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Description :
The Plinius M16 is a solidly-built preamp with an optional internal phono stage. Resembling its predecessor, it has the Plinius M12's basic layout but overall bigger in size, and the new M16 exudes a high quality, no nonsense, seriously dedicated presence through its solid appearance and interesting brightly glowing blue LED function indicators. These lights show the source input selected as one from six, the record out selected from the same six, absolute phase toggle position, and volume mute toggle position. Healthy, finger-sized, finely machined matched metal knobs are also there for balance and volume. The rear features gold plated teflon inset RCA's jacks for phono, aux, video, tape 1, tape 2, and CD plus a switch selectable XLR type balanced input for CD. Balanced main out XLR's along with two pair of RCA's, also as main outputs, with the two pair of record-out feeds insure that every other system device is fed and controlled here. One feature of the earlier model twelve that has not been adopted for the sixteen is an overall output gain switch. Where the M-12 had a 6dB front panel switch to more or less achieve better amplifier input matching and volume control range, the Plinius M16 has simply has too much drive at the 9 or 10 o'clock positions.

The Plinius M16 has superb bass performance, allowing the superiority of the best digitally recorded bass to make itself felt and heard. Atop this exemplary bass, it represents a well-balanced and continuous midrange. In the top octaves, it shows essentially none of the traditional transistorized failings, and in this respect is slightly superior to the phono stage. The Plinius M16 also casts a very good soundstage. It does not take recordings of modest spatial proportions and turn them into "wrap around spectaculars"; neither does it diminish recordings that require a Cinerama-style presentation. In all cases, the M16 gives the perspective the engineer and producer put on the recording, with no artificial constriction or sweetening. Dynamics and soundstaging converge when it is necessary to maintain instrumental separateness during moderately loud to very loud passages. The M16 keeps things in their proper places, with no defocusing of image boundaries even in demanding passages, and most taxing portions of recordings.

Upper harmonics of string and brass instruments never jump out aggressively from the fundamentals; there is no discontinuity or raggedness, even during demanding crescendos. Saxaphones had gained more body and more breathiness, becoming at times more airy sweet, but on the hard driving tunes having more edge, brightness and sharpness without any irritation. The Plinius M16 easily allows the listener to follow single instrumental lines or section parts while still portraying the band or orchestral sound as an unified sonic event exactly like live. The ensemble is totally balanced together as a complex rich mix of assorted elements. Each note they play is clearly portrayed in its correct relationship within that local soundscape. The Plinius M16 captures that splendid essence of cohesive musical structure and inner texture and detail that possibly exists on every good vinyl and CD.

The Plinius M16 is particularly adept at capturing the way instruments and voices project into an acoustic space. Timbral characteristics aside, one reason a piano does not sound like a saxophone is because of the differing ways they project sound into space. The key word here is "project," because in reproducing solo instruments, the size and shape of the source from which the sound originates controls the way the sound is radiated. It is uncannily good at maintaining the distinctive ways that different types of instruments, including the human voice, behaving in space, projecting not just forward, but three-dimensionally into a definable space and in unique individual ways. Moreover, there is no sense of physical disconnection of the source from the sound. Part of the Plinius M16's way with this trait can be laid directly at the feet of its excellent dynamic performance. Like the phono stage, the line stage has plenty of dynamic vitality and forcefulness. Overall, the M16 is not just a superb hi-fi component. It is actually a pure musical pipeline straight to the listener's head and heart.

Specifications :
Frequency Response........................Phono RIAA and Line Inputs 20Hz to 20kHz, +/- 0.2dB
Distortion.........................................Typically <0.05% total harmonic distortion at rated input level
Hum And Noise................................Phono -70dB, Line Inputs -80dB at rated input level, "A-weighted"
Input Sensitivity For Rated Output......Phono 500uV, Line Inputs 145mV RMS
Input Impedance...............................Phono user selectable, Line Inputs 50k ohms
Rated Output Level...........................500mV RMS into 10k ohms or higher
Output Source Impedance.................Typically 200 ohms
Dimensions(w x d x h)......................48.5 x 33.5 x 13.5 cm
Weight............................................12kg

Miscellaneous :
XLR Input........................................Yes
XLR Output......................................Yes
Remote...........................................Yes
Manual............................................Yes
Made In...........................................New Zealand
Condition.........................................9/10