Everything else about the CSA14 is standard, circa 1993 integrated
amplifier practice: a quiet and competent 47k Ohm phono section, four
line inputs, a tape monitor stage, decent socketry and binding posts
balance control, no unnecessary frills. Inside, it's top quality
components, clean layout, short signal paths, separate earthing on the
power supply and a light show. Eh? Copland has filled the CSA14 with
red LEDs to control localised voltages, a cluster of 1.6V
Hewlett-Packard devices which also serve as a method of diagonostics.
Should one not light up, the engineer or repairperson knows just what
stage has failed. A green LED has been installed at the output
terminals to indicate switch-on stability, the unit switching on after
a mute period to ensure that no nasties reach your speakers. Note,
though, that the light show is only visible from above.
And then there's the super-clean styling, all the more impressive if
you've longed for some Cello... priced perfectly, preferring the
greater perceived value of separates once the dosh level has
increasedactually few real impressiveabout beingSo amp, unspokenbut t
looks almost exactly like : And from six feet away, few can tell the
difference.the Copland soundthetheedid it bother with products Yesn
almostonly , the New Male in brushed aluminium, quiche-eating and
unworthy of a diet of Metallicaor gender-specific bigstill acreage with
quality or worth.
Maybe I've been ignoring the small stuff for too long, or maybe
Copland makes even better gear than I remember. Whatever, the CSA14 is
one powerful unit despite a rating of only 60W/ch. Sandwiched inbetween
20,000 worth of Krell CD player and speakers ranging from 15 ohm minis
to sub-3 ohm ribbons, the Copland never behaved like the weeny little
amp its case suggests. MTDs, Sonus Fabers, ATCs, Apogees -- all types,
impedances, sensitivities responded well, and it meant an easy review
period because power-related mismatches just didn't occur. Maybe I've
just lowered my head-bang threshold...
Source equipment proved equally unfussy, once I accepted that the
Copland wasn't designed to accept low-output m-c cartridges. With
everything from the Krell Reference 64, Audio Alchemy DAC-In-The Box,
Krell MD-10 and Primare 204 digital products to the Sony TC-755 and
Tandberg 20A open reel machines, the Copland reacted with equanimity.
In other words, the pre-amp section is as neutral as the power amp
section is sturdy. But my earlier impressions of Copland products being
polite or delicate or restrained were confirmed by choice of material
rather than by choice of partnering equipment.
Again, I must confess to an icreasing abhorrence to high playback
levels. I probably did not beat the shit out of the Copland the way I
might have a couple of years ago. All for a quiet life, I concentrated
on the amplifier's finer points, its way with subtle details and low
Okay, so the CSA14 didn't fall to pieces when asked to construct a
wall of noise. Even when driving the wattage-swallowing Sonus Faber
Minima Amators, the kind of speaker I'd expect to be mated to the
CSA14, the Copland surrendered gallantly, with a tube-like softening
rather than the expected solid-state shriek. I did turn up the wick on
occasion, I did audition the requisite number of HM and dance tracks,
and did not at any time feel like the Copland showed nerd tendencies.
It just seemed to prefer the subtle, the delicate, the refined.
There's a sense of fragility to the spatial characteristics of the
Copland, like the walls could cave in at any moment. Instead of
super-glued Krell image positioning, or wide-open-spaced vintage tube
horizons, the Copland's soundstage seems to have been crafted in
filigree. Hey, I'm just as embarrassed at the analogy, but there's no
other image which springs to mind. The CSA14 delivers the 3D picture,
but a constant sense of lightness and delicacy comes perilously close
to compromising the illusion. This was consistent from speaker to
speaker, a feeling that the amplifier was working on the edge of its
abilities -- not in terms of power but of resolution.
Curiously, this was not accompanied by a sense of strain. If a lack
of power were the issue, then strain would have been in evidence. This
fragility is a quality I'd rather you heard for yourself because you'll
think I'm imagining it otherwise. Which begs a question: what does it
take to make the Copland tip over the edge? The answer is: I don't
know. At no point did the sound turn raggedy, and no point did images
shift or the soundstage collapse.
What holds everything together with the CSA14 is its coherence,
regardless of music type, operating conditions or partnering equipment.
WIth a degree of competence rare at the price point, the Copland
manages to produce uniform sound -- in terms of texture, balance,
transient activity and weight -- right across the spectrum. It's like a
full-range electrostatic loudspeaker speed or a good set of headphones.
Also like the latter, it sounds a bit small.
But perfectly formed.
Putting the Copland CSA14 into context is easy: It's a brilliantly
conceived product for a specific price point and a certain type of
consumer. It is not a high-end substitute. It is not an audiophile
penis extension. Rather, it's a mature, sophisticated, adult NAD3020.
And that's meant as a compliment. It's the ideal upgrade for all of
those who started out in audio over a decade ago and only just realised
that their 249 starter systems from 1979 are starting to decompose.
But there's a bonus. Unlike budget integrateds, for which the owner is
always apologising, the Copland possesses that certain something else,
what the Yanks call 'class'.
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