Mark Levinson

№ 5805 Integrated Amplifier

£9,199 RRP

The hi-fi industry has changed a lot in the past forty years. Several decades ago, any high-end system worth its salt would comprise a separate preamplifier and power amplifier driven by a turntable. These days though, we're seeing sources, preamps and power amps increasingly moving into the same box – under the guise of DAC-equipped integrated amplifiers.

This is precisely what the Mark Levinson № 5805 is, combining a built-in phono preamplifier (moving magnet and moving coil), a high-quality DAC, multiple inputs and a powerful Class AB amplifier. It's not cheap, but you get nearly everything except the kitchen sink – and it exudes the quality build you'd expect from this prestigious US brand. Oh, and if you're all-digital these days, there's the 5802 version which offers all the above minus the analogue inputs.

UP CLOSE

As with all high-end hi-fi, you get a beguiling combination of relatively reserved or quirky styling, alongside immaculately finished metalwork. This amplifier's contoured front panel dials and super-smooth acting volume control absolutely ooze quality. The large red LED display is easy to read at all angles and distances, or alternately you can defeat the display if you want minimal light illumination.

The 5805 generates a claimed 2x125W RMS of Class AB power into 8 ohms, from 20Hz to 20kHz; this almost doubles into 4 ohms to “nearly 250W”, according to Mark Levinson. It is said to drive loads as low as 2 ohms, and boasts 40,000uF of power supply capacitance per channel. A key objective in its electrical design was isolation between amplifier stages, so naturally, there are separate transformer windings for left and right power amplifier channels, plus two separate windings for the low voltage circuitry.

A high-quality Class A headphone circuit is included and accessed via the front panel headphone jack. The power and mute buttons form the remainder of the sparse front panel real estate. Around the back on the rear panel, you are presented with possibly the cleanest line of sockets that I've ever seen. There's a row of analogue inputs/output nearest the lid, and the centre 'mezzanine' is occupied by the digital inputs and large, solid screw-type speaker binding posts.

Lastly, on the 'lower deck', the (RS-232) control (including integration to smart home platforms such as Crestron) and (Ethernet) network connectors nestle into the chassis. All labels are clear and simple to read, and the only fight I had was setting the MM cartridge load. The phono DIP switches are clearly labelled, but I should have given the amp more space to ensure I could see and set the switch pairs. So if you run several turntables, then be advised to give yourself some access space to the rear of the unit when installing it.

Traditional no-compromise Mark Levinson separates are of the single chassis, single function mould – and the latest 500 series products continue this mantra with discrete boards for each circuit type or circuit stage. The 5000 series combines multiple functionalities into a single chassis, and, where required, multi-function circuit boards. The 5805 was born from the initial No. 383 integrated amplifier, and through consumer demand Mark Levinson focused on its successor, No. 585, which remains in production today.

The 5000 series displays all the engineering excellence, use of high-quality and/or surface mount components, and battleship build quality that you would expect from this marque. The 5805 is physically imposing, measuring 145x438x500mm [HxWxD] and tipping the scales at 28kg. Much of the weight is front-loaded from the location of the 560VA toroidal transformer, so you may want two people to move it comfortably, paying heed to the weight distribution.

This product sports an array of digital inputs, including USB 2.0, coaxial and optical S/PDIF, all of which feed the 32-bit/384kHz PCM and DSD 11.2MHz-capable DAC. The digital side is no afterthought, as the 5805 is built to be a 'one stop' audio product. If wireless connectivity is your preference, the 5805 streams direct via Bluetooth, but UPnP streaming is not built-in; the Ethernet socket is for setup only. MQA decoding comes as standard, should you need it. Analogue fans get a choice of balanced and unbalanced line inputs, which are customisable during setup. The metal-cased remote is elegant and compact, with tactile buttons that make it a pleasure to use.

Setting up the 5805 is possible through the front panel sub-menus or via a webpage if connected to your home network. The instruction manual contains all the detail you require and is written clearly and concisely. Understandably, the manual calls for owners to provide ample space around the 5805 to let it 'breathe'. I found it ran no hotter than is usual for a Class AB amplifier. There are several power-saving options to minimise electrical energy use when not in use.

