Chord Ultima Integrated amplifier
It is a given that a linear power supply is key to extracting the best results from any hi-fi component, right? Scroll through any forum or dealer’s website, and you will see various upgrade kits involving such devices. I confess to having followed the accepted wisdom and invested in my fair share of equipment which incorporates beefy linear power supplies. Yet Chord’s John Franks has long bucked the trend and insisted that a well-designed switch-mode power supply can and does outperform linear supplies.
The Chord Ultima Integrated amplifier has consistently impressed me on several occasions over the past year whenever I have had the opportunity to hear it at audio shows. Frustratingly, I have had to wait in line for a review sample, and without spoiling things too early in this piece, I will say that it has made a strong impression and indeed makes a compelling case for Chord’s choice of power supply topology.
It has been well documented that John Franks’ passion for perfecting this type of power supply goes back to his previous career in aviation electronics. The Ultima Integrated amplifier’s switch-mode supply operates at 80 kHz, which is significantly above the frequency range of even the finest hi-res recordings and far beyond the limit of human hearing. I recall Rob Osbourn from Network Acoustics explaining to me that while designing their Tempus network switch, they discovered that typical linear power supplies often lack the speed necessary to respond to sudden current demands. So Chord Electronics are clearly not the only cutting-edge manufacturer with such an opinion. In fact, the Ultima Integrated uses four phase-corrected power supplies which employ small capacitors that, according to Chord, react faster to voltage swings than larger capacitors.
The Ultima Integrated amplifier features a dual feed-forward error correction system. In simple terms, this means the signal is filtered upon input and the hypothetically distortion-free signal is amplified via a secondary transformer.
I reviewed Chord’s compact Bertti 75W power amplifier for another publication a few months back. I was impressed by how well it controlled my relatively current hungry Totem speakers, so I had no concerns about the Integrated’s 125w output. The Ultima Integrated is described as a Class AB design, although it operates primarily in Class A, switching to Class B only in demanding situations.
Some may feel that the Ultima Integrated lacks features compared to its rivals, which often include, for example, an internal DAC, a phono stage, or a headphone output. Having such features running off the same power supply and within the same casing can compromise performance. Therefore, Chord’s decision to design and produce the best amplifier possible for the £8,500 asking price seems well-judged in my view.
Aesthetic triumph
Our living room has hosted many components over the last couple of years, and a fair share of these have been amplifiers. My wife has a critical eye, and she tends to be, at best, indifferent to the exotica on my equipment rack. However, she absolutely loved the aesthetics of the Chord Ultima Integrated. Clearly, a great deal of thought has gone into the design in which the electronics are housed in a box section, sandwiched between standard-width front and rear panels. The pillars on each corner extend below the main chassis to provide generous clearance, aiding ventilation. They are fitted with three soft, vibration-absorbing pads, which fit optional footers. It is possible to order the legs in contrasting colours, or there is the option of replacing them with acrylic panels.
You can order the Ultima Integrated amplifier in either black or silver. As you can see from the photos, my sample was in black, which I think contrasts nicely with the coloured lights on the front panel and top grill. The central ball serves as the power switch, glowing red to indicate standby mode. The attentive will spot a brief cycle through green after switch on, before settling on cyan to indicate the amplifier is ready to play some music. The volume control also acts as an input selector when pressed, with a corresponding light colour to indicate the selected input. Holding in the balance control knob for a moment or two activates the A/V bypass, which skips the Ultima’s volume control. The main controls are duplicated on a remote handset, which feels better to hold and use than many I have tried recently. The Ultima also includes a ‘display dim’ function, which I took advantage of during evening listening sessions.
To the rear, you will find an IEC mains input, three RCA inputs and two balanced XLR sockets, one of these being for the A/V bypass input only. There is a single pair of speaker outputs which accept banana, spade, or bare wire cable terminations, although the manual advises against using bare wire. There is also a 12V trigger input, but for some reason, I was unable to get it to play ball with my Moon 780D DAC. The outer edges of the rear panel have cooling fins to form a heat sink.
Colourful presentation
I installed the Chord Ultima Integrated in my usual setup, replacing the resident Moon 600i, which, although now rather long in the tooth, still impresses with its overall coherence and musicality. The rest of the system consists of the Melco N1, Moon 780D, and Totem Forest Signature speakers. The recent addition of Townshend F1 Fractal cable and Seismic Podiums has revitalised this setup, which the Chord Ultima Integrated took full advantage of.
