Page 125 - Hi-Fi_News_-_December_2020 video

Power to the C-2a came from a high
quality, fully regulated power supply with
separate sections for each amplifi cation
block within the unit. A dedicated supply
was also provided for the MC head amp
to minimise the effect of general power

fluctuations on its sensitive circuitry.
The M-2 and M-4 power amplifi ers
remained in the Yamaha catalogue until
1983 when the more conventionally styled
M-50 and M-70 models arrived, along with
the matching C-50 and C-70 preamps.
ADAM LISTENS
Those expecting a cosseting and smooth
performance similar to that of Yamaha’s
contemporary A-1 integrated amplifi er
[HFN Aug ’17] will be in for a surprise. If the
A-1 were a big, sensible luxury Mercedes
S-Class saloon, the C-2a and M-2 would be
the model fitted with a twin-turbo V8.

The first thing that grabs you is the control at the very low-end is accompanied ABOVE: Inside the M-2 power amp the large
seemingly limitless reserves of power on by a surprising lightness of touch in the mains transformer takes centre stage while
tap, served up with a sense of precision upper bass and effortless abilities in terms the copper-plated bar used to earth the power
and control that is hugely appealing. of detail retrieval. As a result, the walking supply can be seen behind the fascia plate
Seldom have I heard a vintage amp able bass line on Simply Red’s ‘Sad Old Red’
to keep my PMC Twenty5.24 loudspeakers from their Picture Book LP [WEA 960452.1] minute then whisper the subtlety of a
[HFN May ’17] under such was as vivid and detailed softly-played flute the next. Cymbals rang

tight control as this duo. ‘The impact as I have heard it. Each out confidently and the duo made a fi ne

As a result, should you note was strong and deep, job of ensuring that percussion strikes
wish the Yamaha pairing to of the bass while Tony Bowers’ fi nger started promptly before shimmering away
rattle your fillings, then they movements up and down into the background gracefully.

will cheerfully oblige. The left me feeling the fretboard were distinct
thunderous bass on ‘The and well to the fore. ALL IN ORDER
Day That Never Comes’ from out of breath’ At the top end, the Where I felt the units did show their age
Metallica’s S&M2 [Blackened company’s work on the a little, however, was across the midband.
Recordings BLCKND043-1C] powered units’ circuitry clearly pays dividends, there Playing Mozart’s Eine Kleine Nachtmusik
through my room with such impact that being a sweetness and delicacy to the [BPO/Karajan; DG 139 004] I was swept
when the track came to a close I felt treble that is far from guaranteed with a along by the way the Yamaha pairing
slightly out of breath – always a good sign! 40-year-old design. The phono section is projected the performance into my
Fortunately, the C-2a and M-2 are not particularly capable in this area. There is listening room and shone a light on the
one-trick party animals with all brawn and never a hint of grain or hardness; rather, different instruments. However, the best
no brain. Their formidable sense of grip and this pairing can pummel your ribs one amplifiers also capture the richness of the

violin strings. Heard through the C-2a and

M-2 they sounded a little ‘flat’, there being
a slight sense of opaqueness. And I found
similar issues on occasion with simpler
material based around acoustic guitars.
What was never in any doubt, however,
was the superb soundstaging set up by
these Yamaha amps and the manner in
which they enabled background effects
to fade into the distance – often in
an uncanny way. Lateral imagery was
expansive too, stretching well beyond
the speakers’ physical limits, but superbly
ordered. Some ’70s designs can be vague
in spatial terms, but not the C-2a and M-2,
which sound precise and do so with ease.

LEFT: Side view of the M-2 and three paralleled
pairs of output MOSFETS per channel are visible

through the amplifier’s perforated metal cover.
These promised a healthy power output

DECEMBER 2020 | www.hifi news.co.uk | 125