"Smooth Operator"

Samuel Johnson Audio pca100 and ppa100 pre/power amp

by Dave Davies

Hi Fi Plus - Issue 7 - August 2000

'No compromise -just music', or so it says on the ads. A tall order which should perhaps be the goal of hi-fi company but sadly, is attained by very few. What chance for complete newcomers?

That Samuel Johnson Audio is a credible business and likely to be serious about its goals was evident from the moment I opened the packaging. Quashing forever any lingering thoughts of the old 'built in a shed' British enthusiasts product, here were units, that in terms of fit, finish and presentation are easily the equal of their best British peers. A product that would not be disgraced when set against much more expensive international offerings, however far up the 'high end' route you'd care to go! The accompanying photo's will give you the clearest indication of the external design but can't convey the satin smoothness of the casework, both metal and woodwork, the latter I'm informed sourced from the same, supplier as Rolls Royce dashboards. No raucous logos ruin the fascia; instead the discreet 'SJ' logo is engraved on the power button which in turn sits in an elliptical recess.

The pca 100 and ppa 100 are the, first in a family of new products from SJ Shortly to be launched and quite possibly available by the time this article is in print are a 100 W power amp, a DAC and a CD transport.

The pre-amp is designed with ease of use in mind, so remote operation is key. The remote, the flattened egg shape of which also echoes the elliptical logo, is a solid and weighty sculpted aluminium chunk. It sits invitingly in the palm of the hand allowing 'single handed' operation of source selection, volume and mute functions. Like the Michell Orca remote, it is a pleasing break with the norm, enhancing rather than compromising functionality.

A huge range of finish options are available, from the champagne and light wood of my review samples, to black metal, to a highly polished chrome aluminium. These metal finishes can be matched with real wood from a choice of walnut, cherry, rosewood or American walnut, or even more metal if you're not the earthy, organic type. The cases are finished in a matt textured paint. When coupled with the blue LED's, the whole effect is both distinctive and discreetly understated, and I can see these designs sitting equally well in either contemporary or traditional environments. I've banged on at unusual length about the exterior design and build quality of the amp, but with good reason since it really is exceptional. However, looks are of course but a small part of the story.

The attention to detail clearly carries through to the internals. The pre-amp features an unusually high count of 6 independent power supplies each with its own transformer covering the left and right inputs/ outputs, control logic circuits and channel switching relays. Maintaining signal purity and minimising noise (hardly mutually exclusive) are priorities. An EMC filter is incorporated to minimise mains-borne interference. High quality relays are used and each input channel features a filtered line stage to buffer the source signal. An elaborate 4 layer PCB is used, and signal paths are minimised throughout with the appropriate circuitry located as close as possible to the rear panel. Unusually at this price level, the pre-amp also offers a headphone output.

The PPA 100 power amp rated at 50 Watts into 8 Ohms, doubling into 4 Ohms, is no less elaborate. Four independent power supplies cover the left and right audio supplies and protection circuits. Two hefty 300VA toroidal mains transformers are shoehorned into the slim-line box along with identical circuits for each channel, Star grounding is employed and like the pre-amp, the mains input is EMC filtered. Unusually the back panel features Speakon connectors. These locking plugs are more normally seen in professional applications where they provide a more reliable and tighter connection than standard plugs. They do indeed provide a highly secure connection, and experience informs me that they sound good too. It meant that I had to use adapters for my bi-wired Audioplan Musicable throughout the review, and I wouldn't fancy trying to re-terminate some of the heavier cables on the market. But that's the dealer's job anyway! Coupled to my Copland CDA289 and Ruark Paladins and wired throughout with Audioplan Musicable, my initial reaction was mild disappointment. A big soundstage was evident and there was no lack of fine detail, timing too was excellent, but somehow there was a slight sense of constraint of the system holding back. After some experimentation, the cables were ruled out and the finger of suspicion pointed at the Ruarks. These were removed and substituted with a pair of Ars Acoustica Divas. Them at 89dB/W and around 4ohms, present more of a load than the easily driven Paladins and it was immediately apparent that the SJ's were much happier.

Bunging the latest Joni CD (Both Sides Now Reprise 9362, 47620-2) into the Copland, her 'Holiday like' vocals were nicely captured, with every nuance clearly conveyed. The swell of the backing orchestra as it rose to each climax was conveyed with real ease and refinement. Imaging was solid, three-dimensional and very precisely positioned, although stage depth was a little shallower than with my Michell amps.

Moving to Lloyd Cole's splendid Don't Get Weird On Me Babe (Polydor 511093-2), there was no lack of slam or scale as the band kicked in on the opening track, 'Butterfly', and having recently seen Cole in a small venue acoustic gig, I can vouch for the accuracy of the vocal, reproduction. The very girly breathy backing vocals from 'Beti' in the lovely 'Margo's Waltz' were particularly sexy, the silky smooth performance of the SJ making them so much more real. Bass was deep and taught throughout and the percussion had real snap and impact The SJ proving itself capable of resolving layers of fine detail that brought a whole new perspective to a recording which I thought I already knew pretty well.

