Technics SU-G700 Stereo Integrated Amplifier Review
TECHNICS G700 REVIEW
LOOKING BACK AT TECHNICS
Technics is a brand that has been with us seemingly forever, and as a result there is no shortage of opinions out there when it comes to whether or not that is a good thing. Some audiophiles look fondly upon Technics, whereas others -like me -remember them as a console stereo company of the late 70’s and 80’s. In my youth, Technics was a brand I associated more with the likes of Radio Shack than I did high-end audio, that is until I actually bought my first Technics product, the famed SL-1200 turntable in college. The SL-1200 redefined the brand for me. That turntable was, and still is, one of the best ever made. While my experience from that turntable alone would’ve been enough for me to want MORE Technics gear, alas none was available, for by the early 2000s they had all but faded into the annals of audio history.
INTRODUCING THE NEW TECHNICS SU-G700 INTEGRATED AMPLIFIER
Technics may have been missing from the specialty AV marketplace for a few years, but they’re back and better than ever. Their newest line up of products, anchored by the SU-G700 integrated amplifier shows what a brand with a storied history such as Technics can do when given a little light to shine.
Technics G700 Integrated Amplifier Review
SU-G700 DESIGN
The SU-G700 retails for $2,500 (UPDATE 6/20/2022 $2999) and is available through select dealers, including a few online. The SU-G700 looks a lot like the beefier, and costlier SE-R1 stereo amplifier, which is a very, very good thing. I really do love what Technics has done with the look of all their new products, especially the SU-G700, for it is a near perfect blend of modern and vintage -at least to my eye. The SU-G700 comes in two finish options, silver and black. Technics sent me the SU-G700 clad in black, though based on photos, I think I would’ve preferred silver. Still, the SU-G700 in black is sexy indeed, what with its bluish-white lit analog-style meters sitting front and center. I’m a sucker for meters, and I have to say, of all the modern amplifiers using them to trade upon our nostalgia for the “good ol’ days” the ones found on the SU-G700 may be my favorite yet, and the least pandering of the lot. Sitting just above the large glass “viewing window” rests the substantial volume knob, to the right of which is a small digital display that shows you menu and input data followed by a second, smaller knob for input selection. Shifting focus to the far left side of the faceplate you’ll find a simple on/off button as well as quarter inch headphone input. That’s it. The faceplate is as minimal as they come, and I think it’s great, for it makes for a far more sophisticated visual statement, and lets you know that the user experience is going to be one of simplicity and ease.
TECHNICS G700 SPECS
Make no mistake, the SU-G700 for all its simplicity and grace, it’s still a substantial piece of kit, measuring nearly 17 inches wide by 17 inches deep and six inches tall. It tips the scales at a notable, but not back breaking 27 pounds, thanks in part to its amplifier topology. Around back you’ll find the SU-G700 is very well appointed, something I wasn’t expecting given how spartan and retro the front of the 700 proved to be. Moving left to right you’ll find the SU-G700’s built-in, moving magnet phono stage, followed by two line level inputs (RCA), above which rests a single line level output (RCA) that Technics is careful to label “Analog Source Only”. Above the RCA I/O section rests the digital I/O board, possessing two optical and two coaxial digital inputs as well as a single USB-B input, which the 700 labels as “PC”. As for digital format support the SU-G700 supports (near as I can tell) all flavors of DSD as well as PCM. Above the digital section you’ll see a USB input (service only) as well as a mini jack labeled “Control”. Located just left of center is the SU-G700’s preamp outputs (RCA) and to the right of those, a single pairing of rather substantial binding posts. Toss in a removable AC power cord and you have the outside of the SU-G700 pretty much sewn up.
Under the hood is where the Technics amp sheds its vintage flair for something far more modern. For starters the G700 is a Class D 70 Watt per channel integrated amplifier at eight Ohms, and 140 Watts into four and is stated to be compatible with loudspeakers ranging in impedance from four to 16 Ohms.
