Listening to Peter Ostrouchko’s gorgeous lullaby, “When The City of Angels Sleeps” from Ostrouchko’s exquisite collection of Americana road songs on his latest recording, Postcards [Red House Records 196], I am brought back to strolling on the boardwalk in Atlantic City as a kid, with the Steel Pier Amusement Park beckoning nearby. Like Tom Hanks in the movie “Big,” lets find a “Zoltar” fortune telling machine and pop a quarter into its mouth and make a wish. As a two-channel music lover, as well as a big fan of film soundtracks and multi-channel music, I would wish for a multi-channel amplifier that could run each of the seven channels in my home theatre flawlessly and without limitation; an amp that did not weigh a ton and take up half of my listening room; and an amp that was equally engaging with movie soundtracks, multi-channel and two-channel listening. I would wish for a multi-channel amp that could deliver the lovely, delicate mandolin played by Ostrouchko as well as the sheer power of Mike Gordon’s electric bass as Phish rocks that great American amusement park, Coney Island, in their recent DVD video concert release, “Live In Brooklyn,” [Rhino DVD]. Thinking fondly of Zoltar, I unpacked Rotel’s foray into Class D multi channel amplification, the RMB 1077 amplifier, and wondered whether my wish would indeed come true.

The $2499 RMB 1077 is physically slim and lightweight, an amazingly compact design for such a cool running powerhouse. My review unit came with a silver faceplate and black chassis that exuded precision and slim modernity. The RMB 1077 was a pleasure to set up and use. Its rear panel contained gold-plated five way binding posts for all seven channels. I had no problems with connecting all seven pairs of Analysis Plus speaker cables, with their large T-1 spades, because this unit’s compact rear space is so well thought out. The back panel also provides seven sturdy, gold-plated RCA inputs. There is no provision for balanced inputs. Also provided is a 12V trigger switch. One can match the RMB 1077 with any IEC power cord of choice. Its blue lit power switch is the only item in its front panel, which is svelte and minimalist in appearance. Below its streamlined hood, the RMB 1077 is based upon refinements to Bang & Olufsen’s “ICE” Class D power modules, with seven channels rated at an identical 100, 200 and 400 watts of continuous power into 8, 4 and 2 ohms respectively, with all seven channels driven at once. Rotel’s literature claims that their refinements to the ICE power digital amplifier circuit includes an improved protection circuit, two levels of internal feedback to improve stability and Rotel’s own balanced design. The unit always remained cool as a cucumber no matter how long or hard it was driven. It’s a marvelous aesthetic and technical feat so far. My gracious Zoltar!

On To The Midway
Let’s get into the shooting gallery and see how this Class D amp sounds powering my hard to drive configuration of seven Talon Khite monitors with some of my recent favorite DVD concert discs and multi channel music. The first test is the wide, glorious energy propelled by Phish on their DVD, “Live In Brooklyn.” On Phish’s rollicking jams, “Curtain With” and “Sample In A Jar,” the RMB 1077 showed its amazing pedigree early, frolicking with great substance in its midrange, along with pungent, taut bass projecting outwards from Mike Gordon’s playful electric bass. The RMB 1077 also provided a new, more spacious presentation, separating Trey Anastasio’s soaring chord progressions from Gordon’s bass lines that joyfully opens Sample in a Jar, reminding once again why this band was such a positive force in its live incarnation. The RMB 1077 was also notably clear up top, particularly heard in Page McConnell’s cymbal work, where he hits different regions of his cymbals, inner and outer. I was amazed that I was listening to digital amplification, anticipating glare and lack of body up top from earlier incarnations of Class D amps I had heard. Nothing of the kind was heard here, just nice shimmer, true metallic timbres and lots of air between cymbal strokes. Kick drum too, (that hardest of drums to get right), was almost all there, with lots of dense, taut power and not hollow or suffering from a thirst of real skin. This was a presentation that was enveloping, enticing and engaging from top to bottom. Like cotton candy on the fingers, the memory of this Phish jam stayed stuck in my mind for hours afterwards, buoyed by the energy and wonderful spacious presence provided by the RMB 1077.

