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Ashly NE8250 Review (Pro 8-channel Amp)

Rate this amplifier:

  • 1. Poor (headless panther)

    Votes: 152 89.9%
  • 2. Not terrible (postman panther)

    Votes: 9 5.3%
  • 3. Fine (happy panther)

    Votes: 7 4.1%
  • 4. Great (golfing panther)

    Votes: 1 0.6%

  • Total voters
    169

Ajax

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It is a PA amp.
They are Phoenix connectors and are common there in pro land and they are deff preferred by some.


Well to be fair, I bet it measures better then quite a few tube amps will and is 8 channels with way more power than typical tube rigs.
I think in a home theater these would be fine. Not what I would buy now but if it was already installed then I'd leave it there.
I have used Crown amps and they sound as good as anything else I have tried, esp if you want power and a warranty for a fairly cheap price.
In any case this is an 8 channel, single chassis PA amp, it is totally fine for that.
But yah ultimately I agree, better wait for the test result before commiting pro amps to audiophile use.

Picture it in a church, school gym, budget dance school, bar, meeting space/convention center.. ECT.
“Well to be fair” you can buy a Buckeye 8 channel hypex MP252 for less than $1700. You can configure the modules so you could get say 4 channels producing 250watts into 8 ohms per channel at about $2k.

According to Amit’s reviews the buckeye amps are well built with low distortion; so a much better alternative for those looking for a multichannel amp.

www.audiosciencereview.com/forum/index
 

mdsimon2

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“Well to be fair” you can buy a Buckeye 8 channel hypex MP252 for less than $1700. You can configure the modules so you could get say 4 channels producing 250watts into 8 ohms per channel at about $2k.

According to Amit’s reviews the buckeye amps are well built with low distortion; so a much better alternative for those looking for a multichannel amp.

www.audiosciencereview.com/forum/index

I agree that a Hypex NC252MP based amplifier is a good comparison based on similar power and much better noise and distortion performance. However I am not sure that an 8 channel Buckeye can really fulfill the same use case as this amp as it seems very under-designed thermally (no thermal grease, no heat sinking, no fan), although it does seem like he is working towards offering some amount of heat sinking.

The ATI based Hypex amps could probably fulfill a similar use case but are way more expensive and totally unnecessary if you do not need super high fidelity.

Michael
 

ROOSKIE

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“Well to be fair” you can buy a Buckeye 8 channel hypex MP252 for less than $1700. You can configure the modules so you could get say 4 channels producing 250watts into 8 ohms per channel at about $2k.

According to Amit’s reviews the buckeye amps are well built with low distortion; so a much better alternative for those looking for a multichannel amp.

www.audiosciencereview.com/forum/index
Sure I would.
But would your local school order from Buckeye?
I was speaking in the context of this being an amp not intented for hifi at all and yet it measures better than what I'd bet a lot of non ASR oriented folks are getting many expensive 2 channel tube amps.
I don't think it is fair to knock this amp. It has 8 powerful channels in 1 chasses, meets spec, has a 5 year warranty and surely can drive most multi channeled PA situations just fine. It just shouldn't be considered for hifi.
If I was looking for 8 higher powered PA channels in a medium fi or low to use case I would buy 4 Monoprice 605030 amps when on sale for $120 each ($480) but then I'd have to make sure I have space for them.
For hifi yes, I'd be buying something like the Buckeye myself.
 

PeteL

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“Well to be fair” you can buy a Buckeye 8 channel hypex MP252 for less than $1700. You can configure the modules so you could get say 4 channels producing 250watts into 8 ohms per channel at about $2k.

According to Amit’s reviews the buckeye amps are well built with low distortion; so a much better alternative for those looking for a multichannel amp.

www.audiosciencereview.com/forum/index
But the Buckeye amp won't do that:
1647806869330.png
 

mightycicadalord

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Really? Where I live (Germany), I've never even heard the name before.

/edit: Out of curiosity, I've entered it @ major pro gear shop here, Thomann:

The real pro stuff, most people don't know the name of and it isn't sold at prosumer stores. I'm sure most people don't know about half the brands of gear at shows despite them being pretty much ubiquitous to those working in the field.
 

Tks

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This is what "professionals" allow to pass for the use in their business? Lol..

I'm not 100% convinced, all "pros" care about is a warranty and hopefully someone they can get on the phone if there is a problem. Nothing else matters, and they do no better than audiophiles with respect of purchase choice. All the same word-of-mouth pedigree propagated nonsense when it comes time to choose what they buy.

Embarrassing truly.

I can only imagine what this thing sounds like at the end of a chain of devices all imparting their piece of unwanted signal degradation into the whole.

