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Review of Dartzeel NHB-108 Amplifier

Dartzeel is a relatively new entry to the high-end game. Despite being reviewed by John Marks in a recent issue of Stereophile, the company's only current product offering, the NHB-108 stereo amplifier, hasn't gotten a lot of press on these shores. Hopefully this "review" will do its part in rectifying that.
As many of you probably already know, Switzerland-based Dartzeel is the brainchild of one Herve Deletraz. Herve is a wonderful guy who's dedicated to the very best customer service. As essentially a one-man operation, I'm sure his time is limited, but he's always responded to my e-mails in an extremely courteous, timely manner.

On to the amp. I'm not one for technical details, so I'll leave them to those of you who want to visit Dartzeel's website. Basically, the 108 is a "purist" stereo amp rated at a relatively modest 100 wpc. Its smallish dimensions belie its weight, which measures around 65-70 pounds.

Internally, the amp is incredibly well laid out (if tightly packed), with an attention to detail that one should expect--but doesn't always receive--from components in this price range.

Outside, it's purely love-hate. (Refer to the website for pictures). Either you get it or you don't. Personally, I've grown used to its appearance over time, but it's taken a while to become acclimated. If WAF factor is any sort of issue, practice up on your compliments. Then again, I may be overstating the case. While it's not Liv Tyler, it's not Janet Reno, either. Time reveals its inner beauty.

Performance-wise it's a much more straightforward issue. In my experience the 108 is the most balanced, natural-sounding amp I've ever heard. It has a way with timbre that's downright spooky--up there with the very best tube units one cares to mention. The sound is just "right"--every note is reproduced with a tonal correctness and warmth that is as close to the real thing as I've heard in an amp. Because of it's sheer naturalness, it can take a while to overcome the initial impression that it is somehow soft or rolled off. That is most emphatically not the case! Dynamics are crisp and fast, and the frequency extremes are right where they need to be--not overstated or highlighted at all, just perfectly natural and realistic.

The only potential weakness of the 108 is its power rating. It flows a nice amount of juice for 100 watts, but one could theoretically run into problems with particuarly current-hungry or inefficient speakers. Part of the amp's midrange purity, I believe, is attributable to the use of the bare minimum of bipolars in the output stage. That, of course, comes at the price of power, but in this case the tradeoff is more than worth it. Just take some care in speaker matching--as you should, anyway--and you'll be rewarded with a sound that balances the very best of solid state with a midrange that will make some question whether they even need to fuss with tubes.

Despite its novel physical appearance, the need for careful speaker matching, and the fact that the US dollar has been taking a Tyson-like beating lately, the Dartzeel is a serious contender in the super-amp category. Yes, there are amps out there that do this or that "better" than the 108, but I've yet to hear one that strikes a better balance between the various areas of performance. It's a stunning piece of engineering and a landmark amplifier.

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Product Weakness: Appearance is strictly take-it-or-leave-it. Power rating requires some attention to speaker load. Cost.
Product Strengths: Naturalness, midrange magic of the highest order, speed, dynamics

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Associated Equipment for this Review:
Amplifier: Dartzeel NHB-108
Preamplifier (or None if Integrated): EMM Labs DCC2
Sources (CDP/Turntable): EMM Labs CDSD
Speakers: Von Schweikert VR-4 Jr.
Cables/Interconnects: Jena Labs Pathfinder
Music Used (Genre/Selections): Rock, blues, country, some classical
Room Size (LxWxH): 24 x 20 x 7
Room Comments/Treatments: Echo Buster, ASC
Time Period/Length of Audition: 3 months
Other (Power Conditioner etc.): Shunyata Hydra-8
Type of Audition/Review: Product Owner
hooper
howie
230 posts
 
Whoa Cinematic_Systems, can you even read my post before you start barking? Where did I give you the impression that I was trying to "elevate" myself into the creative process? All I did was quote Bill Evans. I find his comments enlightening but I surely never claim to be enlightened nor do I believe that I am. And you misinterpreted the quote. The quote is meant to tell you that critical listening isn't an easy process because personal biases and emotions can get in the way. Because of this, Bill Evans himself may not have been a better judge of a jazz pianist's performance that either you or I.

For some, the creative process may end when the CD is caste, for others, the creative process end with the last note played or sung by the musicians. Many musicians simply have little control or influence over the music reproduction process. Any instrumental sound that goes through a mic already changes the sound. The sound engineer frequently changes the sound to better reflect for example, what he/she thinks a saxophone should sound like. A conductor is only one authority. Perhaps he rightfully should have full control over interpretation. But like many authors, there are many artists that will never tell you what his original intensions are. They want you to freely interpret his music and become involved.

It's easier to have an opinion than it is to be educated on the subject of music reproduction. But it is also easier to have an opinion on music reproduction or music than to be educated in music.

