Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.

The 9000P power amplifier, along with the 9000Q preamplifier‑DAC I reviewed earlier this year, rounds out Audiolab’s top-of-the-line 9000 series of components. Although the 9000Q is the company’s only dedicated preamplifier, Audiolab does currently offer a couple of other power amplifiers. However, the 9000P (US$1499, CA$1999, £1099, €1499) is the company’s flagship power amp, and it’s a visual match—and, presumably, a sonic match—for Audiolab’s high-value preamp. As well as operating as a stereo amplifier, the 9000P can be bridged for monaural operation to provide additional power into a single channel.

As it is a logical pairing for the 9000Q preamplifier, I did most of my listening through the 9000P during my review of the Audiolab preamp. This review, however, focuses on the attributes of the 9000P power amplifier itself.

Minding your Ps and Qs

The 9000P presents as a basic silver or black box. Considering its reasonable price, I think this is acceptable. The exterior panels are coated in a finely textured finish and are quite thick and solid-feeling. There are visible screws and edges, but the flush surfaces, tight tolerances, and dense construction convey a sense of quality.

A power button that brings the amp out of standby mode is the only control on the front panel. A small red LED above the button glows faintly to indicate standby operation, or more brightly when the amp is powered on. There is an Audiolab logo below the power button and a vertical line that aligns with the edge of the color display on the 9000Q preamplifier when the components are stacked. Vent holes on the top panel are located on the left-front side, above the large internal heatsinks. Otherwise, the casework is mostly composed of continuous flat surfaces with a smooth, clean appearance.

The back panel is similarly sparsely populated, but has all the essentials, including balanced XLR inputs and single-ended RCAs. A small pushbutton switches between the two inputs and another similar button toggles between stereo and mono operation. The speaker output terminals are of good quality, even if they are spaced a little closer together than I would have liked, especially when considering the amount of real estate available on the back panel. Complementing the manual standby power button on the front panel, there is a 12V trigger connection on a 3.5mm jack on the back panel. A standard IEC power inlet with a mains power switch completes the connections, and a power cord is provided. The unit measures 17.5″W × 3.5″H × 12.9″D, weighs a surprisingly hefty 20.3 pounds, and comes with a respectable three-year warranty.

The circuitry inside the 9000P features Audiolab’s CFB (Complementary Feedback) class-AB topology, similar to that used in its 9000A integrated amplifier. Like its stablemate, the 9000P uses a custom 320VA toroidal transformer and four 15,000µF capacitors, but is said to have improved power-supply circuitry and RFI/EMI filtering to reduce noise. The 9000P is rated to deliver a maximum of 2 × 100W into 8 ohms, 2 × 160W into 4 ohms, 300W (mono) into 8 ohms, and 380W (mono) into 4 ohms, with THD <1% and a maximum output current of 15A. The company also claims a frequency response of 20Hz–20kHz (±0.3dB), THD <0.002% (1kHz), and a signal-to-noise ratio >112dB (A-weighted). The RCA inputs are rated to provide 29dB of gain, while the XLRs provide 23dB. Input sensitivity is rated at 1Vrms and 2Vrms respectively.

Setup

Most of my listening for this review was done through MartinLogan Masterpiece Classic ESL 9 hybrid electrostatic loudspeakers, using an Oppo UDP‑205 4K Ultra HD universal BD player as a preamplifier‑DAC. I also used the 9000P with Audiolab’s 9000Q preamplifier‑DAC during my review of that component, and in a more modest system utilizing the D-to-A and preamplification circuitry of Hegel’s H120 integrated amplifier–DAC and a pair of Paradigm Monitor SE 8000F loudspeakers. Other components in the evaluation system included a Beelink mini PC running Windows 11 and Roon to stream Tidal and locally stored audio files, and a MacBook Air streaming Tidal to a Chromecast Audio device. Cables and power products included a variety from Analysis Plus, Clarus Cable, Nordost, Zero Surge, and Blue Circle Audio.

