Onkyo A-50 streaming amplifier
The Onkyo A-50 stands out as a powerful, feature-rich, and great-sounding all-in-one amplifier, with only minor usability and connectivity drawbacks holding it back.
Indelible association
A quick search through the archives of The Ear reveals that the A-50 is the first Onkyo product to be reviewed on the site. For many people, this won’t be too surprising as they will view Onkyo as indelibly associated with AV receivers. This thanks in no small part to one of the most audacious attempts to build market share I can recall seeing in any category, which saw them going from a minor part of the ‘other’ segment of market share to undisputed market leaders. Throughout the same period though, Onkyo treated us to some excellent stereo products too. At one end, the A-9010 was a bargain of an integrated amplifier for not a lot of money. At a rather higher price point, the P3000R preamp and M5000R power amp showcased some genuinely interesting thinking, which in the case of the preamp in particular, was arguably ahead of its time.
The A-50 is absolutely of the moment in terms of what an integrated amp might be called upon to do, to the extent where it can just as easily be described as an all in one. The amp section is an impressively hefty centrepiece though. You get 140 watts into 8 ohms which rises further to 180 watts into 4. The A-50 is one of the most powerful devices going at the price point and this achievement is even more notable because uses Class AB topology to achieve it.
This power is made available to three RCA line inputs, supported by a phono stage that works with both moving magnet and moving coil cartridges. This last feature is pretty rare on an amp at the price point and even more unusual on one that isn’t a classic analogue input only amplifier. There is a stereo pre-out as well but no dedicated sub out, which is potentially more of an annoyance than you might at first think. Amplified outputs comprise a single set of speaker terminals and a 6.35mm headphone socket.
These ‘classic’ connections are augmented by a digital board built around an AKM AK4452 DAC giving support for PCM to 768kHz and DSD512. This is accessible via a single coaxial and optical input as well an HDMI ARC socket. The main point of accessibility though is the presence of an on board wired and wireless streaming module which is why the A-50 can be classed as an all-in-one as it allows it to function without an external source.
This streaming module is usefully flexible, supporting the standard trio of ‘Connect’ services (Tidal, Qobuz and Spotify) as well as Amazon Music, Airplay2 and Chromecast, with Bluetooth tagged on at the end too. In truth, the actual UPnP section of the app is quite bare bones, with limited album art and a slightly inefficient way of displaying info. It’s not the sort of thing that will have the software team at Wiim skipping lunch breaks. I have to accept though that the number of people actually making heavy use of a local library is increasingly small and many owners will solely interact with the streaming apps and the connect icons therein. If you do want to access a large local library, the Onkyo works perfectly happily via third party control apps including Roon.
Having collated a genuinely impressive selection of inputs, the Onkyo proceeds to go one better. Inclusive in the asking price is Dirac room correction software and the license for up to 400Hz which is all many people actually need and the full bandwidth is supported via additional license. The earlier irritant concerning the absence of a sub out is down to the Onkyo not being able to use Dirac for true bass management but the reality is that it will still be a long way ahead of key rivals in a more challenging room.
My own slightly haphazard way of installing the Onkyo (I connected it via the Airplay setup on an iPad and went straight to Roon) meant the unit proceeded to go a bit mad and not respond to the remote until I unplugged, reset it and got it online through the app and updated it. Having done this though, the A-50 has not so much as hinted at instability via both wired and wireless connections.
This means that Onkyo’s decision (or gamble, your mileage may vary) not to fit a display is one that passes off without incident. It means the Onkyo feels like an integrated amp that has learned some new tricks rather than a true all-in-one. The A-50 can be made to do all the normal amplifier things via the supplied IR handset and the use of the Connect apps means that the amount of time you need to spend in the dedicated app is pretty low. The ARC connection has also been faultless under test. It’s well bolted together too. Anything that costs the same as the Onkyo that does remotely similar things, doesn’t feel as solid while some similarly equipped devices that do feel fractionally more hefty are at least a few hundred pounds more.
Sound quality
Once you begin listening to the Onkyo though, the idea of spending more is going to be something you might struggle to justify because it is quite improbably good. For me, the most significant aspect of this comes from using the A-50 as a conventional integrated amp; no digital board, no Dirac, just a source (in this case, a Bluesound Node Nano) connected via RCA and driving a pair of Neat Petite Classic standmounts. From the moment that the absolutely astonishing Matches by Katherine Priddy on These Frightening Machines begins, the Onkyo gets all the basics handled very nicely indeed.
