The DNM electronics have always been about the orderly resolution of ever finer musical detail, but they've avoided ever straying into the realms of sterility. On the contrary designer Denis Morecroft has been constantly aware of the inescapable truth that musical information is an expression of energy and that the job of an amplifier is to pass a signal without disturbing the arrangement or nature of the individual energy 'parcels'. Thus it's not really surprising that the DNM amplifiers have put timing and transparency first when it comes to performance.

Right from the start, DNM pre-amplifiers laid bare the dynamic and rhythmic structure of music in a way that few if any of their contemporaries could match. But as they evolved, and the first power amp arrived, the search for increasing levels of transparency and in particular the elimination of the blurred thickening associated with aluminium casework, disturbed the overall balance of the sound, bringing a thinness and lack of weight. In a world inhabited by wobbly waisted musical behemoths, this was actually a breath of fresh air, and careful system building could produce remarkable results. For a long time I used two of the original PA1 amps (30 W/ch) to bi-amp a pair of Apogee Calipers. This unlikely combination never failed to surprise visitors, as the speed and precision of the power amps woke up the lazy but incredibly pure sounding ribbons. Ever since the first plastic cased models arrived, the development of the DNM electronics has been a search for realistic harmonic riches without compromising the outstanding transparency. And in the same way that DNM were the first company to question the accepted materials used for casework, Denis Morecroft has looked for answers in the internal structure of both the amplifiers and the components they're built from. The latest step along that road is the PA3S power amp, which introduces a fully regulated supply and T-network capacitors (explained in the "Technical bits").

Listening to the 3C Six / PA3S combination, transparency is still the key to their performance, but it is a different kind of transparency to the overt and slightly artificial, etched clarity of earlier models. These amplifiers offer real insight into the technique of the players, and the generation of the energy that makes up the music.

What I hear here is a combination of musical vibrance and harmonic weight which fills out the notes themselves, the scale of the music, and the presence of the soundstage. The 'ultra-clarity' has been replaced by something more solid and substantial, but at the same time you can see further into the performance itself.

If we take the Du Pre / Elgar Cello Concerto (Barbirolli / LSO EMI ASD655) as an example, the plaintive Cello theme in the second movement is underpinned by subtle timpani and double-bass punctuation. The DNMs clearly separate the different instruments. Not only can you identify them by position, but by tone and texture. The timp beats have a different shape, and you can hear both the skin and kettle of the drum in stark contrast to the drawn notes of the basses. And when the percussionist progresses to little three note flurries, each beat is kept distinct, despite the speed with which they follow one another. But the most important thing to consider is the level at which this musical activity is happening. It is, quite literally behind the soloist and the bulk of the orchestra. We are talking subtle background shadings here, but the DNM's preserve them intact and in place, so that whilst they might pass unnoticed (or at best unidentified) on the majority of systems, they are there, doing their job, which is musically important to the pathos of the piece. This level of bass definition is outstanding. To find it in an amplifier which also retains the music's life and tension is rare indeed.

And DNMs don't just excel in the bass. That resolution and texture extend across the whole musical spectrum. Du Pre's emphatic bowing is full of vigour and passion. Ricci's fiddle pyrotechnics (Paganiniana Water Lily Acoustics WLA-WS-06) are full of the bite of bow on string, with a vivid sense of the attack in each stroke. The dynamic shading of the Piano accompaniment, and its changes of tempo are beautifully reproduced. The Steinway concert grand is sonorous and weighty without ever plodding or slowing the pace. But it is the agility and sure-footed stability of the flying fiddle notes that catches the ear. The instrument is stable in space as the notes pour forth, not scattered in height or width the way so many systems suffer. The tumbling notes are distinct, but the musical strand is clear to hear. Ricci descends arpeggios like a sailor sliding down a ladder. Very few amps can keep up, and most run the notes together. Not the DNM's.

Likewise, they effortlessly unravel Shawn Colvins slurred vocals at the start of Shotgun down the avalanche (Steady On CBS466142-1), underpinning the fragile guitars with a trip-hammer electronic kick drum which just drives the song along. And the twinkling sprays of notes that flood from Trevor Pinnock's Harpsichord in the Leigh Concertino (Lyrita SRCS 126) blossom within the strict supporting structure provided by the LPO. It's not so much a case of order out of chaos, but of preventing the slide down that slippery slope in the first place. The amps don't impose a structure of their own, they just make the most of the inherent patterns that separate music from noise. With the more structured musical forms, the sense and purpose of the piece become far more apparent. The Martzy Kreutzer (Coup d'Archet 003) is a musical tour de force, the DNM's revealing the power and purpose in her playing, and the perfect musical balance between her violin and Antonietti's piano. This ability to preserve both the life in the playing and the architecture of the piece as a whole makes 'difficult' pieces far more accessible.