JENO CIRCUITRY
The SU-G700 operates entirely in the digitally from input to output using Technics’ own JENO circuitry. JENO, which stands for Jitter Elimination and Noise-shaping Optimization, is a carryover from the brand’s higher end products, and it effectively “re-shapes” all incoming signals -analog or digital -into the best versions of themselves. For analog to digital conversion, the SU-G700 utilizes a 192kHz/24-bit A/D converter from Burr-Brown (PCM1804). For those of you wanting to do a deep dive I would encourage you to visit Technics’ website and be prepared to do some light reading on your own.
LOAD ADAPTIVE PHASE CALIBRATION (LAPC)
In addition to its JENO architecture, the SU-G700 features LAPC or Load Adaptive Phase Calibration, which at first blush may seem like something along the lines of auto speaker or room calibration, but it’s not. LAPC allows the SU-G700 to measure the frequency amplitude-phase characteristics of your connected loudspeakers. Technics uses LAPC to curb or “solve” negative effects from your loudspeaker’s changing impedance across its frequency range, resulting in a more linear response of both gain and delay, which in turn should net an audible improvement in sound quality. More on this in a moment.
The G700 also utilizes a high-speed silent hybrid power supply, which is said to reduce noise. It also utilizes a Optimally Activated Circuit System to effectively “turn off” any and all systems or modules not in use to further reduce the potential for noise to be present during listening. This attentiveness to noise doesn’t stop there, the G700 even employs battery power in its preamp stages. All of this coupled with the fact that the Technics is internally compartmentalized into three key sections, so that each are isolated from each other and potential interference between circuits is minimized. This bracing also reduces vibration, which depending on who you talk to, is a four letter word when it comes to high-end digital playback.
G700 HEADPHONE AMP
The addition of both a Class AA headphone amp and low-noise phono input are almost afterthoughts by the time you get through all the technical specs crammed inside the SU-G700, and yet, they’re present and accounted for too. Moreover, both share in the benefits afforded by all the aforementioned “wizardry” as well. But none of it matters if what’s on paper doesn’t translate to a listening experience.
SU-G700 REMOTE
Which brings me to the remote. I actually don’t mind the SU-G700’s remote, for I had previous experience with it when I reviewed their SL-G700 CD/SACD player, that is to say, that they’re the same. The remote is a bit on the larger side, but that means that buttons have adult-sized keys and spacing between them, and while its not backlit, everything has the real estate needed to be easily readable. The remote can control not only the G700 but also its matching CD player and network preamp if you were so inclined. It’s not aluminum or sexy, but it’s serviceable.
TESTING THE G700 (ASSOCIATED EQUIPMENT)
Testing the G700: along with the Technics SL-G700 SACD/Network Music Player and SL-1500C direct drive turntable, I used my reference JBL L100 Classics and for other A/B testing I kept my U-Turn Audio Orbit Plus turntable, Marantz NR1510 AV receiver and Crown XLS DriveCore 2 amplifier handy.
SETTING UP THE G700
Setting up the G700 proved to be one of the easier tasks. It really is a joy to unbox and setup as it is very thoughtfully laid out and straightforward, unlike its CD player counterpart. Though, not unlike a modern AV receiver, the SU-G700 does have some higher-level functionality that is accessible via its setup menu (visible on the unit’s faceplate), that you’ll want to read up on should you want to pair the 700 with a third party amp, subwoofer etc. Out of the box the SU-G700 comes pretty much pre-configured the way I would imagine the majority of users will likely use and interact with the 700, sans its LAPC setting.