Audio production industry should be insulted products like this exist in their market.
 

H-713

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I think Ashly is available through a lot of the prosumer stores.

They're reasonable amplifiers for their use, but they never have been (and never will be) the creme of the crop.

$2400 isn't that much in pro amplifier terms. A lot of the Powersoft, L-Acoustics, MC2, higher-end Crown and QSC will be in the $3,000 - $12,000 range, depending on the power level and processing involved.

The cost isn't unreasonable for what they are doing. They're expensive for the same reason that big power supplies from Xantrex / HP are expensive.
 

H-713

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This is what "professionals" allow to pass for the use in their business? Lol..

I'm not 100% convinced, all "pros" care about is a warranty and hopefully someone they can get on the phone if there is a problem. Nothing else matters, and they do no better than audiophiles with respect of purchase choice. All the same word-of-mouth pedigree propagated nonsense when it comes time to choose what they buy.

Embarrassing truly.

I can only imagine what this thing sounds like at the end of a chain of devices all imparting their piece of unwanted signal degradation into the whole.

Audio production industry should be insulted products like this exist in their market.
Really? As has been mentioned, this amplifier is designed largely for an application where it will be the least disgusting link in the chain. Let's be real here, an amplifier with 1% THD is more than good enough for the announcement system in a school. There is nothing wrong with this amplifier for its intended application - Ashly has good engineers who know how to design a product that meets its requirements, and they have done exactly that in this case. Even still, you won't find Ashly amps running a stadium.

Bigger systems work differently. Usually speaker companies are partnered with an amplifier company (or own one). If you're installing L-Acoustics speakers, there's a very good chance you're using L-Acoustics amplifiers. Ditto for D&B and most of the other big line arrays. Most of those amps have processing built in, or are paired with a processing system recommended by the speaker manufacturer.

It's not "word of mouth pedigree", it's long-term business and engineering partnerships. The people in this industry aren't as stupid as you seem to think, and purchasing decisions aren't as simple as looking at an online review. It usually starts with the speakers, and then the speaker manufacturer gives a strong recommendation as to what electronics to pair their transducers with. Unless there are serious budget limitations, most people listen to those recommendations.

ASR has only tested one good professional amplifier, and that was the QSC DCA2422. Everything else has been inexpensive or purpose driven amplifiers. If you think that the distortion from this amplifier will be audible in its intended application, you are sorely mistaken. The DCA2422 measured very well, especially considering its power level. So before you call people in the pro audio industry idiots, take a look at what equipment is actually being used, and understand why it is being used.
 

respice finem

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PeteL

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This is what "professionals" allow to pass for the use in their business? Lol..

I'm not 100% convinced, all "pros" care about is a warranty and hopefully someone they can get on the phone if there is a problem. Nothing else matters, and they do no better than audiophiles with respect of purchase choice. All the same word-of-mouth pedigree propagated nonsense when it comes time to choose what they buy.

Embarrassing truly.

I can only imagine what this thing sounds like at the end of a chain of devices all imparting their piece of unwanted signal degradation into the whole.

Audio production industry should be insulted products like this exist in their market.
Of course Pros care about fidelity when fidelity matter to the application they want to accomplish.
 

respice finem

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Where's the PK sound? L'acoustics? Barco? Martin? Meyer?
I know Barco, but not the rest. No studio pro but pals of me are, so I know what hardware they use (Germany, Poland).
OK they don't have 8-channel... Different market structure USA / EU?
On the other hand, Thomann does sell Crown, but Crown = Harman = Samsung, or am I wrong?
 
Last edited:

Tks

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Really? As has been mentioned, this amplifier is designed largely for an application where it will be the least disgusting link in the chain. Let's be real here, an amplifier with 1% THD is more than good enough for the announcement system in a school. There is nothing wrong with this amplifier for its intended application - Ashly has good engineers who know how to design a product that meets its requirements, and they have done exactly that in this case. Even still, you won't find Ashly amps running a stadium.

Bigger systems work differently. Usually speaker companies are partnered with an amplifier company (or own one). If you're installing L-Acoustics speakers, there's a very good chance you're using L-Acoustics amplifiers. Ditto for D&B and most of the other big line arrays. Most of those amps have processing built in, or are paired with a processing system recommended by the speaker manufacturer.

It's not "word of mouth pedigree", it's long-term business and engineering partnerships. The people in this industry aren't as stupid as you seem to think, and purchasing decisions aren't as simple as looking at an online review. It usually starts with the speakers, and then the speaker manufacturer gives a strong recommendation as to what electronics to pair their transducers with. Unless there are serious budget limitations, most people listen to those recommendations.

