For most audiophiles, the letters ‘SPL’ mean ‘sound pressure level’ – whereas pro audio studio folk will more likely recognise it as being short for ‘Sound Performance Lab’. This German audio company was founded in 1983, and initially focused on electronics for recording studios, film and broadcast, gaining a reputation for innovative and reliable hardware. More recently it has broadened its product roster to multimedia and hi-fi equipment.

Up for review here is SPL’s newest power amplifier, the Performer s900. This is part of a range of preamplifiers and power amps, headphone and phono amplifiers, DACs, and an analogue active crossover. Its front panel is clean in appearance, with only three LEDs to identify power on, a temperature alert and protection circuit engagement. Such simplicity continues around the back, with an on/off switch, switched RCA phono and balanced XLR audio inputs, and one input trim selector per channel for attenuation. Two pairs of solid speaker binding posts and an external trigger input are also fitted.

The amplifier is offered with a choice of silver, black or red fascias, and is very well finished. It measures 278x114x345mm (WxHxD) and weighs almost 15kg; much of this is down to the seriously meaty toroidal transformer and solid chassis. Xavier Metzger, SPL’s Vice President, told me that the s900 produces 200 watts of Class AB power into 8 ohms across the audio band. I imagine you can practically weld metal together with the output current, as the power almost doubles into 4 ohms at 370W.

SPL engineers its linear power supplies with multiple lower value filtering capacitors, using fifty 1,000uF capacitors to make up 50,000uF of capacitance for faster charge and discharge characteristics. The s900 was developed from the existing s800 power amp, with a redesign of internal layout and spacing and technology from the top-of-the-line s1200 power amplifier. Its VoltAiR system implements high voltage circuit rails to produce a sound with “unlimited space for the music to breathe in”, Xavier says. It utilises a +/-60 volt power rail system, instead of the industry standard of +/-15V. This system originated in the professional audio market in the nineteen nineties, prior to moving to the hi-fi sector.

The instruction manual is simple and clear. In use the s900 runs quite cool but does need some space to operate in. For this review, my reference system comprised a Primare CD player and Bluesound Vault 2i streamer front ends, a Primare i30.1 amplifier – which was also used as the preamp – and Serhan+Swift Mu.2 Mk2 or ProAc Super Tablette speakers.

THE LISTENING

The s900 is one of the most enjoyable power amps that I have heard to date, with clarity, power and authority aplenty. Music flows naturally from this amplifier, rather than randomly erupting. The listener is cocooned within a world of nuance and texture, yet there are great dynamics and control too. Indeed, the SPL’s greatest attribute is its combination of smoothness, speed and punch. Treble has space and air aplenty, which in turn gives vocals room to breathe without a hint of forwardness. Down in the bass, and things are potent yet controlled; this power amp isn’t afraid of driving loudspeakers to high volumes. Hard drum hits or double bass plucks are no problem whatsoever, even when it is cranked up really high. The result is an easy and unconstrained sound with no obvious tonal peaks or troughs. The midrange is no different, being fast, detailed, layered and subtle.

Take Luka Bloom's Delirious for example. The s900 met this song head-on from the opening notes. Guitar came across with great speed, pace and timing. Vocals never sounded forward or closed-in, and the lower-mid was controlled and nicely weighted. Moving the focus to the midrange and bass regions, and the drumming on Brown Paper Bag by the Toshio Matsuura Group was tight and crisp. From bass drum to cymbals, each percussive strike had great solidity. Likewise, the double bass had satisfying texture to the plucking and cavity resonance. Timing proved excellent, as this big power amp knitted the different strands of the recording together cohesively.

The s900 sounded no less dextrous with the rock music of Gomez’s How We Operate. The opening interplay between the guitar and banjo set the scene – the start/stop of the former and the lingering notes of the latter floated in front of me. The soundstage was broad with pin-point location. My feet started tapping as the band ramped up the energy. The SPL pulled the track together, through loud and soft passages, with pace and intensity. As the track progressed, the raspy vocals were out front, embellished by a swarm of strings, drums, guitars and bass – yet they all remained easily distinguishable from one another.

It was time for a tempo change, so I went with I Didn't Know What Time It Was by Andrew Bird, Alan Hampton and Ted Poor. The track’s opening needs control and nuance, which is something the s900 delivered in spades. The violin plucking combined with the double bass playing and drum work had me on the edge of my seat. At the same time, the depth and breath of the soundstage was very good, with the musicians easily locatable. Vocals came up front and centre, without sounding forward or heavy on the microphone. Compared to my reference Primare, there was a little less top end sparkle, yet the violin had greater texture through the SPL and the cymbals and snare drum had more clarity. The recording quality of this album is very good, and this power amplifier has the super low noise floor to prove it.

Compared to my Primare amplifier, the s900 sounds more neutral in the bass and lower midband, while the top end is marginally more reserved. To put this in perspective, you could say it has similar neutrality to the Perreaux 200iX, but is less sparkly in the top end and midrange than the Hegel H400. It’s also a tad less controlled in the bass than Mark Levinson’s No.5805. All these observations together mean that it is a highly impressive product at the price.

THE VERDICT

The SPL Performer s900 power amplifier made a very positive impact on this reviewer. The technology is well thought out, it is engineered like a tank and makes a very nice noise. Its compact chassis may not be the norm, but is easy to fit on an equipment rack and simple to use. Sonically it’s extremely impressive across the board, while never sounding like an ‘in-your-face’ type of product. It’s an amplifier to sit back and listen to, absorbing all the detail, power and energy of a musical performance. As such, this highly engaging design is an essential audition if you’re in the market for an ‘affordable high end’ powerhouse.

For more information visit SPL