사이러스 5 인티앰프 스펙과 해외 평가.

Product Overview

Based on the same circuitry as the Cyrus 7 amp, Cyrus 5 offered nearly all the advantages of its bigger brother, the Cyrus 7. In true Cyrus style if you bought the 5 and later you decided that you would really like more power you could have had your 5 upgraded to full Cyrus 7 specification. Remote control, MC BUS™ compatible, preamp-out, intelligent headphone output and computer control system are all included.

Electrical

Line inputs - 5 Line + 2 Tape

Outputs - Bi-wire Loudspeakers, Tape-out, Preamp-out, Headphone

Power Supply - 107VA Toroidal transformer with 5 regulated rails

Communications - MC-BUS™ System BUS

Remote Control - Supplied with Cyrus Amp/CD/tuner system remote control

Specifications

Continuous Power - 40W/CH (both driven into 8 Ohms) 50W/CH (both driven into 4 Ohms)

Burst Power - 173W (IHF, one channel driven into 1 Ohm)

Distortion - 0.003%, 1kHz (into 8 Ohms) 0.005%, 1kHz (into 4 Ohms)

Frequency Response - -3 dB, 4Hz and 90kHz Damping Factor 80

Sensitivity - (40W) Line: 179mV

Input impedance - 50kOhm (RCA).

Output voltage - 200mV (Tape out), 380mV (Pre out)

S/N Ratio - 100dBA (ref. 40W)

Channel Balance - ±0.2dB (0dB to -63dB)

Volume control accuracy - ±0.1dB (0dB to -63dB)

Dimensions - (H x W x D) 73 x 215 x 360 (mm)

Weight - 3.7kg

Finish - Black

Further Information

This amplifier builds on the traditional Cyrus benefits of superb sound quality, technical excellence and system flexibility as the core of a quality audio system. With a selection of partnering Cyrus source components and system extensions for multi-room or audio-visual applications, the Cyrus 5 was a welcome addition to the verstile Cyrus range.

With access to the latest Computer Aided Design tools and electronic modelling techniques the Cyrus team crossed new boundaries in establishing new circuit topologies for inclusion in the Cyrus 5. Traditional Cyrus technical standards such as short-path signal routing techniques and the use of micro-miniature SMD components are upheld and further refined for this design. At the completion of the design phase is an extensive program of listening trials to fine tune the sound of the amplifier. For these rigorous tests all styles of music are used with a wide selection of high quality ancillary components.

A high-efficency power amplifier circuit designed for the Cyrus 5 family of products. The power amplifier employs single substrate input transistors for consistant operating conditions and a new fast-bias output stage to deliver consistantly low crossover distortion and minimise transient thermal distortions. A speaker compensation network optimises the interface between the amplifier and loudspeaker. Twin bi-wirable terminals are included for convenient bi-wiring connection.

A dedicated high current headphone amplifier drives a full size ¼” jack socket located on the rear panel of the unit. A separate front panel control to select headphone listening and mute the loudspeakers allows headphones to be permanently connected to the Cyrus 5. The intelligent control system monitors the connection of headphones to the socket at all times and will restore sound through the loudspeakers if the headphones are disconnected.

A sophisticated 105VA toroidal power transformer forms the essential part of the Cyrus 5 advanced linear Power supply system. The “zero-mechanical-noise” core design of this transformer ensures high performance within an unusually wide AC mains voltage.

The Cyrus 5 includes a smart electronic management system which enables the use of a full function remote control handset and provides many other useful benefits such as the MC-BUS™ system and a fast acting overload protector. A fully electronic silent standby mode reduces standby consumption power to a minimum when not in use.

The unique MC-Bus connectivity of the Cyrus 5 is in keeping with the total system approach of the Cyrus range of products. This facility enhances ergonomic operation of the unit in a system context. Total automation of the factory test phase of Cyrus 5 is facilitated via the MC-Bus during its manufacturing process, eliminating potential human error.

The quality lightweight die-cast enclosure of the Cyrus 5 has a myriad of advantages both electrically and mechanically. The non-resonant nature of the alloy minimises microphonic effects, while its nonferrous composition provides an effective shield from external electro-magnetic disturbances. This also eliminates coupling of the power transformer stray magnetic fields to the sensitive audio circuitry.

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Cyrus 5  © What Hi Fi May 2000

Supertest : £300 - £500 amplifiers. Group Winner: Cyrus 5 

For: Terrific sound; upgradability; bombproof construction. 

Against: Styling may not be to everyone's taste. 