When Lester Young goes on stage, he doesn't care what chord the song is in. He wants to know the lyrics. He's interpreting the sound, the sound reproduction engineers are interpreting his performance, and the listeners are interpreting Lester Young's performance. Ah but you can have a crappy record, transcribe his solos, and still analyze Lester Young's performance. It's not like any of us who has never heard him live knows what he truely sounds like anyways.
sirspeedy70680e509
1,064 posts
 
Cinematic systems,let's just say that my "Buddies" really don't "guess" at anything.They are skilled and experienced hobbyists that have been at this longer than you,or myself,most likely.I believe that they would find your condescending comments humorous,as we are pretty adamant about how sensitive the "average" ear becomes,once you have been at this hobby awhile.

Since we attend many live events,the signature sound of what real music should sound like is obvious.It really is not hard to learn how(assuming you have enough experience,which your customers may not have,if they must be so reliant on your measurements)to listen to and set up a fine "FULL RANGE" system after you have been at it as long as I have.I do make it my business to get out there,and hear different audio systems as well.This is a helpful guage to me.

I don't doubt the importance of measured results,but know that great results can be had with a wide variety of "known" program material,and this is NOT "GUESSING".If you cannot set-up to a high degree with your own ears you really should consider a hearing test.I'm not trying to be rude here,but your comments,to me,clearly seem to be an attempt to bait me.Hey,we're just having a good debate.No animosity intended.

I do believe that when one has the intimate knowledge of living in a home,for a while,they can navigate it in total darkness.When you "know something" you just "know it"!!Experience is a powerful ally!!
cinematic_systems
282 posts
 
Howie,

We're on the same page just different sides, you are the artist looking at the process from the beginning, I'm the technician looking at the end of the process back. We are both leaning on our strengths and the areas we have developed the most.

We need each other, because your main focus is performance, mine is preservation of that performance. Without your perspective I cannot know the intentions of the artist, without me the intentions may be obscured.

I like you do not discount the importance of knowing (educated) music as well as knowing (educated) sound. Unfortunately they are two different things. I am not a musician but I can read music, but not as well as I can read a spectral decay plot.

As for "elevate", I was not implicating anyone specifically but from an objective stand point do I suit myself(inserting myself in the production) with the system I design or do I suit the artist (pursue absolute sound).

Since a perfect system may not exist, the line is blurred a bit.

Maybe I read Ayn Rand at too young an age? :)

But we are not in any disagreement, and my reaction was to the implication that I measure at the expense of listening. That is not the case. I listen, then record that experience with a snap shot of the performance of that system. A permanent record to compile with many many other experiences. Its not a complete record but its better than nothing. Like photo's from a vacation.

Believe it or not my degree is in film making, I am creative type with a technical curiosity and aptitude.
howie
230 posts
 
I still wouldn't put it that way. Musicians doesn't NEED anybody really. Many musicians didn't get to where they are because they wanted to have a record out. Hell, many of them actually don't care whether or not there's an audience. Music is played for their own enjoyment. It's not played for anyone else or nothing else. Of course, many artists do enjoy having an audience appreciate their music. So some may feel the need for an audience. It's great that their music becomes recorded so others can enjoy their performances. It's great that their performance doesn't become lost. I don't mean to be ignorant but to say musicians NEED people like you is pushing it IMO. That's not to say all musicians don't need record engineers, but most of them really don't. The musicians themselves can take a page from Greg Osby and bring their own recording equipment such as a minidisc player and record themselves. And it's great that we have a lot of Charlie Parker and Dizzy performances. Okay so someone has to develop the recording equipment, but as bad as some of their recordings are, their musicality is NOT obscured. Their creativity is NOT obscured. You will never know the intention of many artists even if they told you. And don't dispute the word of mouth. Many great artists are still legends without having recorded a single album. Their influence and music still lives in some people. So even if I have the most inaccurate equipment, it wouldn't even matter. It brings happiness to one person: me.
cinematic_systems
282 posts
 
"Cinematic systems,let's just say that my "Buddies" really don't "guess" at anything.They are skilled and experienced hobbyists that have been at this longer than you,or myself,most likely.I believe that they would find your condescending comments humorous,as we are pretty adamant about how sensitive the "average" ear becomes,once you have been at this hobby awhile."

Yeah I know. I think pretty much everybody has mentioned that to me at one time or another.

" wide variety of "known" program material",

What exactly do you know about it? Can you tell me what Microphone/preamps/board/Mastering etc. What is your reference speaker, the one used by the studio? The only thing you know is that it sounds good to you, but what is that exactly? You have Avalons right? Why? Why did you buy them over all the other options? What makes them special, try to answer that question using a vocabulary that would allow me to apply it to my situation. Musical, accurate, revealing are not helpful.
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