LAPC PROCEDURE
With everything connected, I went ahead and used the remote to begin the LAPC procedure. It should be noted that should you employ an outboard amplifier (not sure why you would), LAPC is NOT available to you, it is only for use with loudspeakers connected DIRECTLY to the SU-G700 itself. Turning the amp on and pressing the LAPC button the remote until the display screen reads “Please Wait” is all that is required of you to begin the procedure. What follows is a series of test tones that will emit from each speaker over the course of several minutes. The tones are not unlike what you’re used to hearing from the likes of Audyssey or others auto room EQ protocols, only with the SU-G700 there is no external microphone or need to measure multiple locals. When the SU-G700 is done, LAPC is engaged (evident by an amber light located between the SU-G700’s meters), and you’re ready to rock and roll.
TECHNICS G700 PERFORMANCE
Technics touts the SU-G700’s quiet operation a lot, so the first thing I did when I sat down to critically evaluate it, was to see just how quiet it was. From my listening position some 11 feet from my JBL L100 Classics, with the amp idling and the volume dial at full I heard no noise. None. Kneeling half way between my primary listening position and the speakers’ front baffles I still heard nothing. Sitting in front of my left main speaker at a distance of say 12 to 18 inches, I heard something...I think. Pressing my ear directly to the JBL’s foam grill I was able to hear tweeter hiss. Dialing the volume dial back to about three o’clock (full on being six o’clock) killed the hissing tweeters and rendered the speakers and the amp silent. Not bad. It should be noted, that my house has notoriously “dirty” power, and as a result I do have some noise issues, so the results of this test were impressive to me.
G700 PHONO STAGE PERFORMANCE
Starting with vinyl playback, I tested both the SU-G700’s internal phono stage as well as its line level input via the Technics’ SL-1500C’s internal phono stage. The SU-G700’s phono stage is impressive compared to the other mainstay I had in the house, Emotiva’s now discontinued XPS-1. The XPS-1 is one of those unique products that manages to be a lot better than you’d expect, but compared to what I was getting out of the SU-G700’s internal phono stage (and even the Technics SL-1500C’s internal one) the Emotiva definitely was outclassed. The XPS-1 seemed a little dark and veiled in comparison.
In truth, playing back Tears For Fears’ Songs from the Big Chair LP had more in common with the CD than it did a vinyl experience, which is a good thing. While vinyl may be seen as being “romantic,” one shouldn’t want too much coloration. The combo of the SL-1500C and the SU-G700 proved to be one of near textbook neutrality top to bottom. Also, it was an exercise in speed, not to mention nuance. The G700 is not an amp in the Krell or Pass Labs style that bowls you over with its brute force, that is to say you sense the amp’s control over the music because of its iron-fisted grip. It has an ease about it, more Bruce Lee than Thor The God of Thunder.
TECHNICS G700 SOUNDSTAGE
The G700 was incredibly articulate, seemingly hanging on the trailing edges of notes and lyrics just a touch longer, and letting them fade into darkness just a little smoother than what I have grown accustomed to. This in turn made for an incredibly dynamic presentation, but one that wasn’t bombastic, for sounds built organically to their crescendo versus going from zero to 11 then back again the way some amps do in hopes of impressing you. The soundstage was nicely layered and also very detailed, though, on this album at least, it didn’t extend much beyond the left and right edges of my JBL speakers. What I did find most impressive though was the degree of separation within the soundstage each instrument/element possessed throughout the album. Not that the presentation was disjointed, or didn’t coalesce; there just seemed to be a bit more air surrounding each musical element or instrument that allowed me to hear nuances without having to listen too critically for them. Center imaging too was rock solid and sublime in its presence.
CONNECTING A CD PLAYER TO THE G700
Moving on to CDs, I cued up Moby’s hit album, Play. The track “Run On” has always been a favorite demo of mine, and via the combination of the SU-G700 and the SL-G700 SACD player, I was privy to quite a treat. Since I was more keen to test the SU-G700’s digital prowess more so than the SL-G700’s, I went ahead and connected the CD player to the 700 via an optical cable. This required me to set the CD player’s digital output to “On” which immediately changed the display on the SU-G700 from “Unlock” to the incoming signal quality.
