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Output power:
40W.
Output impedance : 4Ω 8Ω.
Input voltage : 400mV.
Input impedance: 100K.
THD: ≤1%.
Frequency response: 20Hz~20KHz±1dB.
S/N : 88dB.
Input jacks: 1 group.
Output jacks: 2 groups.
Vacuum tube: 805×1 6L6GC×1, 12AU7×2 12X7×1.
Input Voltage : 110~220V(+/-10%).
Unit: 1 Pair
dimension: prof. 47 cm larg. 23 cm alt. 25 cm Circa |
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Intanto due righe su questa azienda:
La MeiXing Electronics e una delle
maggiori fabbriche di amplificazioni a tubi del mondo. Nata nel 1991,
all'inizio si occupava di produrre per altri senza pubblicizzare il
marchio proprio, poi da 1998 comincia a pubblicizzare e vendere i
propri prodotti per conto suo. I prodotti MING DA sono costruiti molto
molto bene e vista la disponibilità di personale a basso costo
effettuano dei test molto rigorosi, tali da permettere loro di avere la
certificazione ISO9001. I circuiti interni sono cablati in aria ed
effettuati completamente a mano, i cavi utilizzati, placcati in
argento, le valvole provengono dalle migliori fabbriche Cinesi,
cecoslovacche, Russe e Americane e vengono testate per molte ore....
Piccola descrizione :
Amplificatori monofonici dall'estetica
veramente accattivante , una valvola che si illumina tantissimo e
una costruzione davvero raffinata , sopratutto se paragonata al
costo del prodotto.
Penso che sia veramente difficile
trovare questa qualità a questo prezzo !! sia il modello con le
845 che questo con le 805 sono prodotti meravigliosi , neutri e
musicali a i massimi livelli , lasciano tanta aria tra gli strumenti
e hanno un grado di pilotaggio buonissimo. Le differenze
sostanziali tra il modello con le 845 e questo oltre alla potenza
e la grana , leggermente piu' grossa per questo e
l'estensione sul basso forse maggiore sull'altro modello.
Naturalmente le 805 hanno un grado
di pilotaggio maggiore , anche dato dalla potenza
doppia rispetto alle 845.
The Sound
Amplifiers do not have a ‘sound’. Well,
good ones do not have a ‘sound’. They just let through what is there for
richer or poorer. This is a very musical amplifier and it isn’t so bad
on the test bench either measuring <1% THD, for what that’s worth. Here’s
a brief list of our (‘cause there’s more than me) listening experiences
with the Ming Da MC-805A:
Blue Moon Swamp John Fogerty.
Excellent driving bass lines and delineation of rhythm throughout the
disc. Drummer can be followed without being made ‘prominent’ by the
amplifier (indicates no frequency spikes in the HF). Small children’s
voices on ‘Blueboy’ are precisely placed within the sound stage and as
the source (child) moves the ear tracks it effortlessly. Sounds less
like a studio effect and more like the ‘real playground thing’. The male
bass on ‘A Hundred and Ten in the Shade’ is a superb example of how well
this amplifier handles male voice. Excellent delineation of what the
singer is trying to achieve with the harmonics of his voice as opposed
to just singing (and hence hearing) a note. Beautiful rendition of male
choir – effortless integration of voices that nevertheless remain
distinct, as though you were watching the choir live. This amplifier
does allow the ear to make up for a fair amount of that which the eye is
not able to see.
Gladiator – The Music from the Motion
Picture Hans Zimmer and Lisa Gerrard. Glossing over the fact that
Zimmer has nicked a lot of this from Holst’s Planets and I don’t mean
just inspiration(!); the MC-805 produces the full orchestral climax
beautifully, at no time sounding strained or as though it is running out
of puff. The track “Might of Rome” is ideal for showing just what this
amplifier can do. Massively deep drumming, zinging synths in the bowels
of the mix and all kept clear with the choir in the background staying
lucid and believable. “Slave to Rome” is another excellent test of the
power delivery of the amplifier system – big band going full tilt but no
confusion or contraction in the sonic scenery.
Hang On Little Tomato Pink
Martini. Top rung ‘lounge’ I suppose you’d call this, but then, how do
you explain the presence of ‘Autrefois’ with its rhythms clearly based
in Rap (yes, I kiddeth not), and a bass end to match! Overall China
Forbes (no, just a coincidence) sings the chanteuse line in French.
Whether you “get” this music or not this album shows the superb results
this amplifier can produce with the human voice. For another example of
the ability of this amp to keep solo voice in the foreground separate
from the choir in the background, have a listen to ‘Una Notte a Napoli’
on this disc – great! I would rave further about this recording but that
would have naught to do with the amplifier. Move on…
The Peter Mallick Group with Norah
Jones This is what it sounds like up close and personal in the
studio with some excellent examples of electric bass playing the
loooooow notes. Listening to the cymbal work at the intro to ‘Strange
Transmissions’ will convince one of the delicacy and power of this
amplifier, if nothing else. Not the most dynamic of recordings but very
appealing in its immediacy.
Verdi – The Requiem Muti
conducting with the Ambrosian chorus and London Philharmonia on the
Decca label. It’s an old Decca recording (1979) and I know it was mixed
on a valve desk. You are there, about Row 4 Centre Kingsway Hall London
– assuming there was anywhere to sit while this was recorded. My
favourite reading of this particular piece and it’s like hearing it for
the first time – again.
Summary
An excellent amplifier by any measure –
musical or technical and well worth the asking price, even lacking the
usual retail ‘backups’. This amplifier as listened to is without
esoteric modifications to components, special silver foil capacitors or
shark fin resistors. There are a couple of Solen capacitors in there on
the input valves. The small signal resistors are all metal film. The
input valve is just capacitor coupled – no expensive input choke or
input transformer. The input valve itself is the 12AX7, not the 12AU7 as
you may have assumed and I do find that odd, but it seems to work.
Today’s high end, valve hi-fi is about marginal improvements on the
frontier of sound reproduction. In my experience unless you have good
iron including the mains transformer it really doesn’t matter how good
(or bad) your capacitors are, or anything else. It is the resolving
power of good iron and a power supply equal to the task that turns
marginal things like the noise of carbon composite resistors (if any)
audible and draws our attention to them. Poor iron equals a poor sound
regardless of whatever else you may do and Good Iron equals good sound
almost in spite of whatever else you do. In my humble (how did that word
get in here?) opinion, fancy capacitors like Black Gates/ Cerafines and
silver wire and gold plated sockets may all make a subjective marginal
improvement to the sound, and, for the ake of a bun fight let’s give all
these items their due. However, it all adds up to tiny margins together
not worth as much as the least audible reduction (or improvement) in the
quality of the iron. I think the only way to really improve this
amplifier would be to go to a higher load on the output valve, which
means, you guessed it, a bigger and better output transformer. The OPT
in there is already around 9kg (20lbs) and we do have to lift the thing!
Technically, Chinese hi-fi in the area of
amplifiers is getting there; of this there can be no doubt. The
marketing side of things is another issue, but of a number of purveyors
out there. High priced SE amp purveyors in the West do have something to
worry about and it is the same thing that automobile manufacturers had
to worry about in the 70s – how to compete. Local support for a product
certainly has a value and you certainly pay for it with some amp makers
– perhaps this is the area that local makers need to consider in the
mark ups. Sooner or later these amplifiers are coming to a store near
you. Avoid the gaderene rush and buy yours now before somebody
‘discovers’ them.
Gary Jacobson
© November, 2005
Review courtesy of
Gary Jacobson
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