Fezz Audio Titania Review

Fezz Audio Titania Review

In the line of integrated amplifiers of the Polish company Fezz Audio Titania is the most powerful model, delivering 45 watts per channel and operating in push-pull mode in the AB1 class.

Externally and functionally, the amplifier is very concise. Neat design, a choice of four colors - black, white, red and burgundy. The kit comes with a cover to protect the bulbs. Functionally, everything is very simple: three pairs of unbalanced inputs, volume control. There is also a remote control for volume control and a pass-through in case of integration with a multi-channel system. That's all that can be said about user functions - the classic implementation of lamp circuitry and the minimum necessary control. 

By the way, the manufacturer also has Titania monoblocks based on the same device, which, together with the native Sagita preamplifier, can work both as monoblocks and be used for bi-amping, if you take four power amplifiers - the preamplifier allows this.

Unlike some lamp devices on similar lamps, the replacement of KT88 lamps with any other types of KT lamps is not provided. But potentially putting lamps of better quality than stock ones is very possible. Although looking ahead, I note that with standard lamps the sound is very good - there is no feeling that the lamps were set up just to check the work and then change. And if you still change, then you can find a lot of alternatives to the ECC83 pair and the KT88 four.

The internal structure of the amplifier is quite simple - the circuit is conducive to this. Everything is neat: the details are not bad, with the exception of the power transformer, everything is built according to the double mono scheme, auxiliary circuits, like the same remote control, are taken out separately. The main installation is not hinged, but on printed circuit boards. Everything is assembled outwardly rough, but in fact it looks reliable and solid. Everything looks both inside and out like old-school tube audio, as it was done many decades ago. The design does not really allow you to evaluate the transformers, they are not visible and it is not so easy to get to them, but there is already something - we will just listen.

The test system was as follows: two pairs of Martin Logan acoustics - ESL X electrostats for the first part of the test and classic Martin Logan Motion 60XTi floor standing speakers. As source of DAC Mytek Manhattan II and Aurender as streaming transport.

Shelly Manne & Bill Evans With Monty Budwig - Empathy

Saturated and filled sound, very light, expressive. Immediately, there is no noticeable underlined lampness - there is neither blurring nor deliberate softness. The sound is sharp and dynamic. Not cold, yes, but the warmth is not particularly noticeable, except that it is a little guessed. And even then, if you put the system behind a screen, it will be difficult to identify the tube nature of the amplification.

Good elaboration of the entire range, from bass to treble. There are a lot of highs in general - impact copper sounds bright, without smoothing. Although it does not feel like prickliness, everything as a whole is expressive but neat. Yes, and the amplifier copes with speakers very decently: it would seem that it is not the evenest load, but there were no dips or distortions. However, this is not the most difficult music yet.

Angelo Badalamenti - Soundtrack From Twin Peaks

Excellent fullness, pleasant velvety elaboration of the low-frequency range: the sound definitely has a base, middle and top, which also do not hang much in the air - the stitching in the range turns out to be good. Let this stitching of bands at electrostatic be a little audible, but it does not feel any unnatural, that is, the acoustics sound approximately as they should, and sound good, I have no questions about control in the example of this recording.

Emotionality is also in perfect order, the sound is bright, lively, and mobile. This character does not tire, listening is interesting, and there is involvement, but it is not excessive, does not cause fatigue. Still, music is perceived first of all, and against its background, you can pay attention to sounds, but this is unobtrusive if desired. There is enough detail, there is a lot of it, but it is not bulging, even though the presentation may seem light-bright. You just hear a lot, but without corrosive dissection.

And a certain space, volume of sound, more precisely, music is perceived as a whole. Perhaps everything is in harmony here, although on some tracks a darker pitch would be more appropriate. But otherwise - very good unity against the background of detail, excellent length of overtones, beautiful attenuation, and this creates its own atmosphere. It is the atmosphere of the sound that attracts the most: it is interesting to listen to. 

Chromatics - Running From The Sun

Very voluminous and atmospheric, the bass is a little less than it could be, but everything is fine with the control, and despite a certain softening, the bottom somehow very naturally fits into the overall picture of the sound. The development of the medium frequency range and highs is simply pleasing - there is a lot of everything, no blurring, good detail and dynamics, a beautiful balance between the main sounds and overtones.

And all this adds up to a lively and emotional presentation as a whole, the previously noted musicality is the main feature of the system's character. By the way, it is pleasant to listen loudly. But even at a low volume, the sound retains integrity, and harmony, and does not become faded. I changed the volume range very noticeably - it didn’t get worse, it just got quieter or louder. And the power of the amplifier was more than enough: I didn’t turn the knob further than 10 hours - it was already quite loud.

