Friday 6 March Saturday 7 March Sunday 8 March Monday 9 March Tuesday 10 March Wednesday 11 March Thursday 12 March Friday 13 March Saturday 14 March Sunday 15 March Monday 16 March Tuesday 17 March Wednesday 18 March Thursday 19 March Friday 20 March Saturday 21 March Sunday 22 March Monday 23 March Tuesday 24 March Wednesday 25 March Thursday 26 March Friday 27 March Saturday 28 March Monday 30 March Tuesday 31 March Wednesday 1 April Thursday 2 April Friday 3 April Saturday 4 April Sunday 5 April Monday 6 April Tuesday 7 April Wednesday 8 April Thursday 9 April Friday 10 April Saturday 11 April Sunday 12 April Monday 13 April Tuesday 14 April Wednesday 15 April Friday 17 April Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April Wednesday 22 April Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Tuesday 28 April Wednesday 29 April Thursday 30 April Friday 1 May Saturday 2 May Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Friday 29 May Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Tuesday 23 June Wednesday 24 June Thursday 25 June However when used inside an amplifier with very short signal paths I find the Alps does very well indeed.
The value of the potentiometer volume control is important too, it can all get a little complex for a standalone passive pre. In an integrated amp there are no cable capacitance issues to worry about and the load the potentiometer connects to the power amplifier is a known quantity as well. Amplifier Gain The preamp section brings me to the subject of gain. As the preamp is passive there is no gain but the input of the power amplifier boards have an option for setting one of four levels of gain.
Typically the Bantam One will arrive at a customer set to the second lowest gain level. I estimate the second lowest gain setting equates to an input sensitivity of around 0. If you run vinyl much will depend on your cartridge output and phonostage. As for the forth gain setting, it may be this is best thought of for "emergency use", I'm not convinced it's as good sounding as the other gain settings.
My advice is to use the lowest gain setting you can get away with. When assessing what gain setting you need don't worry about the volume control being at 5 o'clock if that's what's needed. Only increase the gain setting if you need a volume setting greater than the maximum setting. Using an unnecessarily high gain setting means you'll be over-attenuating the input signal with the volume control then unnecessarily amplifying it with the power amplifier In the unlikely event you need alter the gain setting, this is easy.
Remove the Bantam One lid, there are just four screws to remove. Once you have access to the innards the power lead should be inserted with the power on at the wall but the power switch on the amplifier should not be activated such that the Bantam One is in standby mode. Naturally keep away from any mains voltage areas between the mains input IEC socket and mains transformer, the connections are insulated so this is not something which is dangerous but if you are nervous about this find someone who is experienced with electronics.
The two power amp boards have a vertical pad-type switch near the Temple Audio logo. Using a non-conductive tool I use a chopstick lightly press the vertical button and hold it in. You'll see a nearby surface mount LED flash on the circuit board, one flash for gain setting 1, twice for gain setting Cycle this until you select the gain setting you require, replace the lid, you are now ready to use the new gain setting.
It's a wooden affair with a metal disc with five inset buttons; three of the buttons are for input selection, pressing button for a few seconds switches the amplifier on or off. There are two further buttons to control the volume. I've surely led a sheltered life as this is the first time I've come across a Bluetooth remote for an amplifier.
The Bluetooth is set for long range so I can even change volume from a couple of rooms away in my house. This is useful in my situation as my main system in the cellar basement so when I want background music in our lounge I've previously had to dash downstairs if I need to change the volume. Not anymore.
The remote shouldn't stay powered up all the time to save the batteries so it switches itself off after about an hour; you just need to press a button to turn it back on, there is a short delay whilst the Bluetooth connection is re-established. The hardest thing for me to get used to is that I don't need to point the remote control at the amp The Obvious Comparison Seeing as I like the Temple Audio Monoblocks so much, especially when run from a lead-acid battery one of the first challenges for the Bantam One was for me to understand how the linear power supply changes the sound of the Temple Audio power amplifier boards.
Once the Bantam One had a decent number of hours on it I made the comparison. I used the preamp output from the Bantam One to feed the Monoblock so I had a level playing field for the comparison. Arguably the very short interconnect I used between Bantam One and Monoblocks may have had an influence but I doubt it was much. As good as the battery driven Monoblocks are there's no question the Bantam One improves on the Monoblocks. The Monoblocks with batteries are softer at the frequency extremes and the Bantam One exhibits a more open mid-range.
It'll be obvious from my Temple Monoblocks review that I very much like them. The Bantam One without doubt takes a clear step and reaches the next level. This is as you would hope as the Bantam One with its linear power supply, preamp and classy chassis is around double the price of a pair of Monoblocks with switching power supplies and no preamp.
I am somewhat mad on vinyl, running two record decks and I also run a computer based digital source. In common with many others I find solid-state chip amplifiers to share much with a good tube amplifier and indeed any good amplifier.
Once amplifiers reach the "good" category it starts to take a fair bit of listening to discern meaningful differences. At first I had a surprise, the Bs sounded shut in a dull in comparison. A quick delve into my stash of tubes allowed me to replace the Bs with some fresher examples, the Bs were singing again. It's interesting that it took the Bantam One to make me realize my B tubes were past their best. Of course the Bantam One will have no such expense or need replace key and expensive components.
The B amplifiers have a certain flow to them; the soundstage of the Bs and Bantam One are just about identical. The tube amplifiers sound a little less distinct by comparison. Some may prefer the tubes but the precision and authority of the One makes it more universally acceptable and it is the amplifier I can live with better across all genres of music. Possibly with dreamy 's jazz the Bs are at their best and for that specific case would be my preference but overall the Bantam One is more consistently on song.
The Bantam One wins in terms of separating bass notes. The upright bass being played on Strode Road from Saxophone Colossus by Sonny Rollins exemplified the quality of the bass delivered the One. Not only is there great separation and clarity in the bass, it also achieves what I'd call "walking bass" which is when the notes are so well defined they time perfectly, when the playing is good you really get into the musicianship on display.
Switching to a very different vibe, Peter Gabriel Plays Live, on Not One Of Us there is a spoken intro, I've not heard it so distinctly before, there's tremendous clarity without starkness. I classify the Bantam One as sounding fresh and open.
Detail is solidly present whereas the B more hints at the details which are hidden behind more powerful notes. Peter Gabriel has some very powerful drums in action; I was quite taken aback by the sheer force of the dynamics. Some of this due to my Trans-Fi Salvation turntable and the London Reference cartridge too but the Bantam One took what it was given a delivered several punches in the stomach. The Bantam One sneaks the crown for the more crystalline treble where the treble is well recorded.
Tuesday 26 May Some may prefer the tubes but the precision and authority of the One makes it more universally acceptable and it is the amplifier I can live with better across all genres of music. Using an unnecessarily high gain setting means you'll be over-attenuating the input signal with the volume control then unnecessarily amplifying it with the power amplifier The great news as far as I'm concerned it that the power amp boards in the Bantam One do not run from a switching power supply but instead the regulated power supply is a linear type. Sunday 2 August Monday 24 February Sunday 15 March The latest Something Familiar - Bantam Lyons - Bantam Lyons (Vinyl) also have the output capacitor upgrade nowadays too. Love this track.
V. Gavotte I & II - Bach*, Edgar Meyer - Unaccompanied Cello Suites Performed On Double Bass (CD), Tired - BOB (37) - Tired (Vinyl), Unforgivable Sinner - Various - The Absolute Best Of The 90s (CD), Ode To My Family - The Cranberries - No Need To Argue (The Complete Sessions 1994-1995) (CD, Album)