Hegel H400 streaming amplifier
The H400 was something of an ‘expected’ product from Norwegian hi-fi brand Hegel, using trickledown technology from its powerhouse H600, which I have been using more-or-less daily since it arrived last year, along with the lower-powered but nonetheless excellent H190 in a smaller system.
The company’s latest streaming integrated adds to a long line of electronics from a marque started back in 1988 when Bent Holter, a student at the Technical University in Trondheim, decided to do a thesis on the original design of the audio transistor. The aim being to cure the problems of traditional hi-fi systems. Enemy number one was distortion. Holter somehow could not accept the fact that when we supply a simple signal to an amplifier, the output reproduces that signal plus something else; distortion produced by the electronics. From those humble beginnings Hegel was born, outgrew its first factory and moved to new premises as a sales, R&D and technology centre with production undertaken in China although carefully controlled from Oslo.
Design
The poor UPS driver struggled up my front path with the 20kg H400 commenting that it was clearly a “serious bit of kit, well made”. He wasn’t wrong; nothing flimsy about the unit at all. Unpacking and installing the Hegel H400 it was immediately apparent that it was a slightly slimmed-down version of the mighty H600, rather than an upscaled variant of any of the smaller amps from this marque. And that’s a good thing, well, it is for me because it means the Hegel control app can be used and that means access to the plethora of Airable internet radio and podcasts along with easy access to streaming services from the likes of apple Airplay, Tidal Connect and Spotify Connect as well as Google’s Chromecast, UPnP and not forgetting Roon readiness in a typically Scandinavian minimalist design.
Power output from the proprietary Soundengine 2 (with patented error-correction circuitry to eliminate crossover distortion) is rated at 250W/ch of Class-AB into 8 Ohms (as per the old H390 design), while inputs are aplenty alongside all that the app offers. Good news is that it can drive loads as low as two Ohms, my ageing H190 struggles with lower impedance loudspeakers, this won’t. On the rear panel we have two pairs of analogue RCA connections, a pair of balanced XLRs plus myriad digital options. These comprise coaxial via both BNC and RCA, no fewer than three optical inputs, USB and an ethernet network port which is essential since Hegel eschews wi-fi connectivity. Further connections include two pairs of sturdy binding posts, digital out on BNC plus both fixed and variable unbalanced line-level out via RCAs.
While the power stages are constructed as dual-mono, digitally the design relies on Hegel’s own Bit-Perfect DAC which does all we need, and more – such as USB input, decoding MQA and DSD. The Sabre chip from ESS Technology replaces the AKM device used previously in the H390 with its non-availability arguably hastening the arrival of the replacement amplifier. Although the DAC is the one found in the H600 its implementation here is said to be different
There are even two separate mains transformers, one for amplifier stages, the other for low-level circuitry; and even separate windings for each channel. As we would expect from Hegel, there’s an incredibly high damping factor of 4,000 which will maintain a vice-like grip on the speakers.
Set-up and operation
As with the mighty H600, we are deprived of a headphone socket which Hegel does provide on its ‘lesser’ models. The reason is that they simply cannot create a headphone amplifier stage of sufficient quality to match the speaker output and maintain the all-important price point. Which is a pity as I like to listen this way late at night or if I want to monitor for low-level detail. Vinyl enthusiasts will also need to add a phono stage but this is also the case on the H600.
Colour options are black or black, which is fine by me. My white H190 has discoloured over the years, but this is likely a result of the cigar smoke and vapour from incense sticks. The solid aluminium front panel has a sizeable central display to indicate source and volume level, but no detail about the material being played. Either side is a large rotary knob milled from solid aluminium; one primarily for source selection the other for volume control, although they can be used to adjust other user settings. Hegel’s metallic, rectangular remote handset is included and provides an alternative way of controlling the H400 alongside the control app.
Connecting an ethernet cable, the H400 downloads any necessary updates it needs. I connected a Blu-ray DVD player, satellite receiver and an Auralic Aries G1 streamer to source Qobuz streaming. Like many of us, Hegel are [still] waiting for Qobuz to launch its Connect service and will then issue a free update to allow subscribers to access their libraries. A workaround is to use an alternative control app such as JPlay. Additional features include the ability to set both start-up and maximum volume levels, or to configure inputs as a bypass for home-theatre use.
Hegel control app
I badgered Hegel for so long, years, to provide internet radio on their amplifiers and was so delighted when the bespoke app was launched, after much development, offering Airable radio and podcasts. With both Classic FM and BBC Radio 3 changing their output so much (R3 about to lose all its drama is a dreadful shame) I turn more and more to internet broadcasts. My ‘favourites’ list is easily accessible in the app as is the ability to search through the countless stations out there, by language, by location, by genre or by name. I’m not sure now how I ever lived without internet radio in fact. Okay, so none of the stations broadcastin audiophile quality, but there are plenty that offer decent sound at 192kbps and sometimes better.
