What Hi Fi Sound and Vision
15 MAY 2008
Orelle SA100 evo2
The Orelle is an incredibly insightful amp, but it can’t quite inspire like the class leaders
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It’s a case of ‘Seconds out, Round two’ for Orelle. When we reviewed the original version of this amp we were very taken with it, but now it’s time for the Mk2 version to be put to the test. Styling is more or less identical to the first version. The only noticeable change is that it now boasts an anodised finished, as opposed to the original’s paint.
When you pick the Orelle up, it doesn’t have the sturdiness or confidence-inspiring heftiness you’d expect at this price. The reason is the chassis is made almost entirely from aerospace-grade aluminium, with curved, extruded side panels and a light aluminium-alloy chassis. Orelle asserts it’s been designed this way to channel and dissipate energy, so as not to adversely affect the amplifier’s delicate electronics. It’s hoped this will promote a cleaner, sharper, faster sound.
While this seems to be a perfectly sensible argument for the evo2’s unique chassis design, we can’t quite fathom out the story behind the accompanying remote control. Quite frankly, it’s pathetic. We’ve seen pocket-money micro systems come with classier handsets. We’re of the opinion that if you’re going to fork out £1200 on a new amplifier, you deserve something far more substantial than this.
Enlarged capacity
Back to the amp, and with this new version come a few tweaks to the design. The SA100evo2 uses larger capacitors than the original, while there have also been a few minor changes made to the amp’s circuitry. The aluminium heat sink of the original model has been replaced with a larger, copper unit to speed up the transfer of heat away from the amplifier.
In action the Orelle performs admirably. It promotes a natural, even tonal balance, with bags of refinement, and good amounts of detail. The SA100evo2 approaches every area of the frequency range with the same delicate touch. You’re presented with a great sense of space and musical freedom in the soundstage, and the amp uncovers a perfectly acceptable level of detail. Despite a lack of outright authority in the bass delivery, it’s still agile enough, and there’s no bass-lag holding the music back.
Unfortunately, vocals aren’t delivered in the same natural, intoxicating way as the very best amps available for this kind of money. For example, Bjork’s vocals on her Hyperballad track sound quite lean and insubstantial. And it’s the rather lean character of the Orelle that may not appeal to all people.
However, for us, the Orelle’s articulate and pacey presentation is more than adequate compensation, and this unusually-styled amplifier is capable of delivering a remarkable level of insight. It deserves an audition.