Riding the carousel of arena rock a bit more, it is true that the recordings in the historic DVD footage of Live 8 [Capital DVD] differ in sound quality, but the solo performance of Annie Lenox performing “Why?” represents a brilliant snapshot of all that was great about this truly world musical event. Lenox delivers a call to arms on HIV and AIDS that none who listen can ignore. She sings of human frailty in shimmering high treble and then plunges to low, growling octaves, literally blasting out piano chords in accompaniment. The introduction of the RMB 1077 to deliver this performance was nothing less than startling in every way. Each note of piano was now much cleaner, spacious and drawn with much less glare and glass in its high notes than I had heard before. No hard midrange textures or brittleness, even with Lenox’s powerful, weighty emphasis in her piano delivery. Nothing was congested or thick in the midrange or below, as every nuance of Lenox’s vocal cascades were heard clear, clean and powerful, even to the lowest reaches of her husky indictment. The RMB 1077 brought a new sense of cohesiveness to this performance, as vocalist and pianist were properly drawn in scale and worked as one, not separate, entities. The whole performance was riveting with the RMB 1077 in command. This same kind of cohesiveness, spaciousness and energy-induced midranges were also heard in the excellent recent recordings of Eric Clapton on DVD, including Cream At Royal Albert Hall [Rhino DVD] and in celebration of John Mayall’s 70th Birthday Concert [Eagle Rock DVD]. For instance, in Cream’s “Sleepy Time Time,” the RMB 1077 was adept at conveying the contours of the great Albert Hall, and those metallic timbres of Ginger Baker’s quick cymbal thrusts and deep, kick drum. Lots more substance heard as well to Clapton’s midrange guitar chords, similar to that experienced in listening to Trey Anastasio’s driving chord progressions. As for top end delicacy, Mayall’s harmonica was all shimmer and shake with the RMB 1077 in place, exhibiting no offending glare or brittleness. Even on Mayall’s version of “It Ain’t Right” the RMB 1077 brought a substance, power and spaciousness that was altogether “Right,” tight and viscerally involving.

The RMB 1077 also shifted nicely into a spacious, full presentation on jazz offerings on concert DVD’s, including Diana Krall’s ballads and bossas on her exquisite Live In Paris, [Pioneer DVD]. You just can’t beat John Clayton’s acoustic bass prowess on Krall’s selections here, as he vamps and glides over those reverberant strings. There was a lot more punch to Clayton’s bass lines, more substance and just more pace and swing to his acoustic bass with the RMB 1077 orchestrating. Anthony Wilson’s guitar solos shone as well, with new sparkle, air and decay provided to his playful ventures. The RMB 1077 provided a wonderful combination of precision, detail and a rounded substance in the midrange that was enticing. Similarly, on the small DVD gem entitled A Night In Havana, Dizzy Gillespie in Cuba [New Video Group], the RMB 1077 brought a new, more fuller and dimensional sound to the concert footage here, particularly noteworthy in its ability to capture the small, boisterous recording venues in Cuba where Dizzy holds court. When Dizzy and Arturo Sandoval trade fireworks on “Monteca,” the RMB 1077 captured the soaring delicacy of their horns up top without a loss of body and delivered a weighty portion of the harmonic richness in their midrange antics. It propelled the listener right into the center of the action, sweating and crowding in with all of the other audience members leaning to get closer to the Master.

