Electrocompaniet
AW 800M

Electrocompaniet AW 800 M, Mono/Stereo Referenz Endverstärker

Von Grund auf neu entwickelter Flaggschiff-Referenz-Endverstärker von den Audio-Spezialisten aus Norwegen. Mit neuen, deutlich besseren Bauteilen, solider Mechanik und massiv überarbeiteter Schaltungstechnik markiert der Electrocompaniet AW 800 M aktuell die audiophile Spitze des derzeit Machbaren. Der AW 800 M setzt klanglich und messtechnisch neue Bestmarken und bleibt gleichzeitig der ursprünglichen Electrocompaniet Klang-DNA treu. Ein Traum von einem Verstärker!

Electrocompaniet Verstärkerdesign

Abgeschirmte Netztransformatoren

Mono-Stereo und Bi-Amping Betrieb

Technische Daten

Ausgangsleistung Stereo Mode:
8 Ohm                                            2 x 300 Watt
4 Ohm                                            2 x 600 Watt
2 Ohm                                            2 x 1000 Watt
Dämpfungsfaktor:                           > 1000 bei 8 Ohm
Eingangsimpedanz:                         330 k Ohm
Eingangsempfindlichkeit:                  1,6 V
THD +N:                                         0,0006 %
IMD:                                              0,0001 %                              
Abmessungen (B x H x T):                406 x 292 x 488 mm
Gewicht:                                         55 kg

Electrocompaniet & HiFi-Studio Wittmann

Stuart Smith schreibt im März 2023 im HiFi Pig Magazine:

"The truth is that I was very excited about these amplifiers arriving for review and my expectations for them was very high. From a review perspective, this is a double-edged sword – will my objectivity be swayed by my excitement or will I be harsher on them because I am expecting too much? As always, I have tried to review these amplifiers as I would any other product that arrives for review and I hope that my enthusiasm for the brand and my previous encounters with their amplifiers have not allowed me to be swayed. First of all, let me say again that one of these amplifiers will suffice for the vast majority of people. They have the power and control to satisfy even the most demanding of music lovers and deliver the music to your speakers with authority and control across the frequency spectrum – nothing is lacking in this respect. Adding an extra amplifier and running in mono is better and with even more of a feeling of the amplifiers being fully in command of proceedings, but only you can decide whether that increase in performance is worth the extra £19 500. Personally, if I had the money I’d have both, but, equally, I’d be cock-a-hoop with just the one sat betwixt my loudspeakers. For those with the financial ability, by all means buy four and go double mono – and if I had just shy of 80K to spunk on amps, I’d likely go down this route myself. I’ve thought about this and then I’ve rethought about it again and I have absolutely nothing I can say about these amplifiers that is negative other than I can’t get the speaker posts to accept spades and the dimmer for the light on the front of the amps is way underneath and all but inaccessible. I love the looks, I love their sonic performance…and they don’t even have or need a remote control that I can whine about! These are the best solid-state amplifiers that I have experienced in our reference system… bar none!"

Meik Wippermann schreibt im Hörerlebnisforum 2023:
"Diana Krall hatte ich bereits musikalisch schon länger ad acta gelegt. Alle Alben immer handwerklich gut gemacht, aber ohne echte neue Ideen. Gemeinsam mit Altmeister Tony Bennett hat sie allerdings vor ein paar Jahren ein Duett-Album Love is here to stay vorgelegt, das mich kürzlich aufhorchen ließ. Eine Hommage an George und Ira Gershwin, die vom ersten bis zum letzten Track nur so swingt. Die beiden Akteure spielen sich musikalisch die Bälle zu, dass es nur so eine Freude ist. Und was mit der AW 800 M abgeht, ist schwerlich in Worte zu fassen. Wenn Sie diesen Verstärker bei einem EC-Händler Ihres Vertrauens einer Hörprobe unterziehen, sollten Sie Krall & Bennett vielleicht dabeihaben. Ich garantiere Ihnen ein „Liveerlebnis“ erster Güte."
...."Und die AW 800 M macht dies auf so einfühlsame Weise erfahrbar, dass man sich als Autor dieses Magazins ganz selten sicherer war. So und nicht anders muss diese Musik klingen.
Gratulerer med jubileet - Happy Anniversary, Electrocompaniet!"

