are you suggesting that the B200 is not (fully, completely, even technically) delivering an instruments (whether voice or instrument) harmonic decay, with extension, speed, weight/fullness, accuracy? If yes, would you be able to clarify this suggestion, such as is it measurable, a circuit character, etc.
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Topping B200 Monoblock Amplifier Review
- Thread starter amirm
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I bought these ~1 month ago and have been very happy. These power a pair of Revel F228BE speakers as my front left and right in my home theater. I also have a Cambridge CXN plugged into source 2 on these. I was using my AVM70 as a 2 channel streamer had issues switching profiles and explaining how to do this to my wife and daughter would be impossible. Before adding these to my system I was using an Outlaw 5000 and a Buckeye Hypex NC502MP 6-Channel amp. I had a slight buzz coming out of my speakers. I have tried everything to cure it and have only been able to reduce it to almost not perceptible. I think it is coming from dimmer switches throughout the house. but anyways I am off topic.
The B200 are dead silent. putting your ear up to the tweeter, you hear nothing. While I like the Outlaw and Buckeye amps the B200's just sound better (they should as the cost per channel is much higher). Listening to music everything is clearer. I guess I would say space between the instruments. vocals are very good. Listening to them for the first time I finally understood audio texture. Decay is hauntingly good, with the separation you can follow the note down to nothing. I did get them to clip once just to try it out but it was uncomfortably loud.
I do not find them sterile, they are super accurate though. I have a Jolida tube amp in my office with some Rega R1's. This has more warmth but sounds a little blurred in comparison. A good recording is about the best I have heard through the B200's and F228BE's. However they will not be forgiving on a bad recording.
The B200 are dead silent. putting your ear up to the tweeter, you hear nothing. While I like the Outlaw and Buckeye amps the B200's just sound better (they should as the cost per channel is much higher). Listening to music everything is clearer. I guess I would say space between the instruments. vocals are very good. Listening to them for the first time I finally understood audio texture. Decay is hauntingly good, with the separation you can follow the note down to nothing. I did get them to clip once just to try it out but it was uncomfortably loud.
I do not find them sterile, they are super accurate though. I have a Jolida tube amp in my office with some Rega R1's. This has more warmth but sounds a little blurred in comparison. A good recording is about the best I have heard through the B200's and F228BE's. However they will not be forgiving on a bad recording.
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Bacchusoo7
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Totally agree. I wish it had internal power. Though I think (and if someone knows for sure please correct me) the reason for this is regulatory. The power supply has already been approved so the whole product doesn't have to be submitted for regulatory approval. It is much more cost effective.
pogo
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This means that the performance is not sufficient!
And how often can you recover before permanent damage becomes noticeable?
Thighsofsteel
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It was plainly taking the piss. 'Board' was responding after the previous poster, who posted to a sentence 'I wonder what the subjectivist crowd will invent to avoid praising this amp... They'll really have to get creative this time.'
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Audionaut
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This looks very much like the “creativity” of Gemini or ChatGPTI got creative
dsnyder0cnn
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Incorrect. And if this is wrong, can anything in that review be right?
The review seems to have been written from the perspective of someone who prefers to have all of their music remastered by adding second and third order harmonic distortion. That's fine, but the author is putting forth their personal preference as criteria for good amplifier design, implying that amplifiers that do not add distortion are cold and analytical rather than warm and engaging.
Readers familiar with this reviewer's bias will take it into account. However, this review may lead others to incorrect conclusions about the sound of the Topping B200.
JSmith
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dsnyder0cnn
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Ah. I didn't know we are allowed to joke here on AudioScienceReview.
Curupira
Senior Member
Change to high performant headphones or, even better, iem's, and you'll see that we're already there for the most part, and that high fidelity isn't that exciting in it of itself.
The bottleneck now, IMO, is actually upstream, on the production and mixing part. We've been too long into stereo, with some unsubstantial efforts along the way like quadro, multich and atmos that haven't revolutionized anything as of yet. And even in our current standard we've gone backwards, loudness war and all.
Oh they'll just claim that high SINAD and negative feedback = shrillness and loss of musicality, the same blanket statement as always.
Thighsofsteel
Member
This ‘humorous review’ looks like someone impersonating part of subjectivist crowd. (I know you are!). There not enough denial of basic facts and excess use of flowery language.I got creative
Topping B200: A Measurable Marvel, But Where’s the Soul?
