to speak of, and you end up with a rounded and mellow sound. Perhaps surprisingly for a pro audio product, it was pleasant and quite detailed, but in no way the type of analytical character I'd expected. I rather liked the even-handedness and general 'considerateness' of the sound; it was grown-up and polite without any artificial edge.

Driving the NS-1000Ms, there was a distinct improvement over the B&Ws. This amp had enough power and grip to get the Yams going, and their more revealing midband helped to extend the range of tonal colours that I could hear it painting. I could still tell that it had a certain 'studio' style to the way it makes music, but many will regard that as a strength. Listening to Simon Rattle conducting a hi-res recording of Haydn's 88th Symphony, I enjoyed the phrasing of the slow opening; the music was well ordered, tidy and laid out neatly in front of me with a sense of poise and control. This isn't a gushing, emotive performer; instead, it brought a more matter-of-fact style to the proceedings – just what you'd expect from a piece of pro gear.

Driving the Quad electrostatics, things were more impressive still. These speakers can be a tricky load to drive, but the AHB2 just shrugged them off, apparently not in the least bit bothered by what it was being asked to do. I found the sound was strong and grounded; bass was taut and controlled with nice grip and the midband was crisp and clean, with plenty of detailed information that a sound engineer would find helpful. Playing Kraftwerk's Tour de France, I was pleasantly surprised by the soundstage, which of course is a Quad electrostatic forte. Things sounded more immersive and three dimensional than you might expect from electronic music such as this, beautiful though it is. It's not the most spacious amplifier I've heard in terms of stage depth but is excellent at the price, nonetheless.

Reviewing the AHB2 was interesting for me, as it reminded me of just how quirky and eccentric my own hi-fi systems have become. The Benchmark is, as its name suggests, more of a jack-of-all-trades that attempts and succeeds to do a lot very well. It's a great leveller because whether I was playing classic rock from REM in the shape of Welcome to the Occupation, or a Debussy prelude, it had a consistent, even, ordered and mature sound backed up by lots of loudspeaker load driving ability. As all good studio gear should do, it focuses more on the mechanics of the music than the inner subtleties of the piece in question. That kind of goes with the territory…

Link do recenzji: Benchmark AHB2 – Stereonet

One of the biggest highlights with AHB2 is that everything sits at the exact same level, be it bass, midrange and treble, you’ll be getting the full frequency spectrum pushed into the light, without dropping or rising any particular region.

AHB2 provided a fast executed bass, decaying it instantly without lingering for longer periods of time. I’m comfortable saying that starting with the lowest octaves and finishing with upper bass, AHB2 was having a perfect blend of impact, control and sustain. The bass kick in the chest can’t be forgotten that easily, as there is slightly more energy in there and your loudspeakers will be thankful for that. Benchmark delivered not only quantity wise, as there was also texture, warmth, presence and a fast transients. It delivered a high-quality bass too, as you can feel it vibrating and slowly passing through the room. The end result was a linear type of bass that was snappy and highly engaging at all times. Mid-bass felt exactly the same and I’ve got all the quantity and quality that I could possibly desire. I was hooked to this kind of bass and the funny thing is that I started spotting bass-notes where I never believed I can find them.

I wouldn’t describe it as warm or meaty sounding, as it’s more about getting out of the way, fully preserving the weight, the innards and the naturalness of the notes happening in this region. Midrange came only in right doses and I felt only small traces of naturalness and no matter how objective or subjective I was, nothing felt boosted or stolen from my music. Forget about thinness or coldness, as there is nothing of that in here. AHB2 tried to impress the most with its rightfulness and high precision. There is nothing of that mellow or slow character of entry to mid-level amps, as AHB2 is a nimble wild horse. It will keep up with the fastest tunes, always sending shivers through your spine. For almost a year now I went through my entire music collection and I couldn’t get enough of it, as it sounded just right from the get go.

Describing its treble output is a little complicated, as on one hand there is plenty of treble presence, detail, shimmering and as much information as you want…but there is no listening fatigue. I’m hearing the brass crashing and shimmering when cymbals are being hit, bells are ringing loud and clear, but all that happens without forcing me to lower the volume. Treble felt highly energetic, there was an abundance of micro-details even past top-octave, but all came without sacrificing anything. You can listen to your tunes at higher volumes, without experiencing ringing in your ears.

The highest compliment I can give to AHB2 is that I purchased not one, but two units with my hard-earned money. These weren’t loaner units and this wasn’t a sponsored review and you can draw your own conclusions.

I know that AHB2 wouldn’t be for everybody, as it can’t beautify your music, it can’t add smoothness and liquidity into the mix as a tube or hybrid amp would do and it wouldn’t highlight or roll-off parts of the frequency response. For me, AHB2 was the definition of a wire-with-gain amplifier that never stood in the way of my music.