Once again, I didn’t sense any real coloration of the signal and thus the sound coming from the SU-G700, so you’re not going to get a lot of adjectives like “warm” or “lush” outta me. There did seem to be an added degree of clarity compared to its vinyl playback, confirmed by the fact that I also own Play on vinyl and A/B the two. Minus the inherent noise of vinyl, there wasn’t a great deal of difference on a whole between the two mediums. Playing back vinyl is like looking through a window at the music, its digital presentation simply applied a bit of Windex to said window. Everything throughout the G700’s frequency range was just that much clearer, and managed to reach just a bit deeper and extend just a touch higher -that’s about it. And yet it was totally and utterly captivating, for what the G700 lacked in coloration, it amazed with its retrieval of the finest detail. The subtle harmonies that are contained within the track “Run On”, especially those buried in the record scratches are easy to overlook. I’ve heard great systems completely gloss over them, and yet, the G700 did not. In fact for only maybe the third time, were they truly separated from Moby’s main vocals clearly, and distinctly; occupying their own space just to the left of center, and behind.
I say for the “third time” because in my travels only two other amplifiers have really managed this three dimensional feat; the first was Mark Levinson’s No. 53 and the second, Krell’s now infamous 402e. Throughout my demo of Moby’s Play, I kept coming back to my time spent with the mighty Mark Levinson No. 53 and just how much the SU-G700 sounded like a scaled down iteration of that truly great amplifier. I say scaled down because there does seem to be a limit to the SU-G700’s power, something I didn’t feel the JBL’s hit with the SU-G700, but I could see it happening with speakers less efficient. That being said, the SU-G700 didn’t lack for dynamics or headroom. Moby’s Play, both on vinyl and CD, proved this. Also, its soundstage was able to bloom beyond my speakers’ boundaries whilst retaining all the aforementioned control, separation and nuance.
G700 FOR WATCHING MOVIES
I ended my evaluation of the SU-G700 with a film, yes, a film. I fired up Avengers: Endgame and set the 700’s volume to stun! Chaptering ahead to the climactic battle with nothing but two speakers in tow, the SU-G700 didn’t disappoint, if anything it proved (to me at least) the power a properly configured stereo setup can have in portraying films brilliantly. I doubt any critical listener would’ve been left wanting for more during this sequence played back via the SU-G700 and a pair of JBL L100 Classics.
I mean, I’m no stranger to watching films blockbuster films in stereo, for it’s how I’ve been enjoying movies for several years now, but this may be the one of the few times I felt as if I was in the presence of more. The center focus and delineation throughout the SU-G700’s soundstage is just incredible. Admittedly I hadn’t turned the SU-G700 up as loud as I did during Avengers, and while I may have thought I was taxing the amp earlier, nothing could have been further from the truth, as this baby had a whole other gear to give. I watched those meters bounce, and yet, the sound was always clean, uncolored, and textural through and through. Dynamics were explosive without a trace of digital harshness. In fact, I forgot entirely that the SU-G700 was even digital in its design, despite writing in my notes to “listen closely” for its digital pedigree. The sound was just so infectious in its ability to render even the tiniest detail faithfully and bring it forward from a virtual black hole in space. Honestly, I don't know what else there is to say, but yes, I found the SU-G700’s performance during Endgame to be THAT good.
TONE CONTROL FOR YOUR SPEAKERS?
If you are one that is looking for their amp to act as a defacto tone control for your speakers or other components, look elsewhere than the SU-G700. If you like a bit of “fat” bass or a romanticised mid-range, look elsewhere than the SU-G700. And if you like your high frequencies sharp, well you know what to do. The SU-G700 isn’t going to stay with you because of a single sonic trait or house sound, but rather because you’re not going to be able to put your finger on any one singular thing that it does, and that is its greatest strength.