Getting back to where I started, with the question of technique, or the musician's input, if you like, let's use a more popular example. Buddy Holly had one of the most distinctive voices in pop. Take a familiar track like Everyday (Buddy Holly MCA-11161 180g) with its simple pattering percussion and celeste backing. The DNM keeps that backing going, revealing the subtle patterning and variation in the playing. At the same time, you can really hear how hard Holly is working on his vocals. That distinctive delivery is no accident of nature.

Shortcomings? The thinness hasn't been banished completely bringing a slightly piping quality to Shawn Colvin's voice for example, and occasionally confusing instruments within family groups (violins and violas, clarinet and the upper range of the oboe). This is all the more surprising when set against the otherwise excellent separation offered by the amps. And whilst I haven't dwelt on the louder end of the musical spectrum, rest assured that the PA3S delivers with a tremendous sense of power and solidity all those elements that go to create a convincing crescendo. These amps will rock and roll when you ask them to. It's just that even in the midst of a musical maelstrom, they still sort the elements, and fill it with individual textures. This can lead to a loss of that satisfying sense of coherence and oneness that many listeners love. I'm sure that DNM would point to the congestion that so often binds that 'whole', but ultimately it's down to the listener to choose his compromises. The 3C Six and PA3S constitute a major step forward for DNM. How much of that advance is down to the power amp we'll only know when we get a fully T-networked pre-amp to go with it. That's in the pipeline, but don't hold your breath. In the meantime, the DNM amps are fussy eclectic and off-beat. Resolutely hair-shirt, two channel, and devoid of any convenience features at all, they are expensive and in terms of material content, sadly lacking. They are also beautifully made precision amplifiers, rather than male jewelry or foundation stones for your ego. They should be measured on the scales of musical satisfaction, and in that realm they're one approach to the state of the art.

The Technical Bits
The 3C Six and PA3S are built in DNM's familiar minimalist perspex cases, and offer the bare minimum of facilities, The pre-amp uses split volume controls, and whilst these are anathema to some people, in practice they are easy and extremely precise to use. Existing users will be relieved to hear that individual inputs can now be trimmed for gain, preventing speaker wrecking disasters when switching from phono to CD! The source selector switches both signal and earth, preventing dirty grounds from interfering with the sound. Apart from that you get a mute switch which lights when you engage it, and tape monitoring which can also defeat the tape out. This means that the tape out can be used to drive a second system or headphone amplifier if required.

All connections are via five pin din socketry and the main outputs can be configured to drive balanced amplifiers if necessary. You only get four inputs including phono, which comes with a standard sensitivity of 0.7mV. I think this is pretty optimistic, and purchasers should be sure to specify an appropriate value. The load impedance is fixed at 1kOhm. You can get two extra line inputs as optional extras.

The PA3S is a stereo amplifier offering 23 watts/ch. Whilst it is surprisingly load tolerant, it is best used with speakers of 90dB or greater efficiency. Compared to the cheaper (and more powerful) PA3, it employs a fully regulated supply and the new T-network capacitors. These differ from normal caps in having four terminals, an input and output for each connection, which allows the designer to control the current path on the capacitors plates. This helps prevent the capacitor presenting unwanted resistive and inductive loads to the current, making it act more like its pure electrical model. The new caps also incorporate DNM's slit foil technology.

Internally the amplifier is built on separate, layered boards, to allow optimum positioning of the signal circuitry despite the increased complexity of the regulated power supply. Inputs are via five pin din, and three sets of speaker connections are provided, all using 2mm plugs spaced to match the DNM speaker cables.

The DNM amps are expensive. The pre-amps start at £2550 with the Primus, whilst a Twin costs £3800. The PA3 power amp is £2500. And you don't get much for your money. The units are lightweight and contain a bare minimum of components. But it is important to realise that this minimalism and insistence on physically small parts is an essential element of the design philosophy and a major contributor to the overall sound. And whilst the amps are pricey the associated cables, mains lead and preferred lightweight supports are not. With other brands these can be a major expense, And DNM provide an upgrade path, both within the range, and by trading in earlier units. But at the end of the day these will always be products you buy to impress yourself rather than your friends.

TECHNICAL SPECIFICATIONS

DNM 3C Six Pre-Amplifier
Inputs; 3 line + phono
Phono Sensitivity; MC - 0.7mV, MM - 5mV
Resistive Loading; MC - 1kOhm
Input Sensitivity (Line); < 150 mV
Input Impedance (Line); 5.6 - 47kOhms
Max Output Level; ±19v
Output Impedance; 75 Ohms
Dimensions (h,w,d); Two Boxes, each 130 x 270 x 163mm
Price £4950

DNM PA3S Power Amplifier
Power Output; 23 Watts/ch (80hms)
Dimensions (h,w,d); Amp 130 x 270 x 163 mm, PSU 70 x 235 x 125 mm
Price; £3750

Distributor:
Virtual Reality Audio Systems Ltd
PO Box 383
Brentwood
Essex
CM14 4GB
Tel. (44)(0)1277-227355
Fax. (44)(0)1277-224103
E-mail. info "at" virtualr.demon.co.uk

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