However, if you’re searching for an honest, ultra-revealing, noiseless, transparent, lightning-fast and hard punching amplifier that wouldn’t limit the air travel, while providing an excellent imaging and depth, then AHB2 is one of the most impressive amps that passed through our HQ.

Link do recenzji: Benchmark AHB2 – Sound News

Benchmark avoids massive capacitor storage after the power supply by using power supply regulation that can respond quickly to peak loading while avoiding problems from fluctuations in incoming line voltage. The effectiveness of this was evidenced during the non-stop bass pounding in Joe Bonamassa’s Steal Your Heart Away from the CD “Beacon Theatre – Live From New York” [J&R Adventures ASIN: B008SOS63S]. And then again from the track “Tamacun” from Rodrigo Y Gabriela’s CD Live in Japan [Rubyworks ASIN:‎ B004JUTKSU]. The Benchmarks delivered all the Sound Labs (86dB sensitivity) are capable of with their 32 Hz rating.

I can’t stand sloppy noise or cacophony. There are performers, and then there are artists. Melody Gardot is both. Although most of her music is original, she covers Ain’t No Sunshine on the double CD “My One & Only Thrill + Live in Paris” Ep [ASIN: ‎B00Y3ZZIGE] with a special energy and perfection. The Benchmarks render this recording with great definition and a pace, rhythm, and timing (PRaT) that has proven addictive. I frequently make sure to include this track in any listening session. I never get tired of listening with the Benchmarks.

Merriam-Webster defines a benchmark as “something that serves as a standard by which others may be measured or judged.” This is what the AHB2s have become for me. The Class-H Benchmarks give me what I wanted from Class-D amplifiers, but with the musical engagement, I found lacking in Class-D. There is the added benefit of a company that has been in business for over 36 years and has a depth of products, and offers an extended warranty. 

I normally play in a more expensive sandbox. I initially scoffed at the Benchmark website claims and did not consider trying them because they did not “cost enough.” I thought they might be good for the money but not good enough for me. Shame on me. These little beauties kicked sand in the bullies’ faces and laughed. I experienced equal or better performance to some Class A/B amplifiers without the weight, expense, or heat. Benchmark AHB2s offer high-quality but affordable performance. They will benefit from high-quality associated equipment, and their low heat translates to longer component life and lower energy usage.

Link do recenzji: Benchmark AHB2 – Stereo Times

Indeed, after more break in the AHB2 was rocking my house with cuts like Madonna’s “Beautiful Stranger.” Then, from the Chicago CD soundtrack (Epic/Sony EK 87018) “He Had it Comin’” showed off the amp’s ability to handle powerful low bass transients without any bloating or overhang—but with no shortage of impact and startle factor. And on Cat Steven’s rendition of “Don’t Let Me Be Misunderstood” from his An Other Cup CD (Atlantic 94550-2) the very low notes in the song’s opening showed the AHB2 is capable of producing sustained power and depth in the deep bass without running out of steam. In fact, the bass became even more solid and taut than that of my Rogue Medusa, which up until this juncture had delivered the best bass performance of any amplifier I had tried in my system.

In addition to the AHB2’s impressive bass performance, the midrange sounds extremely pure and clear, not only on vocals, but on many other midrange instruments such as brass horns, woodwinds, piano, and strings of all kinds. But it isn’t merely the stunning clarity of the Benchmark amp that lets one know it’s very special, it is the musicality and authenticity one hears from his or her favorite recordings.

Not only is the AHB2 tonally convincing, but it is quite dynamic as well. Depending on the recording, vocalists and instruments sometimes virtually leap out of the speakers and into the room. And, because of its extremely low noise floor it is very good at excavating previously undetected low-level details and nuances. I believe it is the purest sounding and lowest noise amplifier in my experience.

What is perhaps most impressive about the AHB2 is its very natural presentation of brass horns, piano and percussion in general. On many of recordings hand claps had more body as did wood blocks or drum sticks being beat together. And with cymbals the amp grabbed more of the fundamental note of each shimmering strike providing a little more weight and a sense of body.

The Benchmark AHB2 is a powerful and efficient amplifier with prodigious low levels of noise and distortion. The fact that it is also very musical and non-fatiguing, courtesy of THX’s patented AAA™ technology, is the icing on the cake. Benchmark Media and THX have a lot to be proud of for the development and implementation of the new technology the AHB2 represents.

The AHB2 provides deep, impactful, and articulate bass, a very musical and transparent midrange, and ultra-clean high frequency reproduction. It did not deliver the last bit of air or soundstage depth in my particular system, but perhaps with different associated components or cables it would improve in that area. Ultimately, the choice of an amplifier all boils down to system synergy and what combination of components will sound best to the particular buyer.