Verdict: Another winner from the Cyrus stable. This amplifier is every inch a junior Cyrus 7. 

With the recent launch of the 5, Cyrus has opened up ownership of its products to those who might not previously have been able to stretch their budget to the range. Build quality is as impressive as we've come to expect from Cyrus: its die-cast casing is immensely solid and the controls are well engineered. Add in the fully featured system remote control, and you have an amp that's a pleasure to use. 

An important part of Cyrus' philosophy is upgradability and the 5 is no exception. For £250 [actually £259] it can be modified to 7 spec with a better power supply and improved components. From there, external power supplies and power amps offer a route to even loftier sonic ambitions. 

As reassuring as it is to have such future-proofing, the 5 is so good on its own you might never feel the need to upgrade. The sweet tones of Youssou N'Dour and Britney Spears show off the Cyrus' superbly informative midrange, their voices being reproduced with an insight and delicacy that £500 amps seldom manage. 

The 5 also boasts excellent timing: notes stop and start with-out any trace of overhang, lending the sound an agile and pacey feel. Add fine punch and superb dynamics into the equa-tion and this amp emerges as a real force to be reckoned with. 

The Cyrus 5 has preserved so much of the superb sonic abilities of the 7 that for £500 we think it's a steal.

Cyrus 5  © What Hi Fi April 2000  Entry-level stunner from Cyrus. 

For: Detailed and refined sound; always in control; easy to upgrade to 7 spec and beyond. 

Against: Not as weighty as the more expensive 7 - that's all. 

Verdict: Detail and grip combined with fine musicality across the board should win this baby Cyrus integrated many fans. 

The latest addition to the ever growing range of Cyrus products is this £500 integrated amp - a cut-down version of the Cyrus 7 to which we awarded five stars back in November 1999 - and fresh from the box it looks the same as its impressive brother. 

Indeed, the Cyrus 5 is pretty much a 7, but with a few price conscious tweaks, such as a drop in power output from 60w per channel to 40W, and a power supply with a reduced specification. But even after all this, you're left with a solid and stylish piece of kit. The fascia features a real gem of a precision volume control, responsive source select buttons, and a sensor for the well-conceived system remote control. To the rear, meanwhile, are two pairs of speaker terminals for each channel, five line-level inputs, two tape loops, and a headphone socket. 

Kick off with something simple such as Johnny Cash's American Recordings - Cash, a guitar, a microphone, and Rik Rubin at the controls - and the Cyrus delivers. Bird On A Wire is conveyed with sparkling presence as guitar strings resonate with detail and Cash's tortured vocals brim with emotion. Switch to the live recording of the Skiffle Sessions and the atmosphere of the event is rendered with alluring clarity, the three protagonists Van Morrison, Lonnie Donegan and Chris Barber - being placed firmly centre stage. 

The Cyrus also proves deft at separating different instrumental elements while never sacrificing the musical whole. The result is that the amp is able to put in a notably controlled performance with the hard rocking lads from Nirvana, while never sounding restrained or overly safe. 

Dance music also receives attentive treatment, Death In Vegas' Aisha sounding fast and punchy as the Cyrus shows it has a firm grasp of the rhythmic sensibilities of this complicated track. Tonally the amp is well balanced, too. It may not boast as much bass weight as the Cyrus 7, but it's certainly not lacking down low, while treble has the slam and edge to thrill, without ever becoming harsh. 

Play some classical and the Cyrus shows it can thrill with the old masters, too. Beethoven's majestic 9th Sympbony is delivered with a blend of power and refinement within a detailed, if not overly wide, soundstage, while instruments have plenty of depth and sound convincing. 

With the more recent sound of Tim Burton's score for Sleepy Hollow, the Cyrus handles dynamic swings swiftly and with precision - even at very high volume levels - while subtle changes in instrument tonality are reproduced masterfully. 

Downsized and slightly downgraded the Cyrus 5 may be, but like a pocket battleship it retains much of the punch and power of its higher speced sibling, and offers an easy and effective upgrade path, too. 

While Cyrus intends the 5 to be used as a standalone product, for the difference in price between the 5 and 7 (£200), plus a little extra to cover costs [£259 total cost], Cyrus will modify your 5, bringing it up to full 7 spec. Part of this spec is a power supply socket which then allows you to go even further by adding a PSX-R power supply. You can then pile on the Cyrus power amps until your wallet can take no more. 

This, coupled with a winning blend of detail and passion, mark the Cyrus 5 out as a five-star stunner.