The app, on Android and iOS, is also ideal to access subscriptions to the major players such as Tidal and Spotify connect services (and, hopefully, Qobuz soon) as well as apple Music via Airplay. Again, there’s the question of ‘quality’ but to be honest it’s perfectly acceptable most of the time for everyday listening and I spend happy hours going through my various playlists and rooting out some of my own recordings which are stored in the Apple cloud.
Initial thoughts
Quickly connected to my reference Revival Audio Atalante 3 speakers and, perhaps not unexpectedly, the H400 created a sound very similar to that obtained from the mighty H600. However, surely the bass is a tad muted from the H400 compared to the (almost twice-the-price) H600 and the noise floor not quite so low, but nonetheless incredibly quiet. Distortion figures quoted are also higher and, although both amplifiers use the same output devices, albeit there are twice as many in the H600 which probably means they are being driven harder in the H400, components in the driver stage differ between the two designs. One thing is certain, neither amplifier stamps its own signature on the sonics and so we are able to hear the material as the recording engineer intended.
Nonetheless, the H400 delivers a rock-solid sound and clearly has plenty of power in reserve even with the volume turned up to neighbour-disturbing levels. My usual repertoire of mainly speech-based material fared very well and the amp/speaker pairing seemed a natural one as they never missed a beat. While I was getting excited about the midrange, devoid of unwanted artefacts such as nasality or chestiness, it was the treble response that drew my attention. The higher frequencies were handled so well with percussion and strings so clear, so well-defined and detailed and with a lovely airy quality about them, in contrast to the sometimes rather claustrophobic feel from lesser amplifiers.
Not neglecting the bass, it was there in the correct proportion and well extended. Not that Hegel amplifiers are to my mind at all ‘analytical’ as some professional studio designs tend to be. I feel it part of Hegel’s ‘house sound’ to have a slight warmth in the upper bass and lower-mid which helps to draw the listener into the performance, speech or music. In fact, as should be the case with a proficient system, the equipment disappears and one is left with the source material rather than the hardware obstructing the music.
Listen up
Connection to a pair of Fyne Audio’s magnificent F701SP dual-concentric stand-mounts made for a beautiful sound as the listening panel took their seats, with the loudspeakers now costing slightly more than the amplifier.
I was enjoying Elgar’s The Dream of Gerontius (Adrian Boult’s recording on EMI) where the H400 was able to gracefully array the performers across a spacious soundstage that extended beyond the loudspeaker cabinets, with lovely depth and height to increase realism. The soloists’ voices were clear and detailed, imaging precise and the entire a joy to be absorbed in. Low-end extension was well-textured and in correct proportion, the midrange gloriously natural and the treble adding air and sparkle to this fine recording. The H400 is much better at handling such complex material than the little H190 from the same stable.
The panel chose a track that took months to perfect in the recording studio: Frankie Goes to Hollywood’s Two Tribes, their follow up to Relax. They insisted on the version with the spoken intro to this dance track which encapsulates, in four minutes, a widespread fear of nuclear attack. Hegel’s H400 can certainly time well, and handle speed and agility with aplomb. We were treated to a foot-tapping delight as the track’s tense energy was transferred very successfully to the listening room. We felt the emotion conveyed by the jittery bass and delay-drenched guitars so convincingly and with great imagery, along with a lifelike and speedy high-hat and kick drum so clear and distinctive. There was wonderful air around the punctuating stabs of the snare and cymbals, it is clear that the H400 is a high-class amplifier able to reproduce bass lines with clarity and distinction without ever becoming boomy.
Switching to Deacon Blue’s early hit Chocolate Girl. This beautifully recorded country-style track, with mellow rhythmic tone, simply shone with the H400/Fyne combo. The vocalists were clear and detailed such that they might have been there, in front of us and without any unpleasant nasality, sibilance or chestiness. We were also spared ‘cuppiness’ which sometimes disfigures playback on lesser designs. Notes from the very low to the very high were reproduced across a stable image with intimacy and brought the smoky atmosphere of the recording venue to the listening room.
Before the panel left there was time for Ultravox’s Vienna and all that eighties ‘synth goodness’. The H400’s bass competency was confirmed with a stunning display of the Roland CR-78 drum machine’s contribution here with tautness, texture and tension all spot-on. The track also confirmed the Hegel’s ability to convey musical emotion as its cold feeling came through so well. The vocals via the H400 are among the best that I’ve heard with a richness and naturalness that’s so many amplifiers just fail to achieve.
Conclusion
Having enjoyed a faultless experience with Hegel’s H400, notably its sonics but also because it has the benefit of the amazing Hegel control app, I am reluctant to return it – it’s that good that I would be happy to have it as the heart of my system. It’s hard to fault for its transparent and unfatiguing sound quality combined with features aplenty for today’s streaming savvy listener.
The H400 is not only superbly-engineered and solidly built, but it manages to create a gloriously engaging sound: just so immersive but always completely controlled. Go for the H600 if you need the extra power but I promise you won’t be disappointed with what the H400 has to offer. Once Qobuz get their act together it will be darn near perfect!