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Rotel RA-1592 Integrated Amplifier

Rotel RA-1592 Integrated Amplifier

I’ve encountered some great amplifiers over the years, but few have left the enduring impression that the Rotel RB-1090 did back in 2000. A looming and intimidating object, it weighed in at a spine-fracturing 100 pounds and stood an imposing 10 inches tall. Armored in a battle-ready black enclosure it was a powerhouse rated at 380Wpc of Class AB power and capable of 1kW peaks at 2 ohms. Its transformer was the size of a spaghetti pot, allowing it to laugh off difficult loads. It pursued deep bass like a high-voltage posse from hell, leaving even the lowest sensitivity speakers trembling in its wake. Yet it wasn’t all brute force. It could also tap dance around delicate transients and low-level musical cues with ease. Why the trip down memory lane? Well, the legacy of that big amp was never far from my mind as I delved into listening sessions with Rotel’s latest high-power integrated amp, the RA-1592. Would it summon favorable comparisons?

The $2499 RA-1592 is actually based on two current Rotel separates, the RC-1590 preamp and RB-1582 mk2 amplifier. It operates in Class AB mode and outputs a hefty 200Wpc into 8 ohms. Although it bears some physical resemblance to the smaller RA-1570 integrated, the RA-1592’s output capability is much greater and it has a much higher damping factor. Per Rotel tradition, the heart of the amp section sports a rugged power supply with an oversized toroidal transformer, coupled to select T-network, slit-foil capacitors.

The preamp section is a thoroughly modern rewrite of source connectivity. Analog and digital stalwarts should be equally satisfied. The RA-1592 is respectful of classic analog with three RCA inputs including moving-magnet phono (5.2mV, 47k ohms), plus a single pair of balanced XLRs. There are also preamp outputs for connection to an additional amplifier, and twin mono subwoofer outputs. Its digital section is driven by an AKM 32-bit 768kHz DAC, while its asynchronous USB input supports PCM files up to 24/192, DSD64/128, and DoP. For digital sources, a threesome of coaxial (RCA) and optical (TosLink) inputs are available for resolutions up to 24-bit/192kHz—plus there’s a convenient front-panel USB input for smart Apple devices, iPads, and the like. Finally, Rotel has included Bluetooth aptX, an enhanced version of stand-ard BT that delivers higher resolution, “CD-like” quality.

The brushed-aluminum front panel is bedecked with a quartet of navigation buttons stationed at the lower-right front panel: Menu, -/+, and Enter. There you can individually adjust for variable or fixed volume to all inputs, bypass or adjust tone and balance, and dim the display. (A software update allows you to dim the piercingly bright blue power/standby light.) There’s also a timeout function for power and a startup volume preference setting. Nestled below the fluorescent display are two rows, seven buttons per row, for input selection. However, I challenge you to read the teeny-font labeling beneath the pushbuttons in low light—even with your 2x cheaters, you can’t. The better plan is to keep the remote control handy. It’s not backlit but it’s a legible RC, nicely laid out. Custom integration has also been addressed. The RA-1592 includes 12-volt triggers, RS-232, and a network connection for software updates and IP control through automation systems. As for its looks, the RA-1592 is unshowy—just a plain-Jane, stamped, folded, and vented case to contain its neatly arrayed circuitry and heavy heatsinking. Sure, we all covet the swanky CNC-milled aluminum cabinets, the marquee-name parts, and the Area 51 mystique of some fancy brands, but overall I don’t know another company that brings to the table this much sheer “go” for $2500.

In terms of setup, I nailed the Bluetooth connection swiftly and smoothly. I only needed to look for “Rotel Bluetooth” in my iPad Air BT set-up menu, give it a tap, and the music began to flow. Sonic quality is dependent on the file compression scheme, but for casual listening or background music at a party there’s no beating the convenience of streaming. Its performance was better than expected, and it operated without annoying hiccups or drop-outs.

Turning to critical listening—and isn’t that really why we’re all here?—the RA-1592 was everything and more than I’ve come to expect from Rotel. It was obvious from the outset that Rotel has taken much of the muscular magic and dexterity of the RB-1090 and channeled it into its flagship integrated. The rich, balanced Rotel midrange was proudly on display from the opening bars of Marc Cohn’s “Silver Thunderbird”; Cohn’s heavy piano punctuations and his throaty vocals seemed filled to the brim with rich harmonics and dynamic energy and attack. Significantly, the Rotel’s top-end was fluid; the dark cast of treble shading that I encountered years ago has been largely ameliorated. Here the top end was more immediate, and lent the presentation liveliness, along with transient sparkle and speed.

The RA-1592’s sense of reserve power and dynamic headroom was suggestive of the hulking RB-1090 in its bass extension, slam, and pitch definition. During Jen Chapin’s cover of “Master Blaster,” the acoustic bass reproduction attached itself to the acoustics of my listening room and delivered the resonance, snapping string attack, and bloom that I’ve come to expect from this superb Chesky SACD track. Compared with the relentless power and control of the 1090, the RA-1592 comes up a little short in extreme grip and backbone at high outputs (flagging a bit with low-sensitivity loudspeakers such as my 83dB ATC SCM20SL) but, taken from another angle, the amplifier section was more lithe, and a little quicker off the mark. Orchestral layering during Vaughan Williams’ The Wasps Overture was realistic with a clear illusion of rows of players extending to the back of the stage. More to the Rotel’s liking was the new, spirited Aerial 5T, a two-way compact of 87dB sensitivity  ($4350/pr., review forthcoming). The Rotel elicited luscious bass response and excellent overall balance and dynamic impact from these stout little monitors. Low-level symphonic passages—a tender harp melody, or the slow sustain of a triangle, or the rattle of a tambourine, for examples—impressed me as well-defined in space and intimately expressive.

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By Neil Gader


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