Auricauricle
06-22-2009, 12:30 PM
This past Friday, a matching Kenwood integrated amplifier KA6006 and tuner KT6007 arrived. The set was bought from a nice fellow named Mike, who packed everything meticulously. The equipment is of the variety some prefer to call “vintage” (1974), but Mike took incredible care of them and they are nearly mint mechanically and electronically. When each item was removed the box, and the bubble wrap was peeled away, I could hardly suppress my exclamations.
Yesterday, the Kenwood KA6006 was taken through its paces. Various CD’s representing a generic sampling of my tastes in music were trotted out and while my wife visited her commiserating friends, the amp was given a good work out.
Most of the time, my music is tweaked with an AudioSource equalizer (see profile). To establish a baseline, the eq was disengaged. The KA6006 has a tone defeat toggle, and that was activated. Listening was through a pair of Polk 7c monitors (1977) and in some cases a pair of headphone (Audio Technica ATH AD700). The subwoofer was disconnected until the last CD was played.
The first CD to be listened to was Freddie Hubbard’s First Light. With this recording, the KA played in relaxed form. As I listened for the bloom on the bass instruments, they presented themselves in an unmistakable thrum that reminded me of the pleasures of live, orchestral ensembles. Although the response was not enthralling, I expected this as the controls had been set to a neutral position. Listening further, I was quite astonished as Hubert Laws’ flute issued forth, smooth and warm in Paul McCartney's Uncle Albert. In similar style, Jack deJohnett’s drums pealed effortlessly and with a mature restraint. Imaging was wide and deep, and I listened more, I was delighted as the studio orchestra opened up. The timbre of Hubbard’s trumpet was very metallic, unmistakably brassy but not of the variety that makes the adjective a harsh one. Instead, Hubbard kissed the horn, and as he did so, the breathy and sensuous tones produced were a wonder to behold.
Next up was Joni Mitchell’s Night Ride Home. There’s a lot happening on this album, and the opening track is a multilayered masterstroke. The crickets in the title track zing into the night easily, the Polks reproducing the effect that they are everywhere. Mitchell’s voice is easy and unstrained, and never shrill. Similarly, on Ray’s Dad’s Cadillac, the cup-muted trumpet bleats cheerfully and with a very pleasant roundness. Occasionally, one hears this effect reproduced rather harshly, especially among more robust treatments performed by M. Davis. For certain pieces of music it is quite suitable, but in more intimate settings, the cup can be used to evoke a familiar, bygone quality. The Kenwwod played it beautifully as I ever heard it. On Cherokee Louise, the saxophone (alto) is reproduced in supple and rotund form. The reedy quality of the instrument was nearly liquid, and I found myself wishing that I had more saxophone music to listen to.
I went through a few more discs, including Keb Mo’s Keep it Simple, Wasis Diop’s Everything is Never Quite Enough and Youssou N’dour’s Wommat (The Guide). All of this music was played with a quiet assurance that belied the amplifier’s 150 watt capability. N’dour’s voice was smooth and graceful, and bore not a trace of the sibilance. Like the experience of First Light, the textures and hues of the album were presented subtly but colorfully. At first I thought I discerned a slight lag in the music, as though is had somehow settled into a relaxed mode. Strangely, it occurred to me that this was a true illusion, that the CD player was playing as well as it ever did, but the amplifier, in it’s quietly determined way, was producing a far richer experience than I was able to easily recall. In issuing the music with its quiet conviction, the amplifier showed me the true devil in the details. Well, if this be Hell, thought I…..
At last, the subwoofer was hooked into the amp and the Pink Floyd was brought out. Most of the music I had been listening to up this point was fairly easy going by any standard. I wanted to see, now, how it could bear some stiffer stuff. I pulled out The Division Bell, and album representing, in my humble view, some of the best playing and recording Gilmour and the lads have produced in some time. It is a recent album, and has much going for it, albeit the fairly regrettable second track (!) including a familiar sounding fly. More juice was applied to the pots (Bass and Treble at 1000 and 0900 respectively) and the eq was given a little juice. As I sat in my chair, the KA was determined to put on a great show, and did so with real guts and zest. In no way did the sound become grating or harsh, but assuredly loud and mighty. So, this is where the Watts went!
In sum, the Kenwood KA6006 is a fine integrated amplifier. Suffice it to say, the amenities that are for many familiar—remote control, subwoofer level, etc.—are not here. The sounds are quite rich and textured, and any amount of hue can be accessed and added to suit one’s taste. The appearance of the amp, in a slight champagne finish of brushed aluminum is quite handsome. There are controls to include just about any appliance desired, but as things go, the KA stands quite well enough alone. If you are not concerned about staying abreast of the latest gear and in the market for something older, this amp will serve your needs quite well. Like the gentleman butler who carries a stiff cane and a strong arm, the amp may be genteel, but is certainly no sissy!
