AMC Multimedia CVT2030s 2-Channel Amplifier

The AMC CVT 2030 is a small, conservatively styled, hybrid power amplifier. Its input stage uses high quality solid state components, and its output stage uses two EL34 tubes per side. With its simple black faceplate and chassis, three-letter logo, green off/on button, and green LED power indicator, the 2030 reminds me of the elegant simplicity that attracted me to NAD's early components. A bit of reading revealed that one of the designers of NAD's earliest amplifiers was also involved in the design of the AMC CVT 2030.

Only an on-off switch, analog input jacks, and basic (not high-end gold-plated) binding posts are provided. As with many tube amplifiers, there are separate 4 ohm and 8 ohm speaker taps. I really like the AMC CMV 2030's styling. Like older B&K and NAD components, it is classy in its simplicity. The 2030 is rated at 30 watts per channel. Retail price is about $900.

Readers familiar with my audio reviews know that I'm looking for an inexpensive tube power amplifier for my system. Part of the reason for this is my love of female vocals and choral music, and the fact that solid state gear, though great with rock 'n roll, inevitably adds a bit of edge to already edgy digital recordings of vocal music. Plus there's that sense of realism and space that only tubes can provide. My old conrad johnson MV-50 was great in the midrange, but too fat in the bass. The Jolida 102B was spectacular in the midrange and treble, but ran out of power on piano transients at moderate listening levels. The Jolida 202 had more power, but lacked the 102B's sparkle and seductiveness.

I auditioned the AMC CVT 2030 with my usual assortment of recordings (see below). My system currently consists of an AR ES-1 turntable with Shure V-15IV cartridge, Rotel 855 CD player, B&K Pro-5 pre-amplifier (used mostly in passive mode), B&K ST-202 power amplifier (replaced by the AMC CVT 2030 for these listening tests), Cambridge Tower speakers, and a Cambridege Bass Cube 12" powered subwoofer (turned off for tests of bass response).

I did some listening from both the 4 and 8 ohm taps. The 8 ohm taps provided a bit more power (the Cambridges are nominally 8 ohm speakers), but the differences were subtle. When I first started listening, the 2030 ran out of juice very quickly. I couldn't get past relatively low listening levels without congestion setting in. But once I had let the amplifier warm up for about a half hour, things started to come into focus.

Once it was warmed up, the overall sound of the AMC CVT 2030 was very smooth. There was not as much sparkle or air as with the Jolida 102B, but the sound was very easy to listen to through the midrange. The 2030 succeeded in tempering the slight CD glare on Alison Krauss's wonderful CD, "Now That I've Found You." Enya's "Watermark" and Eva Cassidy's "Songbird" also sounded very pleasing.

The same characteristics that smoothed out female vocals took away a bit of the impact from Greg Brown's voice on "Covenant." The mellow tube midrange made Greg Brown's gruff voice sound a bit too reticent. However, more of the manly heft of his voice was maintained than with the Jolida 102B, which tended to thin things out a bit. It seems that there's a general tendency toward a bit of a trade-off between delicacy and lower midrange power.

Separation of voices on Cowboy's "Trinity Sessions" was outstanding with the 2030, as was the separation of Keith Jarret's piano from his characteristic moaning on "Standards, Volume 1," with Gary Peacock and Jack DeJohnette. Cymbals lost just a bit of sparkle, relative to the Jolida, and piano lost a bit of transient attack, but the overall effect was still pleasing.

On massed choral vocals, the sound of the AMC CVT 2030 was really good. The soundstage was distributed behind the speakers, and I could listen to the whole chorus or individual voices as I chose.

An excellent test of a tube amplifiers's ability to tame overly-aggressive treble without robbing music of its heft and dynamics is Altan's wonderful CD of acoustic Irish music, "Island Angel." With the 2030, the music was placed behind speakers. Overall dynamics (ability to play very loud and then quiet) was reduced just a bit, relative to my B&K 202, but microdynamics (subtle dynamic changes within the music) were maintained. Aggressive fiddles that sometimes make me have to turn down the volume with my B&K were moved back in soundstage a bit and rendered smoother and more listenable.

"Island Angel" also provided and opportunity to test the 2030's bass slam. There is a tremendous and fairly deep bass note that occurs throughout "Aingeal An Oileain" ("Island Angel"), the tune that concludes the CD. I turned down my subwoofer and listened to the speakers and amplifier alone. The 2030 produced the deep notes at reduced volume levels and then more or less pooped out. But at least it didn't double or distort. My recommendation is to use a subwoofer for music with deep bass at anything above moderate volume levels.

Overall, compared with the Jolida 102B, the AMC CVT 2030 was a bit ballsier in the lower midrange, and it could play louder without strain. However, it was lacking the Jolida's liquidity, midrange magic, and high end sparkle. Although the soundstage was comparable in size, instruments and vocalists did not hang in space in quite the same way. Compared to my venerable solid state B&K 202, the 2030 was a bit more relaxing, and also a bit rolled off at the frequency extremes. Microdynamics were as good or better with the 2030, but for overall volume and slam, the B&K was the clear winner.

Now that I think about it, the AMC CVT 2030 reminds me in many ways of NAD's early amplifiers: the sound was "chocolaty" and mellow, with its errors being errors of subtraction rather than of addition. It was always easy to listen to, though it lacked the volume, frequency extension and raw slam of the B&K 202, and the liquidity and sparkle of the Jolida 102B.

The AMC CVT 2030 runs only moderately warm, thanks in part to the internal cooling fan that automatically engages when the amplifier is on. I could hear the fan when the room was silent, but it didn't intrude on music.

As mentioned, the 2030 should be left on for at least half an hour before serious listening. The best sound I got from the amplifier was after I had left it on (with no signal) overnight (fell asleep to Enya).

Here are some of the amplifier's specifications:

Power into 4 or 8 ohms: 30 watts per channel
Total Harmonic Distortion: 1.0% from 45Hz-20KHz
1KHz clipping power into 4 or 8 ohms: 36 watts
Frequency response: 20Hz-20KHz +/-0.5dB
-3dB points: 10Hz/80KHz
Channel Separation: 20Hz-20KHz >65dB
Overall feedback: 14dB
Dimensions (W x H x D): 430mm x 112mm x 288mm
Net Weight: 13 Kgs
Shipping Weight: 14 Kgs

In conclusion, the AMC CVT 2030 is a worthy contender among under $1000 tubed power amplifiers. If you need deep bass extension or have inefficient speakers (mine are rated at 90 db) and like your music loud, look elsewhere. If you like a mellow, engaging sound, give the 2030 a listen. I am told this amplifier may soon be discontinued, meaning you can get one at a substantial discount if you shop around.

Happy listening!