Paying attention to the details

With its relatively plain appearance and a specified output of 100Wpc into 8 ohms, the Audiolab 9000P isn’t going to grab the attention of hardcore audiophiles. However, it provided impressive amounts of power and was able to drive my large floorstanding ESL 9s quite comfortably. The extreme low frequencies on “Full of Life,” from Christine and the Queens’ Paranoïa, Angels, True Love (24‑bit/176.4kHz FLAC, Because Music / Tidal), amply filled my room. The thunderous bass was taut and responsive as the amp exerted its control over the woofers in the speakers, and each note sounded noticeably different from the next as a result. The notes rose and fell distinctly, and sometimes even held fast and steady for a moment. Even though the changes in pitch are subtle, the 9000P highlighted the delicate changes in tonality.

There is markedly less deep bass on “Girlfriend (feat. Dâm-Funk)” from the band’s earlier album, Chris (16/44.1 FLAC, Because Music / Tidal), but it sounded fast and nimble through the 9000P. The funky beat demonstrated the amp’s agility and its ability to create an excellent sense of pace, with each dense thump of the bass seemingly starting and stopping instantaneously.

In addition to having ample power and control, the 9000P was able to create a strikingly dark background for solo violin on Anne-Sophie Mutter’s recording of Mozart’s Violin Concerto No. 3 in B Major, K. 216, with the Berlin Philharmonic Orchestra conducted by Herbert von Karajan (24/96 FLAC, Deutsche Grammophon / Tidal). The orchestra was situated convincingly in front of me, spread widely and set slightly back. Mutter was placed prominently at the front of the orchestra. Her violin sounded ever-so-slightly thin, emphasizing more of the character of the strings being bowed, and less of the resonance of the body of the instrument. The sound lacked some of the dimensionality and warmth that is associated with the very best amplifiers, but this is forgivable considering the reasonable price of the 9000P, which otherwise sounded quite brilliant. And during her cadenza at the end of the first movement, I could hear each note trailing faintly off into the darkness of the auditorium, which was otherwise shrouded in total silence. It was as if Mutter and her violin were the only things present in the Berlin Philharmonic Hall during the recording.

The final movement of Mozart’s Piano Concerto No. 21 in C Major, K. 467, performed by Friedrich Gulda with the Vienna Philharmonic Orchestra conducted by Claudio Abbado (24/192 FLAC, Deutsche Grammophon / Tidal), sounded even more spectacular. Gulda’s fiery performance was superbly reproduced by the 9000P. The piano sounded simply explosive as Gulda attacked each note with extreme gusto. While Mutter’s violin cadenza conveyed her gentle and contemplative interpretation of Mozart’s music, Gulda’s piano performance was all passion and fury. The last couple of minutes of the final movement were absolutely slamming. This is one of my favorite classical recordings of all time, and the frenetic pace of this stunning performance—just brimming with energy—was effortlessly captured by Audiolab’s flagship power amp.

When I slowed things down with “In the Ghetto,” from Elvis Presley’s ELV1S: 30 #1 Hits (24/96 FLAC ripped from DVD‑A, BMG Bertelsmann 07863 65053‑9), I could sense the urgency in the King’s vocals. His rich baritone had a pleasing warmth through the 9000P, and the instruments of the lush orchestral arrangement were placed precisely across the wide soundstage. The bouncy electric bass of “Suspicious Minds” keeps the beat going, along with Gene Chrisman’s crisp drumming. Presley’s vocals were placed conspicuously up front, with the backing vocals on either side and the orchestra stretching all the way from the outside of one speaker to the other.

The clear sound of the 9000P revealed the different perspective of the mixes of these songs on 24 Karat Hits! (DSD64 DSF ripped from SACD, Analogue Productions CAPP 2040 SA). The string section, and in fact the entire orchestra, was set further back on this album, with less distinct image outlines. The strings were also placed slightly inside of the left speaker on “Suspicious Minds,” while they originated directly from the left speaker on ELV1S, and trailed off slightly to the outside of the speaker. And while the soundstage on 24 Karat Hits! was not as wide, there was greater depth of imaging. The vocalists were placed at differing distances from front to back, providing a more holographic presentation of most of the tracks.