Although several amplifiers that I have tested recently have outperformed my Moon in certain areas, few sub £10k integrated amplifiers are preferable overall to its big, relaxed, yet ballsy presentation, without proving overly analytical. It took no more than ten minutes of listening for me to be messaging the editor to declare the Chord Ultima Integrated a success. It is not uncommon for enthusiasm to fade after a few weeks of living with a new component, as one acclimatises to its strengths and becomes aware of a few less pleasant characteristics. The mark of a truly great product is when a reviewer becomes increasingly fond of it, and that is certainly the case here. You definitely get more of a front-seat performance with this amplifier than some, but it’s the front seat of a great-sounding venue, so clarity and definition without caveat; what’s not to like?
The Chord Ultima Integrated comes close to some of the pre/power combinations I have recently hosted in terms of dynamics, bass drive, control and timing. Not to mention its ability to produce a vast, detailed, and accurate yet holographic soundstage. Chord’s work in producing the lowest possible noise floor appears to have paid off, as is demonstrated by the astonishing levels of detail and low-level dynamics on offer here. Such qualities, along with this amplifier’s impressive bass definition, enable music to be enjoyed at far lower levels than is typically the case. For example, as I type, I am listening to a CD rip of David Byrne and Brian Eno’s cult classic, My Life in the Bush of Ghosts. With the volume control set to a whisker above 9 o’clock, I am still enjoying impressive levels of bass punch, dynamics and an expansive soundstage. This system is delivering plenty of leading edge detail, but thanks to the Chord’s slight warmth, it avoids sounding etched or fatiguing, as can often be the case with this CD.
The Chord Ultima Integrated’s clean and powerful delivery makes it an ideal companion for enjoying dense and complex recordings, such as Spiritbox’s latest, Tsunami Sea (Qobuz, 16/44). I particularly enjoyed the track A Haven with Two Faces, which the Chord Ultima Integrated delivered with absolute control and authority. This enabled me to hear right into the mix, which was presented in a composed and rock-solid soundstage. The Ultima Integrated’s impressive speed and timing skills kept me on the edge of my seat throughout the track, but it never overwhelmed me, nor did I feel the need to reduce the volume control. Particularly impressive was the way the pulsating bass synth hit hard yet presented the electro-acoustic guitars with great subtlety and sweetness.
Moving over to John Coltrane’s A Love Supreme proved just as enthralling. My 24/96 Qobuz download has always been a bit hot in the high frequencies, so I purchased the DSD version to see if it would improve matters, which it thankfully did. The Chord Ultima Integrated laid bare these differences and allowed me to appreciate this mastering’s superior sense of acoustic, air and delicacy. This Chord’s fine timing qualities remained intact, which again meant it was possible to enjoy this album at lower volume levels than usual. Turning up the wick proved a worthwhile experience, however, especially for the drum solo at the start of Part Three – Pursuance; doing so increased the weight and impact, yet the cymbals remained clean and airy. With lesser amplification, I am often forced to lower the volume level when ‘Trane’s sax comes in after about ninety seconds, but not with Ultima Integrated.
Cowboy Junkies’ The Trinity Session (rip of the Canadian Cooking Vinyl CD – the best PCM version IMO) made for an enchanting listen. Anyone who knows this album will doubtless be aware that it was recorded in a Church with a single microphone, direct to a digital tape recorder. There is so much information on the disc that most systems will manage at least a half-decent rendition of the recorded acoustic. I thought my Moon 600i did a pretty good job with it, but the Chord Ultima Integrated knocked it out of the park. Equally impressive was the timing accuracy, which made it sound like I was in the church with real musicians. The soundstage depth was another highlight here. Margo Timmin’s vocals were lifelike and full of emotion. A good valve amp may deliver a more liquid and delicate performance with a natural recording such as this. Still, it is unlikely that such a device will match the degree of accuracy and coherence on offer here without spending considerably more than the Ultima Integrated’s asking price.
Audition with care
I am not looking forward to returning the Chord Ultima Integrated and it will undoubtedly be on my shortlist as a potential replacement for my ageing integrated amplifier when finances allow. It creates a huge soundstage, delivers superior levels of detail, and sounds coherent from the punchy low end all the way up to those clean high frequencies. On top of that, it has enough current to drive any real-world speaker and does so in an enjoyable, vice-free manner. It is no wonder that so many manufacturers were using it at this year’s Bristol Hi-Fi Show. Dammit it even looks great. One caveat though: I do not recommend auditioning the Chord Ultima Integrated amplifier unless you are prepared to make a purchase.