This big amp slotted nicely into my test system, which comprises a Primare CD player and Bluesound Vault 2i streamer as front ends, with Serhan+Swift Mu.2 loudspeakers, alongside B&W 705 S3 and Proac SuperTablettes. Analogue cables were Tributaries Series 8, with Audioquest digital/optical cables. A Rega Planar 3 turntable and a pair of Ultimate Ears IEM headphones complete the test hardware list. In-system amplifier comparisons were made against my Primare integrated. The listening sessions comprised a mix of analogue line-in and MM phono inputs, and digitally via the built-in DAC or wireless streaming from the Bluesound.

THE LISTENING

Think of the Mark Levinson No. 5805 as akin to a velvet glove covering an iron fist. This amplifier has massive punch with great dynamics, yet is delicate, layered and multidimensional too. This means it has no trouble driving pretty much any pair of loudspeakers and displays vice-like control over their drive units. There's never any sense of it sitting on dynamics, or running out of puff during complex musical packages. This amplifier just goes about its task without masking or shaping the sonic presentation.

Tonally it's pretty neutral, being well-behaved in the bass, midband and treble. Its bottom end is something close to seismic, being strong and full but without any signs of artificial bloom. It also shows fine rhythmic snap, and enjoys pushing the song along. The midband is full of detail and unpacks the different layers in any recording with ease; it gives excellent vocal clarity whilst keeping faithful to the rhythms being played. The top end has air and space around vocals and percussion instruments, and never comes across as being forward or brittle.

Due to its many sources, it was necessary to try each one individually to get an accurate sense of what this amplifier could do. Bluetooth worked as well as can be expected, with Why Don't You by Cleo Sol making a very nice noise. This track's booming bottom end and upfront midband isn't easy to reproduce painlessly, but the 5805 coped well, presenting the lightning-fast percussion work convincingly. Vocals didn't sound forced, and the bass was deep, controlled and gelled well with the percussion. Simple Minds' Soul Crying Out via the moving magnet phono stage was an enjoyable listen, with plenty of detail and a taut bassline that really got my feet tapping. I particularly liked the midrange clarity, separation and drive, and the smooth and extended top end.

Playing Congo Square at Midnight by Chuck E Weiss, and feeding my Primare CD player into the amp's line inputs, the sound was nice enough. I enjoyed this amp's familiar speed, timing and bass clarity, plus some subtle upper bass warmth. Then I moved to using the Primare as a transport into the 5805's built-in DAC and got a dramatic improvement in fidelity. The recording was more cohesive, and the soundstage grew wider, taller and deeper. Vocal projection improved, with a better sense of proportion in the recorded acoustic. The double bass playing was controlled and clear with a satisfying texture.

A favourite male live vocal track of mine is Chris Wilson's Wolves, which also sounded great utilising the built-in DAC. The opening piano work was delicate and soft, the guitar strummed my lounge room into life, and the vocals were as if Wilson was in my living room, giving a spine-shivering sound. The soundstage was broad and deep, as you'd expect from a live recording, and there was plenty of atmospheric background venue noise. Moving back to the Primare via the 5805's analogue inputs, the music seemed to move backwards away from me, sounding less immersive and engaging. It sounded less 'live', as if the 'sound balloon' in my room had deflated a bit.

Moving to the 5805's headphone stage, it was apparent it wasn't an afterthought. My feet were soon tapping away as I listened to Neither/Nor by Moses Sumney. Soaring vocals and electronic beats encased my ears as my hands and feet tapped away, as I enjoyed the extended top end and solid bass. Overall, this amplifier has an excellent power amplifier section that makes the most of its very capable built-in DAC and fine phono stage. Compared to the recently reviewed Perreaux 200iX that was fresh in my mind, I found that both had their strengths – the Perreaux had a blackness between notes that the Mark Levinson couldn't quite match, but the latter is blessed with better texture and overall feel.

THE VERDICT

Purists may regard the 5805 as Mark Levinson selling out on its audiophile roots by pandering to populism – but on the contrary, I think the company has evolved and adapted to changes in consumer needs and listening habits. These days, many people cannot lock themselves away in dedicated listening rooms, yet still want high-quality audio…

There is no sense of losing any performance by offering this elegant single-box solution. Sonically it challenges all price-point contenders with a winning combination of delicacy, musicality, scale and power – its subtlety backed up with visceral power that's hard not to love. The amplifier's DAC, phono stage and headphone sections are all first-class. Then there's the superlative styling, build quality and packaging – this amplifier blends into living spaces beautifully. Factor in its flexibility and connectivity, and it's a great product. This isn't just a 'baby Mark Levinson'; it's a grown-up amplifier for serious musical enjoyment.

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