DIGITAL SOURCE COMPONENTS

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Arcam FMJ A19
& airDAC
Dynamic Duo
Spencer Holbert
Though integrated amplifiers have been around a long
time, they are often mixed bags. Some models try to do
too many things at once, losing focus on what we listen
for first—sound quality. Whether you are looking to purchase
your first real hi-fi component or an affordable option for
a second system, the Arcam FMJ A19 integrated amplifier
delivers real high-end sound quality, without the high-end price.
Functionality and Sound
Though the A19’s design is understated—downright minimalist,
actually—don’t let its lackluster exterior fool you.
The A19 borrows heavily from its bigger and more expensive
siblings, with features like a toroidal transformer
for its 50W Class AB output stage and the same volume
control as top-tier FMJ models. With seven single-ended
inputs, the A19 makes plenty of room for those with lots
of sources—enough for two turntables, two DACs, a tuner,
and your dad’s old tape deck. Even if you don’t need all of
them today, those extra inputs may come in handy down
the road. Because of the resurgence in vinyl, Arcam has
upgraded the A19’s built-in phonostage to better reflect
current listening preferences. The remote is a basic design,
with the ability to control every feature except for a
few user preferences that are adjusted via several buttoncombinations
on the front panel. Despite some quirks that
I will discuss later, overall this integrated offers everything
you need for a mere $999.
Now for the real meat—sound quality. Using components
that I am very familiar with, I tried to determine exactly
what the A19 does or does not bring to the listening room.
After level-matching the A19, I was actually shocked to
hear significant differences between the Arcam and several
other integrateds of similar specifications. The A19
is incredibly quiet compared to many components. Even
when I turned the volume all the way up there was no audible
hiss coming from the speakers; so you don’t need to
worry about distortion and noise with this amp. I hate to be
the one who brings up THD, because as we all know this is
by no means a measure of sound quality, but the A19 has
a harmonic distortion rating of 0.003% at eighty-percent
power—and that’s low.
Listening to Ludovico Einaudi’s “Experience” from In a
Time Lapse (CD and vinyl), I heard a smooth high end that
never sounded overly bright or grainy. The A19 was convincingly
realistic on Einaudi’s piano, and when the violins—
arguably the most difficult instrument to accurately reproduce—joined
in with their unusually sonorous solemnity, I
felt like I was listening to a genuine high-fidelity product
(even though Arcam doesn’t like to be associated with a
“hi-fi” sound). So far so good.
I played the track several more times, then shifted my attention
to the soundstage, which was on-par with what you
would expect in this price range: generally wide, sufficiently
detailed, with overall tight imaging (though somewhat
misplaced locations compared to ultra-high-end systems).
Soundstage depth was less deep compared to those more
expensive systems, but nevertheless was plenty deep to
satisfy all but the most demanding. What makes In a Time
Lapse great for soundstage testing is that it was recorded
in an Italian monastery with sound quality in mind, so it’s
very easy to tell when something is amiss. On “Experience,”
a harp placed behind and to the left of the piano is
gently plucked amid the increasingly energetic violins. The
Arcam A19 had sufficient resolving capabilities to allow
the distant harp to be heard, though don’t expect extreme
soundstage depth with this—or any—integrated in this price
range.
Maybe I’m being a little too tough on the A19’s lack of
soundstage depth. After all, imaging was fairly tight and
was for the most part reasonably well executed. No “I’m
there!” moments occurred, but nothing was egregiously
wrong—complex soundstages are a difficult thing to resolve
on such a tight budget. Then another thing announced itself:
the slightly tubby bass. Low-end damping ability was
a little lacking with the 4-ohm Endeavor E3 floorstanders.
Yet, when compared to similarly priced integrateds, lowend
handling was equal to or slightly better, so no worries
here.
I don’t want you to give you the wrong impression of the
A19 by pointing out these things—they are meant to give
you a realistic idea of what a $999 integrated amp can
accomplish. With regard to sound quality, $999 buys you
a musical, involving presentation with above-price-point
performance in imaging. At 50W into 8 ohms and 90W
23 Buyer's Guide to Digital Source Components 2014 www.theabsolutesound.com
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