Link do recenzji: Benchmark AHB2 – Stereo Times

Notable from the off was the bass from the DAC3 HGC and AHB2. Yes, I was also aware of how quiet they were, an eerie quietness in the silent parts, but the strength of the bassline was palpable and made me think I had connected amplification valued at several times the price. Wow! It was deep, tight and conveyed a real feeling that the electronics were in charge of the transducers.

Keeping to the same era, Simon and Garfunkel’s Baby Driver (Bridge Over Troubled Waters) might be an old analogue recording but one that really came to life with this set-up. Involuntary foot-tapping confirmed the timing ability and the overall presentation was spot-on, the Benchmark electronics created a fluent sound across a vivid soundstage; performers evident both tonally and spatially in an easy-to-believe presentation that brought the performance close. Not an unnatural, unpleasant ‘in your lap’ close, just vividly so; an at arms’ length presentation that appears natural, even down to the vocal twang. The final engine sound effect had such an amazing stereo image that it made the hairs on the back of my neck tingle. Increasing the volume merely increased the enjoyment, and that can’t be said of all amplifiers.

Switching to my Revival’s Atalante 3s and a change of genre to Shostakovich’s 24 Preludes & Fugues(Ashkenazy on Decca from 1999) and I was presented with an extremely realistic sound across an open and wide soundstage. In fact, the more classical material I listened to, the more I realised that the Benchmark’s ability to retrieve deep-down detail and display it so well across the soundstage, with accurate positioning and convincing layering, made for a glorious re-creation of the recordings. So it was with Hayden’s London Symphony 104 (BPO/Karajan) from 1975. As the work erupted with that blaze of light I nearly jumped out of my seat, the sound of the majestic fanfare so forceful, so realistic before it morphs into the subdued and atmospheric adagio introduction. The piece’s grand gestures and rustic charm came across so well as to have me captured. This is a performance both muscular yet delicate, combining power and gracefulness but all handled without hesitation by the AHB2, while others I can recall have faltered.

To my mind the AHB2 is an amplifier with no obvious characteristics of its own: the level of transparency is sublime. With a range of tunes I have been playing a lot lately (by George Ezra, Sheppard and Semisonics) the result was entirely pleasing. The immense level of detail coming forward was just extraordinary, I had no idea my favourite integrated streamer could be so transformed, and all for a power amp costing about the same again. Incredible. Above all, the improved transient response performance stood out in a presentation that was not only lively but incredibly fast and revealing. The attack and decay displayed was awesome and not something I expect at this price point.

Link do recenzji: Benchmark AHB2 – The Ear

Two words immediately came to mind — unrestricted dynamics. As much as I thought I was mentally prepared for what I would hear, in reality, I wasn’t. I was shocked at the effortless dynamic swings that I heard from some of my favorite classical and jazz performances. I was also stunned by how certain sounds seemed to leap instantaneously out of the speakers and truly startle me. I had previously used the Comete EZ speakers with three other amplifiers, and I didn’t notice this explosive sensation. It was a genuine “you don’t know what you’re missing until you hear it” moment for me.

Listening to the Benchmark gear in my own room, I felt an immediate and gratifying emotional connection to the music I was hearing. This unmistakable feeling was unique for me, and it was repeatable.

The LA4 and AHB2 tear down so many of the usual walls that come between the listener and the music. Without those walls, I was drawn fully and completely into what I was hearing. Since the preamp and amp didn’t have a sonic signature of their own, it meant that I could hear more of the source. The LA4 and AHB2’s specifications meet or exceed the measurements of most DACs. This allows all of the musical information upstream to reach the speakers.

As an audiophile, I strive to hear the soul, energy, and emotion contained within the music. My goal with this hobby is to enjoy that multi-faceted experience every time I listen. Pure transparency and unrestricted insight into my music is now affordable!

Once I heard the Benchmark LA4 preamp and AHB2 power amplifier, I thought, “This could be my last preamp and amplifier purchase, ever.” As I lived with them and dove into my favorite music, I was continuously impressed by their flawless performance. Every time I listened to music, it was an introspective and emotional journey.

Link do recenzji: Benchmark AHB2 – The Audio Beatnik

The Benchmark AHB2’s remarkably low noise and distortion also make a real difference. Audiophiles talk a lot about lowering the noise floor — well, here is a component that does so audibly and measurably. When you use an amp with low noise and distortion, imaging and soundstaging are clearer, instrumental timbres truer, voices more natural, and previously fuzzy lyrics snap into focus. This is absolutely addictive.

Western swing band Asleep at the Wheel has won 10 Grammys since their founding in 1970, and their music brings a lot of fun to the scene. I had a fine time with “Walking the Floor Over You” (written by the late Ernest Tubb) from their album Western Standard Time. You don’t need to be country folk to end up tapping your toes or dancing to this song. Lead singer Ray Benson’s baritone was clear, smooth and lifelike; the simple drum line rang through; the steel guitar and fiddle were absolutely superb musically and sonically; and, as with everything I heard through the AHB2, vocals and instrumentals were easily followed as separate lines, as well as parts of the whole. All in all, the AHB2 presented the joy and energy of this performance, as well as its details.

