November 2002 Reviewed by Anthony Di Marco	Outlaw Audio Model 755 Multichannel Amplifier

Description Model: Model 755 Price: $1299 USD Dimensions: 17.2"W x 18.0"D x 7.75"H Weight: 78 pounds Warranty: Five years parts and labor (with 30-day money-back guarantee)	Features Aluminum front panel Steel chassis Complementary circuitry Toroidal power transformers (2) 10 bipolar output transistors per channel 22,600 microfarads of capacitance per channel Binding-post speaker connections Detachable power cord Circuit-breaker protection (no fuses) Remote 3-32VDC trigger

Like those gunslingers of yore who endeavored to disrupt the status quo of small, western towns, the gang at Outlaw Audio is betting the ranch on redefining what home-theater enthusiasts expect for their dollar. Located in Easton, Massachusetts, this Internet-only company has already proved its ability to design high-value, highly regarded products. The Model 1050 6.1-channel receiver was first to offer 6.1-channel surround sound at a low price, and the ICBM bass-management device was first to offer a solution to the bass-management nightmare of the multichannel SACD and DVD-A formats.

Now these hombres, err, engineers, are taking aim at multichannel amplifiers. And after living with the Model 755 for a while I’m betting that there will be a few amplifier manufacturers running for the hills.

What's this, a five shooter?

The Model 755’s chassis doesn’t look much different from its Model 750 predecessor from the outside. On the inside, though, there’s an extra toroidal transformer, for a total of two, as well as an increase in filter capacitance from 20,000 to 22,600 microfarads per channel. Not surprising, power output has also increased. Where the Model 750 delivered 165W into 8 ohms and 250W into 4 ohms, the 755 outputs 200W and 300W respectively. To deliver the increase in power the Model 755 now includes 10 output devices per channel compared to the six offered in the Model 750.

The Model 755 includes some well-spaced, good-quality, five-way binding posts and single-ended RCA connections, which are fastened firmly to its rear panel. Taking a closer look revealed that the positioning and quality of the binding posts were a mirror image of my B&K AVR305 -- a good design. Outlaw also opted for a main power switch located on its rear flanks, in addition to their trademark green power button for toggling standby operation. This front pushbutton switch glows a pleasing and unobtrusive shade of pistachio green and replaces the need for auto turn-on. Finally, a 3-32VDC turn-on socket offers a more flexible alternative to the standard 12V turn-on.

Personally, I found the overall look of the Model 755 to offer a nice change from the simple black boxes so common to low-cost amplification. But let’s not forget that looks often have very little to do with how good something sounds.

Pulling the trigger

Let’s cut to the chase: The Model 755 is an excellent amplifier -- five channels of solid-state amplification at a price of $1299 USD, no less. It is powerful, transparent, and exhibits none of the harshness, grain, or glare that is typically associated with the sound of inexpensive solid-state designs. Its jackhammer-like control of bass is outstanding and its imaging, while not the most spot-on I’ve heard, has good height, width, and depth. About the only drawback I heard was a personality that came across as a bit cool.

Watching the newly released and exquisitely mixed The Lord of the Rings: The Fellowship of the Ring was an exciting experience with the Model 755 at the helm. The clang of swords has absolutely no hard edge. The film’s impressive amount of bass was handled with ease -- the Outlaw amplifier showed me how low Canton’s Ergo 900DC could genuinely go. Bass was tight, exhibiting no boom, while the surrounding din of Howard Shore’s fantastic score and the dense sound effects mix never overpowered voices.

No matter the film, the Model 755 reproduced shattering glass, the crackle of explosions, and bass with speed and authority. It also placed sounds precisely within the 5.1 image. I never had to strain to hear details that were masked by other sounds. The Model 755 easily reproduced dense surround mixes without overcrowding their individual elements.

Chapter 11 of the The X-Files: Fight the Future exhibited excellent treble extension and clean reproduction of the Bee Dome’s shutters opening. The speed and control of the amplifier allowed the sound of this scene to startle me without causing undue strain on my ears. The ambient HVAC sounds in the scene were also reproduced with clarity of atmosphere and climate that made me react with a shiver.

The DTS mix of the newly remastered Legend has a wide range of high frequencies that can trigger listening fatigue with the wrong amplifier. The Model 755 reproduced this Ridley Scott classic with just the right amount of shimmer and effervescence to add air and dimension to the experience.

The Outlaw’s very low noise floor became apparent while watching the subdued but emotionally jarring Monster’s Ball and In the Bedroom. Here are two films where silence trades off with a haunting score and any superfluous noise can kill the overall mood of a scene. In both cases the Outlaw amplifier did not add any of its own sound to the silence. I was able to hear the wind moving through the grass in an empty field clearly, despite the laughter of Marisa Tomei and Nick Stahl during the opening of In the Bedroom. Similarly, the uneasy confrontation between Billy Bob Thornton and Heath Ledger never broke the ambient echo of the shower stall in chapter 8 of Monster’s Ball.