I also took the RMB 1077 for a go cart test drive with a two channel and five channel setup utilizing The Absolute Sound’s SACD Sampler [Telarc 60011] and was again pleasantly surprised by its delivery of a substantial midrange along with a delicate tonal balance in its treble regions. All the power and vastness created by Vaughan Williams in the “Finale, The Explorers” (excerpt) from A Sea Symphony was compellingly presented by the RMB 1077, never losing its grip on the depths of the string basses nor the shimmer and spaciousness provided by the Atlanta Chorus. Great drama, dimensionality and sweeping dynamics all brought together by this small, cool running footprint of a digital amp. On a more intimate scale, Ostroushko’s fragile filigree on mandolin came through with no glare or brittleness in two channel listening to his lovely “McCully’s Waltz” (again from Postcards), with full, warm cello sweeps below.

Finally, when it comes to the RMB 1077’s way with film and soundtracks, I would not choose (as Tom Hank’s Josh Baskin does) to return to the abandoned boardwalk and request Zoltar’s favor in relinquishing this gift. I have never enjoyed movies at home more than with the RMB 1077 running the show. Its potency with dynamics, its full midrange and bottom end slam, (along with that nice delicacy and nimbleness up top), make it a great partner to witness either the bravado of the newest incarnation of James Bond in Casino Royale [Sony Pictures DVD] or the enveloping delicacy of scenes from the modest, yet touching film, Quinceanera [Sony Pictures Classics DVD]. The first chase scene in Casino Royale, where Bond leaps, falls and gets pummeled in the context of a vast construction site was delivered in all of its glory by the RMB 1077. A quick falling wooden plank here, a crackle of metal and spilled paint there, the rush of wind and breathe, a huge crash of scaffolding – it was all delivered in quick, dynamic, and powerful strokes. The RMB 1077 just does not let up in creating a vast, fully dimensional cinematic experience. In contrast to this scene of construction mayhem, there is a beautiful, soft and intimate scene in Quinceanera when the grandfather sits and listens quietly to the wind gently move the glass pieces of his homemade wind chimes in his backyard. All of the fragile details presented, from a whisp of breeze to the twinkle of glass shards was revealed by the RMB 1077. There was also that marvelous rendering of a fully dimensional soundscape within which all of these minute soundtrack details flourished. From watching these and dozens of other movies, the best compliment I can bestow on the RMB 1077 is that it has offered me new insight into how a film’s soundtrack can elevate the entire cinematic experience at home and essentially tell a story that draws us in.

Packing Up The Tent
The RMB 1077 is a marvelous musical guide for every venture into multi channel listening, and is also a superb two channel companion. Its most eloquent virtues are a combination of seamless power from top to bottom, a midrange that is full and quite warm, with a top end quite delicate and surprisingly free of glare. These qualities have opened my eyes to Class D technology and what is now possible in designing such a small footprint amplifier, flawlessly powering up to seven channels with finesse and brawn.

As the eyes of Zoltar dim to await the next deposited coin and wish, I certainly think he would be proud of this wish fulfilled by the folks at Rotel to us music and movie lovers.

Nelson Brill

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Rotel RMB 1077 Specifications
B&O ICEpower technology
Power Configurations: 7 X 100 Watts
Watts/Channel: 100 Watts, all channels driven, with 200Khz filer, 8 ohm load, 20-20
kHz 0.3% THD
Total Harmonic Distortion: <0.03 Continuous Rated Power
Power Output: 200 watts (4 ohms, 0.09%THD)
Intermodulation Distortion: <0.03%
Damping Factor (8 ohms): 400
Input Sensitivity/Impedance: 1.2V/8.3k ohms
Frequency Response: 10-80 KHz
Signal to Noise Ratio: 105dB
Power Requirements USA: 120 Volts, 60 Hz
Power Consumption: 400 watts; 70 watts idling; 3 watts standby
Dimensions: 17.13"W x 2.88"H x 16.38"D
Weight: 17.2 pounds
Finishes Available: Silver/Black or Black
Warranty: Five years parts and labor
Price: $2499 USD

Company Information
Rotel of America
54 Concord Street
North Reading, MA. 01864-2699
Phone: (978) 664-3820
Fax: (978) 664-4109
Website: www.rotel.com