Yesterday, the Kenwood KA6006 was taken through its paces. Various CD’s representing a generic sampling of my tastes in music were trotted out and while my wife visited her commiserating friends, the amp was given a good work out.
Most of the time, my music is tweaked with an AudioSource equalizer (see profile). To establish a baseline, the eq was disengaged. The KA6006 has a tone defeat toggle, and that was activated. Listening was through a pair of Polk 7c monitors (1977) and in some cases a pair of headphone (Audio Technica ATH AD700). The subwoofer was disconnected until the last CD was played.
The first CD to be listened to was Freddie Hubbard’s First Light. With this recording, the KA played in relaxed form. As I listened for the bloom on the bass instruments, they presented themselves in an unmistakable thrum that reminded me of the pleasures of live, orchestral ensembles. Although the response was not enthralling, I expected this as the controls had been set to a neutral position. Listening further, I was quite astonished as Hubert Laws’ flute issued forth, smooth and warm in Paul McCartney's Uncle Albert. In similar style, Jack deJohnett’s drums pealed effortlessly and with a mature restraint. Imaging was wide and deep, and I listened more, I was delighted as the studio orchestra opened up. The timbre of Hubbard’s trumpet was very metallic, unmistakably brassy but not of the variety that makes the adjective a harsh one. Instead, Hubbard kissed the horn, and as he did so, the breathy and sensuous tones produced were a wonder to behold.
Next up was Joni Mitchell’s Night Ride Home. There’s a lot happening on this album, and the opening track is a multilayered masterstroke. The crickets in the title track zing into the night easily, the Polks reproducing the effect that they are everywhere. Mitchell’s voice is easy and unstrained, and never shrill. Similarly, on Ray’s Dad’s Cadillac, the cup-muted trumpet bleats cheerfully and with a very pleasant roundness. Occasionally, one hears this effect reproduced rather harshly, especially among more robust treatments performed by M. Davis. For certain pieces of music it is quite suitable, but in more intimate settings, the cup can be used to evoke a familiar, bygone quality. The Kenwwod played it beautifully as I ever heard it. On Cherokee Louise, the saxophone (alto) is reproduced in supple and rotund form. The reedy quality of the instrument was nearly liquid, and I found myself wishing that I had more saxophone music to listen to.
I went through a few more discs, including Keb Mo’s Keep it Simple, Wasis Diop’s Everything is Never Quite Enough and Youssou N’dour’s Wommat (The Guide). All of this music was played with a quiet assurance that belied the amplifier’s 150 watt capability. N’dour’s voice was smooth and graceful, and bore not a trace of the sibilance. Like the experience of First Light, the textures and hues of the album were presented subtly but colorfully. At first I thought I discerned a slight lag in the music, as though is had somehow settled into a relaxed mode. Strangely, it occurred to me that this was a true illusion, that the CD player was playing as well as it ever did, but the amplifier, in it’s quietly determined way, was producing a far richer experience than I was able to easily recall. In issuing the music with its quiet conviction, the amplifier showed me the true devil in the details. Well, if this be Hell, thought I…..
At last, the subwoofer was hooked into the amp and the Pink Floyd was brought out. Most of the music I had been listening to up this point was fairly easy going by any standard. I wanted to see, now, how it could bear some stiffer stuff. I pulled out The Division Bell, and album representing, in my humble view, some of the best playing and recording Gilmour and the lads have produced in some time. It is a recent album, and has much going for it, albeit the fairly regrettable second track (!) including a familiar sounding fly. More juice was applied to the pots (Bass and Treble at 1000 and 0900 respectively) and the eq was given a little juice. As I sat in my chair, the KA was determined to put on a great show, and did so with real guts and zest. In no way did the sound become grating or harsh, but assuredly loud and mighty. So, this is where the Watts went!
In sum, the Kenwood KA6006 is a fine integrated amplifier. Suffice it to say, the amenities that are for many familiar—remote control, subwoofer level, etc.—are not here. The sounds are quite rich and textured, and any amount of hue can be accessed and added to suit one’s taste. The appearance of the amp, in a slight champagne finish of brushed aluminum is quite handsome. There are controls to include just about any appliance desired, but as things go, the KA stands quite well enough alone. If you are not concerned about staying abreast of the latest gear and in the market for something older, this amp will serve your needs quite well. Like the gentleman butler who carries a stiff cane and a strong arm, the amp may be genteel, but is certainly no sissy!