Soundand 

Detailed, atmospheric, and quite good on quiet sounds. And even a light presentation does not make the sound less dramatic, the emotionality of the music is recognizable and is perceived closer to natural. Dense heavy guitar parts sound a little smoothed out, but everything is readable - both vocals and instrumental parts. Everything, in general, is interesting, although in some places there was not enough cold piercing in the sound. It seems that there is definitely no porridge, and the detail is good, and there are enough dynamics - but a little different. The amplifier still likes more melodic and not dark genres, although according to formal criteria the amplifier and the system coped well with this album.

After changing the acoustics to the Martin Logan Motion 60XTi, the character of the sound changed exactly as much as it depends on the acoustics itself - the same unity, integrity, rich study of the mid-upper range and a decent slightly softened bass remained.

But in general, the sound of the system still does not look like many stereotypical tube amplifiers: it is smoother in range, without obvious warmth, without softening. There is no airy atmosphere of electrostats, but otherwise - the dynamics and detail have not become worse, the control over the sound is already quite sufficient. With this acoustics, the scene is more familiar in some ways, but in both cases, good depth and volume are felt.

There is no surgical separation of images and plans, but on the whole everything is harmonious, there is no cohesion, the contours of the images are worked out naturally, with decent clarity. And the proportions are right. This is the general impression of the recordings listened to with the first pair of acoustics. But over listening and something else, maybe other facets of character will open.

Telemann: Recorder Sonatas Dan Laurin, Anna Paradiso, Mats Olofsson

Transparent and airy sound, the harpsichord may sound a little bit not as sharp and prickly as it could, but in general the presentation is realistic, dynamics and detail are very good, excellent elaboration of overtones, volume of sound. It is interesting to listen, the sound is not at all tiring, although it is light and moderately bright - this is noticeable. Good, correct, not chopping, but accurate dynamics, the right balance of attack and decay, which is audible and essential on the example of this recording. With such a presentation, harpsichord performances could appeal to many, to whom they seem excessively sonorous and sharp. And this despite the fact that I did not hear any formal smoothness or blurryness here.

Vaughan Williams On Brass

And again, we can note the detailed festive sound with well-read instrumental parts. Everything in general is a little softer than I expected to feel based on what I've heard so far, but still good, especially in terms of the emotional perception of music as music, and not as a set of sounds. It is the melody that is more interesting to follow than the sounds, the effect of immersion is pronounced.

Dalmatica - Chants of the Adriatic

Both the choir and the soloists are well heard, the recording space is felt, you can literally “copy” the room. And the detail is quite high, and everything is not bad with overtones. Maybe it could have been even more detailed, but the integrity of the sound is at a very good level. And most importantly, the choir listens like a choir, with all those intonations of the voice as a musical instrument, and this is an important quality.

Conclusion

Structurally - an awesome amplifier, although the same through the channel can be a very popular feature. And the fact that there is nothing else is not necessary with such an old-school scheme. I liked that the device does not sound emphatically like a lamp, and in coloring, it is almost not noticed. The fact that the circuit is made on KT88 lamps allows a lot of interesting upgrades, in comparison with the "older" versions of KT lamps.

Yes, there could have been more powerful, but, firstly, I did not feel a lack of it, and secondly, it is the 88th tubes that, for my taste, turn out to be the most interesting in terms of sound. Well, who needs more power - I mentioned monoblocks above, which can be used even not two, but more. And if you don't get distracted, the device is quite balanced in terms of sound and has a quite pleasant character, without distortions.

musical material

Angelo Badalamenti - Soundtrack From Twin Peaks / Warner Bros. records

Chromatics - Running From The Sun / Italians Do It Better

Dalmatica - Chants of the Adriatic / Arcana

My Dying Bride

Shelly Manne, Bill Evans With Monty Budwig - Empathy/Verve Records

Telemann: Recorder Sonatas Dan Laurin, Anna Paradiso, Mats Olofsson / BIS Records

Vaughan Williams On Brass - Tredegar Town Band, Ross Knight, Ian Porthouse, Martyn Brabbins / Albion Records

OFFICIAL SITE

Fezz Audio Titania

Fezz Audio Titania Specifications.

Type: Full tube stereo amplifier

Maximum power: 2 x 45W

Class: AB1, push-pull

Output impedance: 4.8 ohm

Frequency response: 18Hz - 103kHz (-3dB)

THD: < 0.2%

Inputs: RCA 3 pairs

Power consumption: 225W

Lamps used: ECC83 x2, KT88 x4

Dimensions: 420x410x175 mm

Weight: 17.5 kg