Power amplifiers

Would you mind to have an amplifier with 2kW into 4 ohms? Would you object to have a non-distorting amplifier from 10Hz to 50kHz? Would you enjoy 126dB of its dynamic range? And, finally, can you imagine that all of this and much more is now not only possible but right away available? Come and visit to Titan’s world. Musical Fidelity’s latest statement product: this is what the two-unit Titan power amplifier is about. It complies with everything stated in the preface hereabove, though, I am not very sure with the availability. As a truly statement product the Titan’s production has been limited to only 40 (!) units worldwide. I almost feel you taking your breath – wow, this maybe finally give me the chance to have something really unique.

100% reference

Function and form

Ease of use

The Titan's design represents two independent mono amplifiers in one enclosure, powered by two independent power supply units in another enclosure. The main unit is completely balanced all the way through with the aim to achieve the lowest distortion possible and enhance dynamic range and power handling capabilities. Musical Fidelity claims that the Titan is one of the quietest (in terms of the 126dB signal-to-noise ratio specs) amps in the world. It also claims that the Titan’s distortion is rather independent of a frequency, meaning that it is kept remarkably low in the amplifier‘s whole operating frequency range (below 0.01%) and even far beyond it.

As far as the Titan is concerned, I met with two popular misconceptions: It is not a tube amplifier, but a regular solid-state device with bipolar transistors at its ouput stage. And it is not a Class-A amplifier, though it sounds like one.

The silver aluminum housing of the main unit suggests high-endish purism and simplicity. Apart from the engraved logo that occupies most of the Titan’s faceplate there are only six blue micro-LEDs indicating different power conditions (power supply indication for each channel, protection status for each channel and thermal condition indication) and an ON/OFF pushbutton.

The same simplicity is shared by the power supply unit box, now only with 2 blue LEDS (power on indicators) and ON/OFF pushbuttons to power each channel separately. In fact, both chassis are identical in their appearance and dimensions, 483mm wide, 185mm high (feet inclusive) and approximately 620mm deep. Inside the PSU box there are two oversized 3kV toroidal transformers, a pair of toroidal chokes and...that’s it. Cooling of the units is ensured via horizontal cooler’s fins that run along the length of both enclosures as well as through the six circular openings in their upper lids.

Looking at the rear of the amplifier there are two pairs of gold-plated speaker binding post to facilitate bi-wiring. Further there are inputs for 1 pair of XLR and 1 pair of RCA connectors plus a switch for each channel to choose between the balanced and single-ended operation. There is nothing like a gain control so if you prefer not to use a preampfier with the Titan you will need a source with variable analog output or at least an attenuator.
Now, it is where the things start to be slightly more complicated. As mentioned, the Titan is a fully balanced unit, the power supply included. So you will need two power cords for each box in a following set-up: 2 standard IEC power leads between a wall (a power socket) and the power supply unit, 2 Neutrik locking power leads between the power supply unit and the main unit and, finally, one ´power exchange control´ XLR lead between the two. It means five different power cables to make the Titan work. If you wish to use the amplifier in a power-slave mode with a preamp or other control center, then you will need sixth cable to make the things happen. That is a lot of power wires and despite I assume that both the Titan’s boxes will be placed either next to or on top of each other it still creates quite an array behind the amplifier with all the subsequent issues like RFI and other noise pick-up. Thankfully Musical Fidelity adds all the necessary power leads in the package so there are no budget implications, though.

Bass management


I was impressed by the track Conchita (Marcus Miller/Miles Davis, Siesta) that is, with its bleeps and clicks, not far away from Kraftwerk. The low frequency drumming that opens the track was ultra-dynamic and ultra-tight, the licks of electric bass that is to be heard further into the track were almost explosive in their nature, something that I missed a bit with Accuphase A-65. Does it suggest that the Titan is better than the A-65? As far as its bass, its sense of control and its dynamism is concerned then yes, it is. The Titan somehow manages to join the best of the worlds of Class-A amplifiers and high-powered solid state machines. It can be transparent, concise and clear without ever inclining towards the somewhat mechanical perfection and drier presentation of, for example, Mark Levinson or Bryston amps.

album (Marcus Miller/Miles Davis, Siesta

Clarity & delicacy


Theme for Augustine is a showcase of trumpet’s tonality and colours and an exercise in transients and microdynamics for any amplifier. The trumpet line hovers over the background music in a simple melody – the event that lets you taste readily the difference between a real instrument played in a real space and its synthesized version played from a box. The trumpet was impeccable through the Titan; subtle microdynamic shifts were documented with ease and self-assurance and very close to what you can hear in concert. I did not find any trace of congestion or transient limitation of peaks and this did not change even at higher-than-appropriate playback levels. There is an extreme power reserve in the Titan; I cannot imagine a load that would drive this amp to be short of breath.

Tonal accuracy

Temporal resolution

The Titan has enormous (but not immediately apparent) resolving power – it easily allows you to identify that there are three voices singing simultaneously in Babyfather (Sade, Soldier of Love). I mean, with most other amplifiers you can also hear that there are more voices singing but with the Titan you know that they are three, subtly separated in time and space.
Being back to to the comparisons with the Accuphase the bass of Babyfather was less energetic and not so precisely focused through the A-65, on the other hand the voices and instruments exhibited a tad better timbral accuracy and richer harmonic structures with the Accuphase, they were even more ´human´ and lifelike.
Anyway, do not take this comparison for granted as I did not have the opportunity to compare these two amps one-to-one in the same room, which I deeply regret. The message is, however: the Titan has amazingly natural resolving power.

Spatial resolution

Soundstage width
Soundstage depth

With the Titan amplifier Musical Fidelity enters the highest floors of a high-end realm. Like with cars (or women) we strive not to have only performance but also an aesthetically appealing design. I am pleased to say that the Titan complies with the both requirements. Personally, I would prefer to see the Titan in black rather than in silver finish, with any other but not blue LEDs on its front. This is not a complaint, it is because I just have to say something to justify to myself why I cannot buy it. Since I would love to buy it – the Musical Fidelity’s Titan could the best amplifier I have ever auditioned.

Price as reviewed:690 000,- Kč

Associated components

  • Sources: C.E.C. TL-51XR, Accuphase DP-600
  • Amplifiers: Bryston 28B-SST2, Plinius SA Reference, Mark Levinson No. 432
  • Interconnects and speaker cables: Audioquest Oak, Kubala-Sosna Emotion,
  • Loudspeakers: Revel Ultima Studio2, Dynaudio Confidence C1
  • Power conditioning: Furutech Daytona, Kubala-Sosna



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