![]() The harmonica in Supertramp's "School" from the digitally re-mastered CD The Very Best of Supertramp had an incredibly multi-layered front-to-rear soundstage, as if each note existed in a different space or plane. Her vocal image seemed to float in the air between the Dahlquists, something few amps have done with these speakers. Her sultry voice presented a very open soundstage with excellent depth. The available headroom in the Outlaw 7500 became immediately obvious when I played "Fever" as sung by Valerie Joyce. The real advantage of a high-powered amplifier is not heavy-metal loudness, but headroom and dynamic range. The triangles, which can easily be obscured in louder passages, were reproduced with exceptional clarity and detail. The Outlaw effortlessly handled the orchestra crescendos and didn't stifle the softer instruments. The orchestra starts softly, then slowly builds a long crescendo when BOOM, the tympani drums kick in, the room shakes, and the full orchestra comes alive. One of my favorite reference tracks is "March From Midway," a very demanding track from John Williams and the Boston Pops Orchestra. Speaking of dynamic source material, I started my testing with some military band music. I listen to them frequently, and I'm very familiar with their sound qualities. ![]() The DQ-10s are circa 1975 and considered classic loudspeakers for their very revealing and detailed sonic characteristics. My reference front LCR speakers are Dahlquist DQ-10s with Paradigm Reference Studio 100 v.3 surround speakers. As I mentioned earlier, balanced connections reduce interference from extraneous electromagnetic fields and improve signal-to-noise ratio, so I use them whenever possible. I connected the Outlaw 7500 to an Anthem Statement D2 pre/pro using balanced cables with XLR connectors.
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