Introduction
Topping has gained a strong following in the world of high-fidelity audio, particularly among those who prioritize measurements and technical performance over subjective musicality. With the B200 monoblock amplifier, the brand continues its pursuit of textbook-perfect audio reproduction. But does it truly engage the listener, or does it simply check all the right boxes in a lab test? We set out to discover whether the B200 delivers more than just numbers.
Design and Build
As expected from Topping, the B200’s design is functional, if uninspiring. The matte black chassis is solidly constructed, but lacks the tactile charm of classic audiophile designs. There's a stark absence of visual flair—no VU meters, no distinctive accents, just a minimalist front panel with a single input select button and three small LEDs.
At just 8.2 inches wide and 2.5 inches tall, the B200 is compact enough to fit in a desktop or tight shelving, but this form factor also raises questions: Can an amplifier this small truly deliver the deep, organic presence of a high-end power amp?
Features and Connectivity
Topping continues its trend of emphasizing specification-driven design, opting for a Class D topology—a choice that maximizes efficiency and measurable performance but often divides audiophiles on sound character.
The rear panel is straightforward, featuring:
- Balanced XLR
- RCA
- Trigger input for automated power control
Speaker connections are handled via gold-plated binding posts, which feel adequately sturdy, though they lack the substantial heft of those found on premium amplifiers from brands like Pass Labs or Luxman.
Performance
On paper, the B200’s numbers are nothing short of stellar. Topping claims 250W into 4 ohms and 135W into 8 ohms, with distortion levels as low as 0.00008% (THD+N, 5W @ 4Ω, 1kHz). These figures rival some of the best measurement-based amplifiers on the market. But as we know, music is more than just numbers.
Sound Quality
This is where opinions will diverge.
- Bass: Impressively tight and controlled, but lacking the warmth and physicality of a well-designed Class A or AB amplifier. The B200 delivers bass with precision but not with emotion.
- Midrange: Neutral to a fault. While vocals and acoustic instruments come through with clarity, there’s an analytical quality to the sound that keeps it from feeling truly immersive. The emotional weight of a singer’s voice or the resonance of a grand piano feels slightly detached.
- Treble: Exceptionally clean and extended, but bordering on clinical. The amplifier does not add any noticeable coloration, but it also does not enhance the listening experience in a way that some might expect from a high-end component.
Pairing and System Matching
Given its ultra-low distortion and high power output, the B200 is a natural match for those who prefer a highly resolving system. However, listeners who appreciate warmth, texture, and harmonic richness may find it lacking. Pairing it with inherently warm speakers, such as Harbeth or Sonus Faber models, helps offset its sterility, but even then, it never fully escapes its analytical nature.
The Verdict
The Topping B200 is, without question, a triumph of engineering. It delivers pristine, distortion-free sound with extraordinary precision, making it an ideal choice for measurement purists and detail-obsessed listeners. However, those who seek musicality, organic textures, and emotional engagement may find it lacking. The amplifier’s flawless technical execution comes at the cost of soul and character, making it a device that some will adore and others will find uninvolving.
Pros:
✔ Incredibly low distortion and noise
✔ Compact and efficient design
✔ Excellent power output for size
✔ Transparent, highly resolving sound
Cons:
✖ Somewhat sterile and analytical
✖ Lacks the warmth and texture of classic audiophile amplifiers
✖ No VU meters or aesthetic appeal
Final Rating:(4/5)
For those who prioritize technical perfection over subjective musicality, the B200 is an undeniable achievement. But for those who believe music is about emotion as much as precision, this amplifier may leave something to be desired.
As always, the best judge is your own ears.
Now if you had written something like “lacking sonic humidity and degrees of additional warmth”. Then it would have been more believable.
No , all humour will be punished , it's just some heretics have adapted and now take pleasure in said punishment.
What can you do , there's clearly some right proper wronguns about .
I'm sometimes sarcasm impaired.
My bad. a) no native speaker- not much I can do about that b) when in a group with Americans I exclude sarcasm as a safety measure. often not well taken or understood.
Just like me in this case :/
My sincerest apologies
Just like me in this case :/
My sincerest apologies
Exactly
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board
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tricky board :=()At least you and @Mort got it
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