Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.

It’s well known by now that trends, philosophies, and designs are often recycled in hi-fi. Déjà vu is common; what was once old is new again. Hadn’t you seen that speaker or amp before, years ago? You’d be no guiltier than me for thinking this way about the Hegel H190v integrated amplifier. It looks much the same as its father product, the H190, and indeed, much like all of Hegel’s other offerings. In many regards, it is the same as the H190. But as the saying goes, it’s what’s inside that counts, and that little “v” hanging off the end of the model number denotes some very significant goings-on under the hood.

Lest you worry you’re going mad, we did, in fact, run a review of the Hegel H190 integrated amplifier over on SoundStage! Simplifi back in 2017, written by Al Griffin. That unit earned a Reviewers’ Choice badge from us—unsurprising, given Al’s near-total satisfaction with it. And while the H190v isn’t dramatically different from its precursor, it is different in one very significant way: the H190v is Hegel’s first integrated amp with an onboard phono preamp.

Description

Priced at $4600 (all prices in USD), the H190v’s inclusion of a phono preamp pushes it a step above the already very capable H190 as an all-in-one audio device. I’ll discuss the phono preamp in detail shortly, but first, here are the other features of the H190v, most of which are carried over from the outgoing H190.

The H190v has two pairs of unbalanced analog inputs via RCA jacks and one pair of XLR jacks for its balanced input. It has three optical S/PDIF inputs and a USB Type-B input, each of which can accept PCM data up to 24-bit/96kHz, as well as a 75-ohm coaxial S/PDIF input and an ethernet port for streaming, both of which handle PCM up to 24/192. Used as a streamer, the H190v is Roon Ready, and supports Apple AirPlay, Spotify Connect, and DLNA/UPnP. Supported file formats include MP3, WAV, FLAC, ALAC, AAC, and Ogg. Two pairs of RCA outputs are available, one fixed and one variable. You can also find the phono input RCAs and ground lug, heavy-duty three-way speaker binding posts, and an IEC power-cord inlet on the H190v’s back panel.

The H190v measures 4.72″H × 16.9″W × 16.2″D and weighs in at 31.3 pounds, though the first inch or so of the total height is due to the three chunky rubber feet, which isolate the chassis from potential sources of vibration. An easy-to-read display lies in the center of the thick, subtly curved aluminum front panel, with knobs for source selection and volume control flanking it. The display can be turned off using the included RC8 remote control, and a power button is hidden directly under the center of the front panel. A 6.35mm (¼″) headphone jack at the bottom-right of the faceplate is the only other feature up front. My review sample was black, though white is also available.

The phono preamp is the bit of circuitry that’s of greatest interest in the H190v. In an email exchange with Hegel’s VP of sales and marketing, Anders Ertzeid, I learned that the phono preamp is based on Hegel’s standalone reference phono stage, the V10. However, “integrated amplifiers are typically noisy environments,” Ertzeid noted, “so it took a lot of redesigning to make it sound good.” Substantial upgrades to the power supply for the amp’s preamp section were necessary for keeping the phono stage quiet. The phono preamp in the H190v accepts only moving-magnet cartridges—moving-coil pickups will need a separate step-up transformer or head amp. This decision, however, helped to miniaturize the phono preamp circuit, as some transistors and switches for cartridge-loading options could be eliminated. “Other than that,” Ertzeid said, “the gain stage is identical to the V10.” Thus, Hegel was able to squeeze a great deal of performance from the smaller phono stage. One positive externality of the upgraded power supply is that it benefits “the rest of the preamplifier section, making it sound better on all inputs compared to the original H190,” according to Ertzeid.

Besides the addition of the V10-based phono stage and the revamped power supply, the H190v is internally similar to the H190. A large toroidal transformer yanks the power from the wall, while a tiny toroid next to it works for auxiliary functions. An array of high-current Toshiba power transistors stand bolted to an extruded heat sink. Beside them on the H190v’s motherboard is Hegel’s SoundEngine 2 circuitry, a novel distortion-rejection mechanism. Similar in concept to Benchmark’s feed-forward error correction or Luxman’s ODNF (Only Distortion Negative Feedback), the SoundEngine 2 design incorporates a small analog computer that compares the signal at the output to that at the input and cancels the differences.