What this means is that Priddy is the undisputed centre of attention and delivered in a fashion that means you never so much as query whether she sounds believable or not. Her realationship to the supporting guitar and strings feels natural and there is enough weight to the hammering percussion to ensure that by the time the chorus roles around, you are invested in the sound and not the specifics of the amp itself.
Switching to a Technics SL-1500CS as a source via the phono stage and the news is no less positive. Compared to the more classically specified Rega Elex Mk4 at a similar price, the Onkyo doesn’t have quite the same level of involvement but there’s no unwanted noise which helps fine detail retrieval and the same convincing tonality and impact ensures that a spirited run through Cassius’ Au Rêve sounds like it should. Its also worth noting that even when you switch to moving coil, the considerable power output on offer ensures that you should have no appreciable lack of gain.
Changing to the internal digital board does little to unsettle this basic positivity. There isn’t a night and day difference in presentation between the ESS DAC used in the Node Nano and the AKM in the Onkyo itself but listening to the slightly forward rip of The Family Jewels by Marina and The Diamonds maintains its sense of punch and energy without tipping over into sounding bright. The Neat speaker is undoubtedly helping here; it’s famously hard to make it sound unhappy, but the Onkyo is clearly extremely well sorted. I suspect that most A-50s will never see another digital source connected to them and I suspect their owners will be perfectly content with that too. I have to say that, used via the rather prettier and more intuitive Roon interface, the Onkyo’s streaming ability would be enough to keep me happy most of the time too.
In fact, pretty much every corner of the Onkyo’s considerable specification is able to work this same feat. The HDMI ARC connection has been bulletproof under test, routinely firing the amp up when the TV is detected and putting it to sleep again afterwards. That healthy power output ensures that even the largest and dumbest offerings on streaming services; even the ones starring Jason Statham, are delivered in a way that feels effortlessly powerful but still able to handle detail and dialogue extremely well.
Conclusion
What Onkyo has gone and built in the A-50 is likely to prove a bit of a headache for rivals but is unquestionably good news for customers. It bridges the gap between the performance of the more purist integrated amps; it genuinely runs the Elex Mk4 which I still consider the best amp of its kind at the price close used via RCA or the phono stage. It then goes on to be no less proficient used as a streaming all in one and there is still that Dirac with license to consider as well. This is a truly formidable offering and one that is likely to be tricky to beat.
Pros
Exceptional power for the price: 140W into 8 ohms (180W into 4) with Class AB design is rare and gives excellent drive and control.
Outstanding sound quality: Balanced, natural, and engaging presentation with strong tonality, detail, and authority across sources.
Versatile all-in-one functionality: Combines amplifier, DAC, streamer, and room correction in a single unit.
Comprehensive streaming support: Includes Tidal, Qobuz, Spotify, Amazon Music, Airplay 2, Chromecast, and Bluetooth.
Dirac room correction included: Comes with a license up to 400Hz, adding real benefits in typical rooms.
MM/MC phono stage: Unusual and impressive at this price.
Excellent build quality: Solid, well-constructed chassis that outclasses many similarly priced rivals.
Stable performance after setup: Reliable wired and wireless streaming once properly configured.
Strong digital performance: Internal AKM DAC delivers high-resolution support (PCM 768kHz, DSD512) with confident sound quality.
Seamless HDMI ARC integration: Reliable TV connectivity with automatic power on/off behaviour.
Roon compatibility: Works well with third-party apps, improving usability beyond the native app.
Cons
No subwoofer output: Limits system flexibility and prevents full bass management with Dirac.
Basic and underwhelming control app: UPnP interface is clunky, with poor album art and inefficient navigation.
No front-panel display: May frustrate users who prefer on-unit feedback and control.
Phono stage slightly less engaging than top rivals: Doesn’t quite match the involvement of the best competitors.
Limited analogue connectivity: Only three RCA inputs and a single set of speaker terminals.
Dirac full-bandwidth requires extra purchase: Full functionality isn’t included out of the box.