Sound

If we’re being very honest, we’ve hardly done any reviewing this time. We’ve just been listening to music. We didn’t want to listen ‘for reviewing’ at all. And that’s a very good sign. Track after track we sit down to listen to the song. Surprised about the suppleness and finesse that this amplifier works with. And whether it’s Counting Crows, Steven Wilson, Tool of Massive Attack… it just nails it. Also independent of the speaker.

We don’t exactly feel like tweaking the set-up either. Of course, we’ve swapped speakers and put them right. But other than that… very little. Just because it’s good. And if we change a mains cable: “Yes, it’s slightly larger … …a little faster… okay.” And that’s it. The reason: the Yamaha also sounds balanced with an ordinary cord. It doesn’t distract. Which doesn’t mean it can’t get any better. But it doesn‘t need it. And we sometimes experience that in a different way.

Vocal

Where the Yamaha A-S2200 really shines, is vocal pieces. Aafke Romeijn, Adele… Thom Yorke… bam! It delivers. It touches you… you just can’t get around it. You have to listen. Beyond that point where your eyes get a little wet and you can see the hairs on your arms are already rising.

Normally we hear this level really one class higher (or two classes). The Yamaha has this effect on all speakers. On the Bowers 805D3 we have something more of a studio feeling: playing a little up-front, razor sharp imaging, focus on voice. The Focal is a bit calmer – who would have thought! – but it feels very complete and balanced. The DALI brings a little more warmth compared to the 805D3 and delivers a tonal balance and feeling that resembles the Focal. Although the mid-area is a feels less clean than the Bowers and Focal. Striking is the extra height in the presentation of the DALI. All loudspeakers disappear and leave more than enough detail to enjoy the subtleties in the music.

What we completely miss in the Yamaha with this kind of work, is distraction. No grainy presentation of vocals or drums. The mid-area is incredibly clean and everything remains controled so the listner can follow all lines perfectly.

Punch?

Both the Yamaha A-S3000 and the A-S2100 missed a bit of punch. That energy needed for electronic music. That’s different with the A-S2200. This one certainly has the balls at the bottom-end to come along. Although we have to be honest here: there are brands that offer more punch (MOON, Hegel for example). It remains an amplifier that mainly focuses on flexibility and refinement: not so much punching and popping with house and hip-hop. Although it can do it. The DALI Rubicon 6 does show its strenght with these genres. The Bowers doesn’t come off so well there. Maybe a little more power is needed.

Which speaker?

In our opinion, which of the three fits best with the Yamaha… well, that’s a very tricky question. For vocal work, the Focal or the Bowers is best. They have the cleanest midrange. And they’re also considerably more expensive. The Bowers plays the most forward and that gives a bit of a studio feeling. The Focal offers a bit more calmness, but at the same level of detail. The DALI is more complete at the bottom-end. Certainly in comparison with the 805D3. This is proof that specifications don’t tell the whole story.

The Yamaha A-S2200 can play well on all three. It’s just what you’re looking for and above all: how your acoustics match. We don’t recommend a Bowers & Wilkins 805D3 in a fresh sounding room. Just as much as a Rubicon 6 shouldn’t be in a 15m2 room.