On the altogether more delicate but no less lovely Fone sampler CD (Catalogo Sonoro 2 - CD Sampler 95 F16 CD), the opening track features Salvatore Accardo from the Violins of Cremona disc, performing the Kreisler 'Melodie'. The character and natural scale of the instrument, along with every delicate aspect of Accardo's playing, was really convincingly recreated, along with a great sense of the recording acoustic. Another favourite track from this sampler that also happens to be a great test piece, is the Mascagni intermezzo from 'L'Amico Fritz'. At first hearing this live recording can sound a little warm and top-end curtailed until it dawns on you that it's actually much, much closer to the real thing than most recordings. The sense of 'you are there' is absolutely captivating, right through to the burst of applause and 'bravo's' at the close. This piece has never sounded less than good on a variety of systems. But the SJ's made things that vital bit more real, making the whole experience even more enjoyable able. From the layering of the strings right through to the sheer naturalness of the applause, the SJ made this performance totally captivating.

From the sublime to the well, sublime in a quite different way. Sadly, the SJ phono stage wasn't ready by the time of review, so plugging in my trusty if very long in the tooth Michell ISO I lined up Rockin' Jimmy and the Brothers of the Night (Sonet SNTF 857) on the Gyrodek.

For those of you unlucky enough not to know this album, it's a compelling blend of the tightness add funk of Little Feet with, a twist of Mac Rebennack and a light sprinkling of Booker T Mostly though it's great straight ahead good time rock. Superbly recorded it demands lots of punch to recreate the right funky experience. This proved absolutely no problem for the SJ. Moving swiftly from the delicacy of the Fone CD there was now plenty of deep, impactful bass and overall clout. Jimmy's vocals were clearly conveyed band the band laid out across a convincing stage, Guitar lines had just the right feel with plenty of attack when required and importantly although lots of fine detail was evident across the spectrum it wasn't allowed to get in the way of the music. The overall sound was now hard driving and raunchy. Just like it should be, and thoroughly involving.

The SJ also excelled in simple acoustic music. The Eric Bibb track 'Saucer'n'Cup' (from Eric Bibb and Needed Time Good Stuff Opus 19603), is a laid back treat with soulful vocals from Bibb and some nicely plucked National guitar. Bibb's vocals were solid, three-dimensional and in the room. And the attack on the harder plucked notes was convincing. Importantly, the whole thing stayed in scale. I never got the sense of a seven foot wide guitar being played by an eight foot high musician that some systems insist on suggesting, but was presented with a naturally proportioned and voiced instrument played by a 'real' person. Good stuff indeed!

You'll have gathered by now that I like the SJ. It consistently demonstrated excellent pace and timing, delivering a big, powerful sound that belied its compact dimensions and offering a correct sense of the scale of each performance. It proved totally unfussy, coping equally well with whatever was thrown at it rock, jazz, classical, whatever. It sounded in many respects like a much bigger beast, but unlike many such critters it also offered a level of ease and refinement, of delicacy, along with the ballsy stuff. The overall sound had a natural sense of warmth with detail just 'there'. I suspect that on demonstration the SJ would not necessarily be the most immediately engaging - it's clearly not out to impress with hifi pyrotechnics and it takes time to warm to it's more subtle and refined approach. The amp is likely to appeal, to those who appreciate excellent sound quality, who like good design and - don't want their listening room filled with boxes. It offers the combination of luxury feel and effortless power that you expect from a big saloon car (without the soggy suspension you normally get too!). There's a sense of ease and effortlessness in its performance that draws no attention to itself but allows you to focus on and experience the music. My only slight quibble is the total lack of any volume indication. Coming back to the system after a bit of a head bang can be an interesting event.

Here is a new company, which from day one has produced a truly world-class product. It should prove a godsend to music loving would-be audiophiles who also have an eye for design and want to keep things uncluttered and simple. Whilst it clearly requires a good source to give of its best, and if my experience with the Paladins is any measure, prefers something to get its teeth into, it is inherently unfussy and undemanding. Fit, forget (if you can ignore its slinky contours) and enjoy the music. I wish Samuel Johnson every success - they deserve It!
 
 

TECHNICAL SPECIFICATIONS
pca 100 Control Amplifier
Inputs: 6 line inputs (phono input imminent)
Outputs: 4 line and 2 tape
Input Impedance: 47k ohm impedance
Input Sensitivity: 360m/1V rms @ maximum gain
Dimensions (WxHxD): 14" x 3.5" x 14"
Weight: 18 lb.s
Price: $3,295

ppa 100 Power Amplifier
Rated Power Output: 50 Watts/ 8 Ohms, 100 Watts/ 4 Ohm
Inputs: RCA/phono
Outputs: Neutrik Speakon
Dimensions (WxHxD): 14" x 3.5" x 12.5"
Weight: 23 lbs.
Price: $3,995