Im Fidelity Magazin Nr. 70 November/Dezember 2023 steht:
"Wenn Sie nicht ernsthaft vorhaben, sich Electrocompaniets Endverstärker AW 800 M zuzulegen, dann machen Sie einen weiten Bogen um diesen Kraftprotz. Der Verstärker legt eine derartige Souveränität und Power an den Tag, hat der Hörraum vom ersten Moment an so im Griff, dass man ihn nicht mehr aus dem Kopf bekommt"

Jason Victor Serinus schreibt im Octaber 2023 im Stereophile Magazine:
"The Electrocompaniet signature sound
Kindingstad said that the new design wasn't motivated by unhappiness with the performance of previous amplifiers; "We just knew we could do it better." The portal to "better" was opened by the arrival of a new engineer who had fallen in love with Electrocompaniet's sound and had studied its engineering since he was a young kid. "Soundwise, we think there's a warmth to our sound," Kindingstad continued. "That doesn't mean that it's wrong or colored in any way. Just like one singer has one voice and the other singer has a different voice, different amplifiers have different voices. That doesn't mean that one is out of tune; they just sound different. "We want people to focus on and enjoy music. We think you can listen to the warm, natural, and organic sound of our amplifiers for a long time without ever getting fatigued. You won't get tired, especially when it gets loud. And there's no noisefloor that you can hear." As I wondered what words I might eventually use to describe the sound of an amplifier I would encounter for the first time later that day at AXPONA, Kindingstad characterized the sonic signature of Electrocompaniet components as "the Nordic Tone" or "Nordic Sound." "Our sound is a little bit soft, but it is also crisp, very nice, and very detailed. I think of it as something organic and light—like going into the woods and listening to a creek." I've spent time along the Olympic Peninsula's Quilcene River, listening intently to the sound of the water with a dB meter in my hand. I was intrigued. "It's like a nature sound," Danielsen offered. "One of the most famous Norwegian landmarks is a few miles from our office. It's a very wild landscape over a fjord, and you can see the sunset over the fjord and the big mountains beyond. It's quite soft, but it's also a little deep as you experience the depth of the fjords and the height of the mountains. And, as much as we love the light, smooth aspects of nature, we also embrace the ruggedness of the rough mountain terrain and the dramatic nature of our part of the world. We try to re-create this entire atmosphere."...."

"On Bach Trios (24/96 FLAC, Nonesuch/Qobuz), Yo-Yo Ma's cello sounded warm, beautiful, full, and uncannily real as he played J.S. Bach's "Wachet auf" ("Sleepers Awake"), with Edgar Meyer (bass) and Chris Thile (mandolin). I felt I was in a dream state. Coltrane's sax sounded so gorgeous on his performance of "Nancy (With the Laughing Face)," from Ballads (24/96 MQA, Impulse!/Tidal), and the core of Matthias Goerne's baritone was so filled with marvelous warmth and beauty in his recordings of "Schlafen, schlafen, nichts als schlafen!" ("Sleep, sleep, to do nothing but sleep!") from Alban Berg's Songs (4) for voice & piano, Op.2 with Daniel Trifonov (24/96 FLAC, DG/Qobuz) and Beethoven's "Adelaide" with Jan Lisiecki (24/96 FLAC DG/Qobuz) that I felt I could sink into their sounds forever and live the rest of my life in a suspended state, bathed in sonic warmth. I noted other qualities, including the sense of power and rock-solid, marvelously strong bass at the start of Iván Fischer and the Budapest Festival Orchestra's recording of Mahler's Symphony No.3 (DSD128, Channel Classics CCS SA 38817). But it was the nonfatiguing, "I could listen to this forever" beauty of the AW 800 M's diaphanous, impressionistic rendering of music that continually entranced me. I felt as though I was floating in an opium-induced haze (footnote 3) from which I was occasionally jolted by the kind of superb bass that leaves a lasting impression."