The upshot is that Hegel rates the H190v’s class-AB output stage at 150Wpc into 8 ohms with both channels driven. The H190v is said to do better than 0.01% THD at 50W into 8 ohms, and claims the same number for intermodulation distortion using 19kHz and 20kHz tones. Perhaps the greatest benefit of the SoundEngine 2 design is its effect on the damping factor, which Hegel says is 4000 or greater. A frequency response of 5Hz to 100kHz, a signal-to-noise ratio of 100dB, and a crosstalk spec of better than -100dB round out Hegel’s claimed specs.

Setup

I briefly used the H190v with my Paul Carmody–designed DIY Amiga speakers, though the majority of my time with the H190v was spent using the Focal Theva N°2 loudspeakers. A pair of AmazonBasics 14AWG OFC speaker cables conferred power to the Focals. A Micro Seiki DQ-3 with an Audio-Technica AT95SH cartridge at the end of its MA-707 tonearm served as an analog source, while an Oppo BDP-105 universal disc player served as a digital source. The Oppo has a multitude of output options, so I was able to use both Have, Inc. RCA cables and Blue Jeans Cable DA202 XLRs to link to the H190v’s analog inputs, while a Tributaries Delta coax linked to the digital input. I used a generic Cat6 ethernet cable to connect my Netgear R6080 router to the H190v for streaming. And, as I’ll soon delve into, I used a Creek OBH-8SE phono preamp to compare against the H190v’s built-in phono stage.

Sound

Before I even tried the H190v’s phono preamp, I got a handle on the sound of its analog inputs and DAC section using my Oppo BDP-105. I quickly discovered that this amp had a sonic character of confidence. What I mean is that the H190v was sure-footed in its control over the loudspeakers, able to throw big sonic images outside the bounds of the speakers without ever seeming vague or imprecise. With 150 solid-state watts on tap, that’s to be expected, but the Hegel seemed to excel in these aspects in a way I found noteworthy.

These sonic traits were exemplified when I played “You Make Loving Fun,” from Fleetwood Mac’s classic Rumours on CD (Warner Bros. 3010-2), using the BDP-105. At first, I found the sound a bit too delicate and recessed using the RCA connections, but it jumped up a couple notches in emotion and realism when I used the balanced outputs of the Oppo connected to the Hegel’s balanced inputs. With the XLRs in action, I heard Mick Fleetwood’s hi-hats and Lindsey Buckingham’s guitar extend well beyond the outside edges of the speakers. With the H190v powering the Theva N°2s, the soundstage was centered at, or perhaps just slightly behind, the plane of the speakers, and the H190v highlighted the way certain instruments, like those hi-hats, seemed to shoot out into the room towards the listening position. Christine McVie’s vocals were rendered with power and a natural quality, and the same was true of the band’s massed vocals backing her. Overall, the amp seemed to leave vocals a bit recessed, hanging back a little further in the mix, but didn’t miss out on any sense of realism or detail.

If the XLR inputs had a more muscular sound compared to the more reserved-sounding RCAs, then connecting the BDP-105 as a transport via the digital coaxial connection and letting the H190v handle the digital conversion seemed to split the difference between the two. I thought that the balance it struck was perfect for another classic rock CD from my collection, this time Boston’s 1976 self-titled debut (Epic Records 69699 86322 2). I’d put the album on for background listening while I did some chores, but as the final track, “Let Me Take You Home Tonight,” began to play, the music drew my attention so completely that I stopped washing the dishes and retreated to my couch for the remainder of the song.