The Model 755 continued to present sounds with excellent clarity and control during music reproduction. The stereo soundstage that spread across the Ergo 900s was consistent and exhibited good depth and weight. And though the image didn’t display the warm palpability of the best I’ve heard, it did keep instruments and voices well spaced and positioned. Again, the Model 755 showed how adept it was at pulling out detail from the music without added sizzle.

Peter Gabriel’s exceptionally well-recorded So [Geffen 2-24088] is a fantastic acid test for loudspeakers and electronics. The abundant percussion within this record can have you running for cover when played off a poorly designed speaker or harsh-sounding electronics. Conversely, play it through a system that is too laid-back and the entire album will lose much of its excitement and energy. The Model 755 played So from beginning to end and never failed to deliver a compelling and exciting experience.

The Outlaw’s transparency did reveal some hard edges to poorly mastered recordings. The subtle, but present, high-frequency hash on Beth Orton’s newest album Daybreaker [Astralwerks 39918] caused me to stop listening halfway through.

Dynamic range was another one of the Model 755’s strengths. Playback of well-recorded orchestral music from The Iron Giant soundtrack [Varese 6062] and Saint Saen’s Symphony No.3 [Telarc 80274] revealed the Model 755 to have nice balance and impact in the mids and lower registers. It also opened up an almost limitless ceiling of dynamics to both pieces. It was quite exhilarating.

Showdown

It’s pretty apparent that at $1999, Sherbourn’s 5/1500A would be a viable alternative to the Model 755. But what you get, or don’t get, for the Sherbourn’s $700 premium is the real question.

Though the Outlaw Model 755 is well assembled and works flawlessly, its chassis does reflect some cost-cutting measures when compared to the Sherbourn. Removing the 755’s top plate, for instance, revealed a chassis design that relies on the sum of its parts to keep things rigid and square. By comparison, the Sherbourn showed no signs of warping when I removed its top plate. Whether this difference proves to be a weakness over the long run is unknown. I’m guessing though, that as long as you keep the amp on a solid platform and don’t take it apart there’s little to worry about.

Outlaw’s amplifier design appears slightly different than the design of the Sherbourn. While the Outlaw’s upgrade in capacitance does better the Sherbourn’s 20,000 microfarads per channel, it doesn’t use separate transformers for each channel. Instead, Outlaw uses two very large toroidal transformers to drive all channels. While there are alleged benefits for each design, determining which design works best probably won’t matter unless you’re driving obscene loads at obscene sound levels. For the record, I never came close to overdriving either the Outlaw or the Sherbourn.

The Sherbourn offers balanced XLR connection for all of its five channels. It also offers an anti-clipping circuit to protect loudspeakers. For those who plan on sticking their amp more than a few feet away from their preamp/processor, a balanced connection’s resistance to hum could be a major advantage. Single-ended connections are more prone to picking up hum and noise from other appliances over a long distance. The clipping circuit also holds a certain amount of value for those who plan to pair their amp with power-hungry speakers in a large room. Speakers damaged by clipping distortion are typically not covered by a manufacturer’s warranty, so the added peace of mind may be worth it to you.

Sound quality is another story. While the Outlaw did not accentuate mid frequencies like the Sherbourn, it also can’t be considered a romantic or warm amplifier. I do remember likening the Sherbourn’s sound to the effortless strength of a ballerina. By comparison, the Outlaw is no ballerina. It’s a testosterone-driven quarterback with nary a romantic bone in his body.

With price and extra features taken out of the equation, choosing between the two is simple. If you want tube-like demeanor with unlimited power then go with the Sherbourn. If you want crystal-clear, solid-state sound, then the Outlaw is your choice.

Off into the sunset

Having lived with the Outlaw Audio Model 755 for some time I can attest to its value. There is, in fact, little to criticize about the Outlaw. Sure, it can sound a bit cool at times, but that isn’t uncommon for some designs commanding multiples of its price.

The truth is that this very reasonably priced amplifier does a fine job bringing the drama and experience of theater and music into your living room. It also presents a cost-effective option for those who would like to upgrade the sound of their surround-sound receiver without spending a whole bunch of cash. Either way it’s apparent that this group of Outlaws has another winner on their hands in the Model 755.

Manufacturer contact information:

Outlaw Audio
P.O. Box 975
Easton, MA 02334
Phone: (866) OUTLAW2

E-mail: info@outlawaudio.com
Website: www.outlawaudio.com  

• Go Back