Cyrus 5 £500

Integrated amplifier rated at 40W/8ohm. 

http://www.cyrusunofficial.co.uk

Cyrus 5 £500

Cyrus 5  © HiFi World August 2000

Two new £500 integrated amps, Primare's A10 and the Cyrus 5, battle it out in a head-to-head. 

One of the pivotal parts of a hi-fi system is the amplifier: apart from fourth-form gags about not hearing much without one, the choice of amplifier dictates the parameters of the loudspeaker to be used and the possibilities for input devices. Although there is a strong ground-swell of opinion at present in favour of separate pre-amplifiers, this month we have selected two integrated amplifiers which we believe typify the building block of the average enthusiast, both of which boast what would be termed as medium' power rating. 

FACILITIES 

Mission's cast heat-sink casing must rate as one of the audio world's most versatile designs. It is a matter of mild astonishment as to what the company can secrete within the slim confines of this very functional box. In this instance the back panel of necessity is pretty well swamped with input sockets but this hasn't prevented the accommodation of two pairs of loudspeaker outputs for easy bi-wiring. These sockets are of the safety banana' type (non-slip skins?) but Mission's own adaptor plug enables either ordinary plugs or bare wire connections to be made with ease. Given that there are two pairs of sockets, the provision of just one pair of plugs seems a little un-generous. As if to compensate for this, both continental and GB I 3A mains leads are provided as standard. 

What the package lacks in 'speaker adaptor plugs, it more than makes up with inputs and outputs for tape and recording facilities: this requires a little care in setting up if full advantage is to be taken. Two sets of input and output sockets plus a useful 'third head' monitor input could lead to confusion, particularly as dubbing facilities are dependent on the correct set-up. Aside from this, lacing up the Mission proved to be reasonably common-sense. 

Primare's A10 is a much more conventional box and in truth does not seek to offer quite so many facili-ties. One pair of rugged banana-cum-screw terminals suffices for output, and the recording monitor is by way of the tape deck's own output amplifier, controlled on the amplifier by a simple on-off toggle. Where the Mission has the ability to record one thing while listening to another, the Primare is both more limited and less prone to mistakes. 

More contrasts between the two are found in the volume and balance arrangements. Very much to its credit, the Cyrus has the facility to pre-set the input levels, taking the CD input as the reference point. This is a godsend if your tuner habitually blows your head off on switching over, for example. Even more refined is the pre-set balance control; this function is coupled with the volume knob and permits level outputs to be adjusted for room compensation, or for more specific one-off arrange-ments. Neither of these refinements is to be found on the Primare, indeed this amplifier inescapably sets its volume to 10/80 on starting, whereas the Cyrus permits pre-setting to any level. 

Sometimes the A10's simplicity seems entirely sensible; the six inputs are controlled by just three switches (not counting the tape monitor) in sharp contrast with the Mission's row of black teeth. 

SOUND 

I chose to try each of these amplifiers with the same selection of CDs plus a pot-luck earful of the radio and a trial was made of each amplifier's recording output/monitor provlsion. To avoid referring to this again, I say here that both amplifiers gave a clean and correct signal to their recording outputs. with sufficient power to load a standard modem recorder perfectly well.. 

The late Benny Waters was recorded in Stockholm's Pawnshop Jazz venue in a series of tracks which remain an object lesson in recording technique. Like many Opus 3 CDs, the beauty of the Sound engineering is somewhat ahead of the playing, but never mind! The Cyrus 5 determined to offer a startling clarity on this recording: Waters' very breathy saxophone sound sounded very dose at hand - almost over the shoulder -and enabled me to re-live this exceed-ingly live recording once again. The background sound of glasses clinking and matches striking were given appropriate but not excessive prominence; stereo placing was good too, with the Cyrus' clarity contribut-ing largely to this success. But for all the immediacy, there was an edginess which did not quite suit the relaxed musical occasion. 

The Primare played a contrasting hand, with partials and breathiness again to the fore but with the added benefit of a sweetness which the Mission seemed not to coax from the recording. Whereas the Cyrus took your breath away with its sharp focus, the Primare put a glass in your hand and made you welcome. Again, stereo placing was excellent, with a very realistic sound picture of soloist, backing band and punters all in their proper places, but the A10 was content to let you hear these for yourself. 

Staying with the Primare, I turned to a well-establlshed World Favourite, Eiji Oue's marvellous HDCD of Stravinsky's Firebird Suite. What we require here is power, not so much in watts as in fullness of sound. Many super-detail amplifiers fall down here, giving a too spiky sound to any glint of treble which pushes to the front of the music. The A10 avoided this trap well; although the sudden stings of bass drum and the extended double bass passages issued from the speakers like the musical 'bricks' that they are, the exquisite middle texture of the woodwind had a fair hearing too. 