TECHNICS G700 DOWNSIDES
There isn’t much I didn’t like -okay love -about the SU-G700’s performance, so my downsides are going to be focused more on what it lacks, rather than what it does wrong. For example, IF it had an HDMI input or two the SU-G700 would be, in my eyes, perfect. If it had Bluetooth/AirPlay support, I’d “127 Hours” my own arm to get one. Lastly, if it had just one more analog input, bringing its total to three, I’d likely never ask to review another amplifier or integrated amplifier again. If it had just one or more of these three missing items I’d say the SU-G700 would be perfect, for it would be an ideal integrated amplifier for both two channel as well as minimalist home theater enthusiasts like me. But alas it doesn’t. So what we’re left with is an integrated amp that is just a step below perfection within its class, which honestly, is not a bad place to be. The only other gripe I have about the SU-G700 is that I feel, or fear, its niche status may make it difficult for enthusiasts to experience it firsthand, as even Google searches for it turn up little info apart from Technics’ own website.
COMPARABLE AMPLIFIERS
The full-featured, two-channel integrated amplifier market is going through a bit of a renaissance as of late, with notable additions to the market from makers ranging from Marantz to Mark Levinson. The Marantz PM-KI Ruby, which is part of the brand’s Signature Reference Line, is likely the most direct competitor to the SU-G700 based on features and price. The PM-KI Ruby is a two-channel integrated with largely the same functionality as the SU-G700, and is designed to be the centerpiece of an all Marantz system, not unlike the SU-G700.
TECHNICS VS ANTHEM
Moving on one must also include the Anthem STR Integrated amp which possesses much of the same features as the SU-G700, in addition to packing a more traditional Class A/B amplifier inside, which some users may prefer. It even packs more input/output options in comparison to the SU-G700.
TECHNICS VS MARK LEVINSON
Lastly, there’s the costly Mark Levinson No 5805, which is an absolute beast of a machine! But, the No 585.5 is truly a discrete dual mono amplifier and preamp in one chassis, meaning it is essentially like buying a single No 534 and a No 523 together -give or take.
TECNICS VS NAD
Of course there are options closer in price SU-G700 as well. NAD’s M10 comes to mind, as does the Marantz PM8006. Of course Marantz just announced their new NR1200 stereo receiver, which manages to add some of the items missing from the SU-G700’s repertoire and for a price under $1000.
FINAL THOUGHTS
The Technics SU-G700 stereo integrated amplifier is the kind of product I get a little weak in the knees over; for it has both style and substance. Couple that with a retail price that is on the saner side of the audiophile spectrum and the SU-G700 becomes a very compelling piece of kit indeed. While there are other integrated amplifiers on the market that may have a few more inputs, Watts or features, the G700 gets the balance just right for the price. It’s nice, in 2019, to come across a product that is decidedly modern in its approach to sound reproduction, and yet feels altogether familiar -dare I say comfortable in its everyday use.
The SU-G700’s sound is akin to only one other amplifier experience I’ve had in my travels and that was when I had the good fortune to review Mark Levinson’s then flagship, No. 53 monaural amplifier. The No 53 was an obscene amplifier, both in terms of performance as well as price, but there was an ease about it that no amplifier has ever been able to replicate, until now. While the No 53 could (likely) power the Sun, within its limits, the SU-G700 has more in common with the No 53’s sound (or lack thereof) than any other amp I can recall.
An amplifier is not supposed to have a sound of its own, it shouldn’t have a signature, in fact, you shouldn’t be aware of its presence at all. From that perspective, the SU-G700 excels. Its wizbang tech under the hood is no joke, and the resulting sound is something worth seeking out and hearing for yourself; if for no other reason than to put to rest this notion that digital circuitry and amplification can’t be musical and emotionally engaging.
In truth, it’s been a long time since I’ve been this excited by an amplifier. Only the Technics doesn’t excite me by what it brings to light in a large, bombastic fashion. The Technics G700 excites by how confidently it goes about doing its job without needing to shout about it. It’s beautifully zen, and I love it.