Comparison

The 9000P performed even better than I expected in my reference system, where the ESL 9 loudspeakers are normally driven by a Lyngdorf Audio MXA-8400 multichannel amplifier and MP‑40 2.1 multichannel processor, which together cost more than US$20,000. And while it couldn’t drive the large ML speakers with the same absolute fidelity as the much more expensive Lyngdorf separates, I thoroughly enjoyed my time with the Audiolab amp in this system. When compared to more similarly priced components like the Hegel H120 integrated amplifier–DAC (discontinued, $3300 when available), the 9000P demonstrated its value by driving the relatively efficient Paradigm Monitor SE 8000Fs with more authority and without strain.

At moderate levels, and with simple arrangements, there was not much difference between the Hegel H120 integrated amplifier alone and the 9000P power amp with the H120 acting as a preamp. The uncluttered sound of the vocals, electric guitar, and massive whacks of the kick drum on the opening verse of “Pour Some Sugar on Me (Extended Version),” from Def Leppard’s Hysteria (Super Deluxe) (16/44.1 FLAC, Universal Music Catalog / Tidal), came through cleanly and clearly with both setups. However, with the H120 on its own, things got slightly compressed during the chorus, when the backing vocals and lead and rhythm guitars join the fray. Adding the 9000P provided a clearer view of all the elements in the mix, as well as a more effortless and lucid presentation. I could absolutely crank this tune with the 9000P in the system, and I did.

I heard similar things with Olivia Rodrigo’s Guts (24/48 FLAC, Geffen / Tidal). The quiet passages of “All-American Bitch” were nearly indistinguishable on the two setups, but when the track gets loud and grungy, the 9000P provided additional dynamics and clarity. As the album title suggests, this is an intense collection of songs. While “Vampire” starts out as a gentle piano ballad, the slow, melodic tempo gradually builds in rhythm and volume into a real rocker. This track showcased the 9000P’s ability to articulate every twist of Rodrigo’s anguished vocals amidst the rapid-fire drumming and the towering strings and piano.

Conclusion

The 9000P power amplifier provides Audiolab owners on a budget with flexibility and options. Not only can it be paired with the company’s 9000Q preamplifier, as I did in my review of that unit, but it can also be used to add biamplification to Audiolab’s well-regarded 9000A integrated amplifier. There is also the option to mate the power amp directly with the matching Audiolab 9000N streamer, which can act as a preamp by virtue of its variable output, or even to use two 9000Ps in bridged, monaural operation to provide additional power. And of course, it should match well with any high-value preamplifier, streamer, or source component with variable output—like the Oppo UDP‑205 used for this review—although it wouldn’t coordinate as well cosmetically. At US$1499, Audiolab’s 9000P would make a fine addition to almost any high-quality, budget-minded system.

. . . Roger Kanno
rogerk@soundstagenetwork.com

Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.

Associated Equipment

• Loudspeakers: MartinLogan Masterpiece Classic ESL 9, Paradigm Monitor SE 8000F
• Preamplifier: Lyngdorf Audio MP‑40 2.1 audio/video processor
• Power amplifier: Lyngdorf Audio MXA‑8400
• Integrated amplifier-DAC: Hegel Music Systems H120
• Digital sources: Beelink mini PC running Windows 11, Roon, and Tidal; Oppo Digital UDP‑205 4K Ultra HD universal BD player, Chromecast Audio
• Speaker cables: Analysis Plus Chocolate Oval 12/2
• RCA and XLR interconnects: Analysis Plus Chocolate Oval‑In
• Power cords: Essential Sound Products MusicCord‑Pro ES, Clarus Cable Aqua
• Power conditioners: Blue Circle Audio PLC Thingee FX-2 with X0e low-frequency filter module, ZeroSurge 1MOD15WI

Audiolab 9000P stereo/mono amplifier
Price: US$1499, CA$1999, £1099, €1499
Warranty: Three years, parts and labor

Audiolab
IAG House
13/14 Glebe Road
Huntingdon, Cambridgeshire PE29 7DL
United Kingdom
Phone: +44 1480-452561

Website: www.audiolab.co.uk

Canadian distributor:
Erikson Consumer
21000 Trans-Canada Hwy
Baie-D’Urfe, Quebec H9X 4B7
Phone: 1-800-567-3275

Website: www.eriksonconsumer.com