ASR has only tested one good professional amplifier, and that was the QSC DCA2422. Everything else has been inexpensive or purpose driven amplifiers. If you think that the distortion from this amplifier will be audible in its intended application, you are sorely mistaken. The DCA2422 measured very well, especially considering its power level. So before you call people in the pro audio industry idiots, take a look at what equipment is actually being used, and understand why it is being used.

Firstly, no one called them idiots. But you can say it's perhaps implied.

Also, if I were to call people idiots, it would still be to my definition. That doesn't include business savy people trying to get by with bottom of the barrel shovelware. Their business wit doesn't impress me because it's something anyone is capable of when they're forced to accept concessions on achieving a certain goal (like for instance having these sorts of pathetic "partnerships" between companies trying to peddle a device no better than a $99 DAC, in fact, worse than a $9 phone dongle with respect to fidelity metrics).

You seem to not comprehend the scope of just how low this falls short. There is no way on this planet this device has been made with all the care in the world to offer the most bang-for-buck value to whoever partners with the buffoonery collective that peddles this. It's just THAT MUCH away from any sort of sensibility one need only look for when trying to draw distinction between what virtually every single person would assume exists between a consumer product, and a professional product.

Unless of course you're capable of rendering a logically sound argument that demonstrates a device such as this simply is at the limits of what could be extracted in terms of fidelity for the price being billed.. If you're able to do that, then I will gladly retract what I've said and admit the complete and ignorant error. The thing is though, as I said before, my intuition on this specific example of device leads me to believe as I currently do, simply due to the divide being this MASSIVE from a fidelity metric perspective.

You could also choose the other avenue, and claim this device if the best performer in it's class, that would also serve in similar favor toward swaying my sentiment on the matter heavily in your direction.

----------------------------------------------------------------------------------

Short of these two, I want to to really think about if it's worth defending a $2,300+ device of ANY kind meant for Earthly terrestrial audio pursuits, yet fails to compete to a $9 dongle device that comes with almost every smartphone as a freebie; specifically concerning fidelity metrics. Please don't make the mistake of talking about "but what about power output tho", my post wasn't levied in that respect.

One thing I would like a bit more elaboration on, as it's seemingly pretty vacuous for me atm, was the claim you made about "business partnerships, and engineering partnerships". I can imagine the funny suits at Ashly have a problem when they buy a bunch of stock used on the board they're going to have their engineers come up with. What I'm a bit confused about is what particular "engineering partnership" I would have, or anyone else would have as Ashly's customer? Why would I care about their partnerships AT ALL? For all I care they can go and setup shop on the Moon if their "engineering partner" demanded of them? Is this one of those: sympathy for "the game" or "for how business in the real world works" sorts of appeals?
 

sarumbear

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I know Barco, but not the rest. No studio pro but pals of me are, so I know what hardware they use (Germany, Poland).
OK they don't have 8-channel... Different market structure USA / EU?
On the other hand, Thomann does sell Crown, but Crown = Harman = Samsung, or am I wrong?
If you haven’t heard of Martin and Meyer, you don’t know the pro/live audio market.
 

Mnyb

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Voted poor even if the product is probably just fine for the intended use case as the noise was low.

I think it’s bit lazy to have this kind of distortion performance, you can basically read in a book how to build audio amps with decent distortion performance it’s been done for the last 40 years , or jus copy someone else.
 

PeteL

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Bottom line is can you get a professional, heavy duty network controllable 8 Channel amplifier for less money, in the end that's mainly what it comes down to. The Obvious competition and the go to for most integrators I know would be a QSC CX168, but it got less than half the power and is more expensive. I think there is not that many options really. Here for exemple what Sweetwater pulls, there are others of course, but which are they? In order to say that a product cannot be recommended, You would need to have something else that can do the job better. (I am not talking Amir's non-recommendation because he made clear his non-recommendation was for hifi domestic use)

1647812950763.png
 

beeface

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I work in the commercial AV industry. For most applications, the fidelity of an amplifier is not even a consideration.
Other factors are far more important: cost, customer support, warranty, reliability, form factor, feature set, specification.

Does this mean that there's complacency in the industry in terms of engineering? Perhaps, but the reality is that these amplifiers are installed for non-critical listening, and there's no commercial incentive for manufacturers to improve fidelity.
 

PeteL

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I work in the commercial AV industry. For most applications, the fidelity of an amplifier is not even a consideration.
Most is arbitrary tough, there are a lot of times where it would be desirable, it just depend on which type, it's not because it's commercial it has to sound poor, I'd say many time it don't matter that's true but I wouldn't say it's a fatality and we shouldn't care. We could also say that, although it's not necessary because of the amps, there are a lot of crappy sounding systems out there that would have benefited if care was given.
 
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