I enjoyed the Icelandic-Chinese artist’s take on “Misty” (a classic by pianist Erroll Garner and lyricist Johnny Burke), which melds an old tune, classic singing virtues, and up-to-date sound into a great track. Through the AHB2, I heard that Laufey’s voice was recorded with slight sibilance, but despite the close-up vocal recording, that sibilance was well-controlled, never irritating. Laufey has called Ella Fitzgerald an inspiration, and it shows, though Laufey has yet to attain Fitzgerald’s vocal freedom. The warm piano sound and brushed drums were recorded in a distinctly more recessed acoustic than the vocals, yet everything added up to a fine performance, more dreamy and less bouncy than Garner’s classic piano version. I especially appreciated the AHB2’s smooth, well-integrated treble, free of splashiness or grain, and its natural reproduction of the human voice.

I suggest that any audiophile interested in a power amp of objective and subjective excellence should audition the Benchmark AHB2. If you haven’t heard a modern ultra-low-noise and distortion amp, you may be astounded at what you have been missing. For many audiophiles, the AHB2 will be an endgame choice, one that lets them stop thinking about upgrades and simply enjoy the music, which is much of the battle as we upgrade and improve our systems.

Link do recenzji: Benchmark AHB2 – Future Audiophile

Link: Benchmark AHB2 – Hi-Fi Class – Wybór Redakcji

Link: Benchmark AHB2 – Stereophile – Recommended Components 2025

Link: Benchmark AHB2 – The Ear – Editor's Choice

Link: Benchmark AHB2 – The Stereo Times – Most Wanted Components 2022

Link: Benchmark AHB2 – The Stereo Times – Most Wanted Components 2014

Link: Benchmark AHB2 – Sound News – Gold Award

Link: Benchmark AHB2 – Stereonet – Applause Award

Link: Benchmark AHB2 – Secrets of Home Theater and High Fidelity – 2021 Best of Awards

Link: Benchmark AHB2 – Secrets of Home Theater and High Fidelity – Recommended Gear 2022

Link: Benchmark AHB2 – HiVi Magazine – Grand Prix 2020

Link: Benchmark AHB2 – Enjoy the Music – The Best Gear of 2014

Link: Benchmark AHB2 – Enjoy the Music – Best of 2015 Award

Link: Benchmark AHB2 – Enjoy the Music – Special 20/20 Award

Link: Benchmark AHB2 – Enjoy the Music – Legendary Performance 25th Anniversary

Link: Benchmark AHB2 – 10 Audio – Perfect 10 Award

Link: Benchmark AHB2 – Everything Audio – Product of the Year 2014

Link: Benchmark AHB2 – SoundStahe HiFi – Recommended Reference Component

Link: Benchmark AHB2 – SoundStahe HiFi – Products of the Year 2015

Link: Benchmark AHB2 – Poor Audiophile – Amplifier of the Year 2015

Link: Benchmark AHB2 – Home Theater Review – 2017 Best of Award

Link: Benchmark AHB2 – Stereophile – Product of the Year 2023

Link: Benchmark AHB2 – Stereophile – Product of the Year 2018

Link: Benchmark AHB2 – Stereophile – Recommended Components 2025

Link: Benchmark AHB2 – Stereophile – Recommended Components 2024

Link: Benchmark AHB2 – Stereophile – Recommended Components 2024

Link: Benchmark AHB2 – Stereophile – Recommended Components 2023

Link: Benchmark AHB2 – Stereophile – Recommended Components 2023

Link: Benchmark AHB2 – Stereophile – Recommended Components 2022

Link: Benchmark AHB2 – Stereophile – Recommended Components 2022

Link: Benchmark AHB2 – Stereophile – Recommended Components 2021

Link: Benchmark AHB2 – Stereophile – Recommended Components 2021

Link: Benchmark AHB2 – Stereophile – Recommended Components 2020

Link: Benchmark AHB2 – Stereophile – Recommended Components 2020

Link: Benchmark AHB2 – Stereophile – Recommended Components 2019

Link: Benchmark AHB2 – Stereophile – Recommended Components 2019

Link: Benchmark AHB2 – Stereophile – Recommended Components 2018

Link: Benchmark AHB2 – Stereophile – Recommended Components 2018

Link: Benchmark AHB2 – Stereophile – Recommended Components 2017

Link: Benchmark AHB2 – Stereophile – Recommended Components 2017

Link: Benchmark AHB2 – Stereophile – Recommended Components 2016

Link: Benchmark AHB2 – Stereophile – Recommended Components 2016