On this recording, the Mission showed a good deal of apparent power and, like the Primare, avoided over-emphasising the treble, For this sort of record, the forwardness of the amp's sound proved no substantial drawback, indeed for excitement the Mission had the slightest edge on the A10. Unfortunately, once the dust had settled, the question of sweetness once again weighed on the Primare side; the Mission is fractionally unforgiving here. If you have sluggish loudspeakers this would be beneficial - horses for courses again. 

Commercial rock radio's output proved to be so severely compressed as to prove nothing either way about the amplifiers. Both had power and speed to spare. Radio Three, with its better balanced output gave both amps a chance to shine. There was little to choose between them here: most differences in sound were traceable to the very wide quality variation of the source CDs. 

As a matter of personal preference, I enjoyed the Primare more than the Cyrus. It has a sweeter, almost triode sound which suits any musical tastes more nearly [sic], despite the limitations of its specification. Cyrus Electronics have put together a very versatile and well-equipped instrument in the Cyrus 5; with 'heavier' loudspeakers the sharp approach would be appropriate for many people's ears.

Cyrus 5  © HiFi Choice September 2000

Cyrus has made good use of its trademark casework design, and quite rightly. It's an ingenious 'one size fits all' metal casting incorporating various internal fixing points and the heatsinks, and its about as small as is plausibly possible for the job in hand. So small is it that the back panel layout has arguably suffered somewhat in terms of accessibility - ten sets of phono sockets and biwiring speaker terminals on a panel not quite eight inches wide makes for tiny labelling and awkward cable removal. But its a small price to pay for the elegance of the unit. 

Despite the small size and light weight of this unit rated output power is a useful 40 Watts per channel (more than adequately met in practice). Basic features already look quite attractive, with seven line inputs and tape and preamp out but there's more. With the aid of the remote, the volume control can become a balance control and can also be programmed with different basic gain set-tings for each input. This is useful if you find, for example, that your CD player blasts you away when you switch over from a per-fectly acceptable level on the tuner without adjusting the vol-ume control. All that is possible thanks to the electronic volume control employed, which. gives accurate 1dB steps and excellent channel tracking at all levels. 

In addition, there are various upgrade paths available, including bi-amping and having the 5 upgraded to a Cyrus 7 at the factory, for little more than the initial differ-ence in cost between the two units. After that you can add a PSX-R exter-nal power supply. The possibilities are nearly endless. 

Construction and attention to detail are up to Cyrus' usual high standards. The electronic volume control limit input level handling, but it's high enough, at 4W, not to be a real problem. Much of the electronics is composed of surface-mount components and thus that's all pretty compact, and there's next to no loose signal wiring. Quite intel-ligent protection circuits shut the unit down if overloads or other fault conditions are detected. Speaker outputs are on the new BFA connectors: a set of suitable plugs is supplied with the amp. 

SOUND QUALITY 

There are certainly aspects to admire In this amp's performance, but overall it never quite managed to produce a completely transparent window on a musical performance. The good points include a neutral tonal balance with a very comfortable bass, which doesn't obtrude but confidently underpins the music when required, and sweet undistorted treble. Those characteristics suit light music well -a bit of Mantovani or Tony Bennett in the background. But they can't quite offset the slightly thick and opaque character to the sound when the amp is dealing with highly detailed, densely textured music such as a Mahler symphony or well -produced rock or country. 

It's quite a hard thing to pinpoint but there is a rather consistent veiling of subtle details in pretty much any kind of music. This has various knock-on effects, including somewhat limited stereo image depth and climaxes which are a bit flat dynamically. It's not enough of an effect to make detail completely unrecoverable, but one has to listen that little bit harder to be sure exactly what instruments are playing or what the lyrics to a song might be, and that can be tiring. 

Then again, if you're not such a detail freak all this might matter a good deal less. In that case, the amp's impeccable manners will please - it never seems to become stressed or coarse, right up to the point where it runs out of power. It does that quite abruptly, but at least you know where you stand and 40-odd clean watts translates to quite vigorous performance even into the relatively inefficient ATC speakers used for most of the auditioning. 

CONCLUSION 

There's no denying that this amp, especially as part of a complete Cyrus system, is in many ways a most appealing proposition. Its sonic flaws are likely to be something of a matter of opinion and its worth giving it a spin. Taking the excellent flexibility and good construction into account, it just achieves Recommendation.