This song is singer Brad Delp’s sole individual writing credit for the album, and he makes it a showcase of his vocal talent. Delp harmonizes with himself throughout the song, creating huge-sounding choruses behind his lead vocals. The Hegel’s rendering of the vocals and acoustic instruments on this track had an impressive scale and realism; that is what drew me in so thoroughly. Imaging was once again a strength, with instruments and voices having real depth both in front of and behind the front plane of the loudspeakers. In short, with a signature between the muscle of the XLR inputs and the gentle warmth of the RCAs, the H190v’s onboard DAC held its own against the Oppo’s analog outputs quite nicely.

I was treated to much the same when I used the H190v as a streaming device. Playing “Pacifica” from John Zorn’s Alhambra Love Songs (256kbps AAC, Tzadik Records / Spotify), I heard the airy grand piano, measured percussion, and thundering bass rendered with near-total transparency. This was expected: the Hegel’s streaming capabilities make use of its ESS chipset, just as the coax input does. Thus, the amp’s calm-and-confident demeanor shines through regardless of how digital music comes to it, and any character imparted on Alhambra Love Songs was the same as on Boston. By the way, getting my phone to pair with the Hegel and stream via Spotify was accomplished easily. I recommend checking out Al’s review of the original H190 if you’re interested in the streaming performance, as the two amps are the same in this regard.

Finally, vinyl

You’re no doubt wondering about the star of the H190v’s show, the phono preamp. I spun up American Football’s third self-titled LP (Polyvinyl Record Company PRC-374), which was released in 2019 on two 45-rpm 180gm discs. The resolution offered by this 45-rpm pressing is quite high, and one can hear deeply into the recording, such that any editorializing done by the playback equipment is apparent. “Silhouettes,” the first track, begins with a glassy glockenspiel.

Over a few bars, the glockenspiel ramps up from a single note to an arpeggio panned across both speakers. Then a vibraphone enters, and it just shot out into the room, almost seeming to sound as though it were beside me rather than in front of me. This had something to do with the Focal Theva N°2 speakers, sure, but the H190v certainly played a role in this stunningly holographic auditory dog-and-pony show. The other elements of this song were delivered with power and impact, if not with the same magic as that vibraphone. I noted that the drums and other percussive elements were particularly dynamic on this track.

“I Can’t Feel You” was another track on this album that I thought exemplified the phono performance of the H190v. The onboard phono preamp has a noticeably dark tonality, and it portrays sonic images in a slightly nebulous, organic way—though obviously with no shortage of depth, dimension, or scale, as mentioned. On this track, I heard a great sense of separation between bandleader Mike Kinsella and guest vocalist Rachel Goswell (of Slowdive and Mojave 3 fame), though with plenty of body and fullness. The reverb tails on Goswell’s vocals had a particularly intoxicating, room-filling effect.

Comparison

That the Hegel H190v has both an onboard phono preamp and a wealth of line-level inputs meant that I could easily compare its internal unit to a standalone preamp of my choosing. Ready for a serious throwback? Paul Schumann reviewed the Creek OBH-8 phono preamp for SoundStage! way back in 1999, and it was of the same ilk as the one that I used in a head-to-head with the Hegel. Mine is the “SE” version, which retailed for $375 back then, and uses JFETs (junction field-effect transistors) at the input. This makes it all the better for this comparison. The Hegel’s phono input also uses JFETs, and for the same reason—they provide a near-perfect low-noise input for moving-magnet cartridges. How would this high-grade integrated amp’s built-in phono section stack up to the British budget darling?

Cuing up Departure & Farewell by Hem (Nettwerk America 6 34457 58201 9), I dropped the needle on “The Jack Pine.” Here, with the Hegel’s onboard preamp, I heard the duo of dreadnought guitars that open the song sound particularly deep and woody. Singer Sally Ellyson’s voice and the steel guitar came in with a similar fullness, having a strong sense of body and 3D spaciousness, despite also sounding somewhat diffuse. In short, it was a sonic presentation that showcased some of the best traits of analog, ones that fans of vinyl playback are likely to appreciate.

