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The move from Tempest to Typhoon brought a ‘wind of change’ that only ‘whipped up a storm’ — it’s always best to get the cheap puns over with in the first paragraph — among our listeners once Musical Fidelity’s amps were switched from stereo to bridged operation. But before I ‘blow’ it all, let’s start at the beginning.

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Viewed from the outside both The Preamp and Typhoon power amp are fairly unremarkable. Each is built into an old 67-style case and graced with little save the most essential of facilities. A volume control, input and tape-out selector are the only features on The Preamp, which will service four line inputs and two tape decks.

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The design of The Preamp is rather elementary so there’s simply no provision for an add-on phono board. Vinyl users should opt instead for MF’s Rainbow Preamp, a new MM/MC equipped device based on the older MOSFET Preamp 3 and Preamp 8, which costs an extra £100.

Prise back the lid and you’ll be faced with a simple but purposeful design that consists of remote source selection and volume control with a two-stage line amplifier based around a pair, of op-amps per channel. As usual, MF has scrubbed everything clean of identification, though the first stage op-amps look suspiciously like Signetics NE5534s.

A second, inverting op-amp generates the negative half of its balanced output which is summed in the Typhoon using a differential amplifier. As a result any distortion or noise (hum) that’s common to both halves of the balanced signal is rejected in line with the amplifier’s Common Mode Rejection Ratio (CMRR).

Elmeg kommunikationstechnik driver download for windows 10 kms. Another minimalist exterior surrounds the Typhoon power amp, which is equipped with balanced XLR inputs and a set of hardwired 4mm loudspeaker sockets. Lifting the bonnet with a Semtex Allen key revealed a forest of fluted heatsinks, each supporting one of 16 output transistors. Separate L/R power supplies and a driver circuit culled from the Tempest brings the Typhoon bang up to date.

Sound quality

Our first exposure to this combination was straightforward enough, a single stereo Typhoon delivering an immediate and lively sound, if one that was played very close to its chest. ‘Almost as if the music were contained within a bubble strung between but not beyond the speakers’, suggested one listener.

Individual instruments remained close to one another, compact in stature but sharply focused. The diminutive images it produced led us to suspect the performers were ‘playing three-quarter sized instruments’. Nevertheless the music itself was not dynamically restricted; although slightly flat in terms of staging, it remained both expressive and energetic where appropriate.

The vibes from Marty Paich’s jazz CD were particularly strong on this occasion, although the sax was warmer and sweeter than usual — a tailoring that coincided with a similar loss of bite and sparkle from the cymbals. Despite the constricted sense of atmosphere and suspiciously tailored top-end, these amplifiers held our attention. Small but interesting, we concluded.

Following hard on the heels of this cramped acoustic, the bridged Typhoon’s brought about an explosion of space, restoring a realistic ambience to jazz and classical CDs alike. Tonally it succeeded in tidying up the treble while filling out a voluminous body of bass. The one outstanding improvement that bridging made was to provide a wealth of acoustic elbow-room. Download proline network & wireless cards driver.

Listening to the same pieces of music over again we discovered the jazz percussion had moved back into the soundstage, the sax had shifted stage left and the vibes player had finally withdrawn his hands from the pianist’s pockets. At the same time the double bass took on a more resonant quality, a fulsome sound that was both heavier and richer in tone.

The Prokofiev Symphony clearly benefited from the extra openness and transparency provided by the bridged Typhoons, one of many instances where the upgrade was judged a great success. Yet all was not sweetness and light. It was as if the intensity developed by a stereo Typhoon was now dissipated with the increase in volume, reducing the momentum and impetus of our pop and jazz selections.

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Conclusion

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If a profound sense of stereo width, depth and imagery is not fundamental to your listening pleasure then Musical Fidelity’s basic Preamp/Typhoon combination is certainly worth checking out. Individual performers can sound as if they’re packed together like sardines but its music remains both clear and to the point.

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Bridging launches you into another ballpark altogether, a vast arena of space where every performer has the freedom to produce great flourishes of music. And for that an extra £300 seems very worthwhile.