Switching to the OBH-8SE, Departure & Farewell sounded a bit more balanced, but noticeably less immediate. Listening with the Creek preamp was like sitting further back in the audience, so to speak. Tonally, it sounded more neutral, which I liked, but it lacked the scale and imaging prowess of the Hegel’s onboard phono stage. As a sanity check, I spun “Silhouettes” again. Using the Hegel phono stage, yup, that vibraphone positively shot into the room and wrapped around me. It didn’t do that with the Creek OBH-8SE.

But, it’s not all about the phono preamp—some comparisons against other integrated amps are in order. My own integrated amp is the McIntosh MA6850, which I’ve run for years and has served as my reference for the category. In 1998, it retailed at $3500, which works out to over $6500 today when correcting for inflation. The MA6850 has no onboard DAC, no phono preamp, no ethernet connectivity or streaming capability, and no balanced inputs. It weighs more than twice as much as the H190v, and it’s almost twice as tall, to boot. Sonically, it compares well with the H190v, having a similar sense of power and refinement, but sounding darker overall and not as open as the Hegel. Unless an amp with blue power meters is at the top of your bucket list, you’ll probably agree we’ve come a long way in 25 years.

Other capable and well-regarded integrated amplifiers are currently offered in the H190v’s price class, of course, though unfortunately I haven’t had the privilege of using one in recent memory. Luckily, my SoundStage! comrade Roger Kanno has: he’s reviewed the NAD Masters M33 streaming integrated amplifier, retailing at $5799; the Rotel Diamond Series RA-6000 integrated amp, which goes for $4499, and the Yamaha R-N2000A streaming stereo receiver, at $3999.95. All of the above offer similar features and specs to the Scandinavian powerhouse, though I’ll leave it to the reader to decide which among them is best.

Conclusion

I’ll admit that when I first unpacked the Hegel H190v, I didn’t quite understand the enthusiasm others, including my fellow reviewers, have for the brand. I do now. That little “v” hanging off the end certainly is worth the fuss, except perhaps if you already have an H190 and a standalone phono preamp that you’re happy with—in that case, upgrading to the H190v may not be worth the trouble and expense. But nonetheless, I was quite impressed with its sonic performance, versatility, and build quality, which all add up to a package worth the $4600 asking price.

. . . Matt Bonaccio
mattb@soundstage.com

Note: for the full suite of measurements from the SoundStage! Audio-Electronics Lab, click here.

Associated Equipment

• Speakers: Focal Theva N°2, DIY Paul Carmody Amiga (built from a Parts Express kit)
• Integrated amplifier: McIntosh Laboratory MA6850
• Power amplifier: First Watt F5
• Digital source: Oppo BDP-105
• Turntable: Micro Seiki DQ-3 with Micro Seiki MA-707 tonearm
• Phono cartridges: Audio-Technica AT95 with AT-VMN95SH Shibata stylus; Sumiko Blue Point No. 3 Low Output
• Phono preamplifier: Creek OBH-8SE
• Digital cables: Tributaries Delta cable (coaxial S/PDIF); Blue Jeans Cable Series-FE cable (HDMI)
• Analog interconnects: Blue Jeans Cable DA202 (XLR), Have Inc. (RCA)
• Speaker cables: AmazonBasics 14AWG OFC
• Television: LG C1 OLED display, 55″
• Network router: Netgear R6080 with Jameco 170245 Linear Regulated DC supply
• Analog accessories: Michell record clamp; Little Fwend tonearm lifter

Hegel Music Systems H190v streaming integrated amplifier
Price: $4600
Warranty: Two years, parts and labor

Hegel Music Systems
PB26, Blindern
0314 Oslo, Norway
Phone: +47 22-60-56-60
Fax: +47 22-69-91-56

Email: info@hegel.com
Website: www.hegel.com

Hegel America Inc.
Fairfield, IA
Phone: (413) 224 2480

Email: usa@hegel.com