Anthem Statement P5 User manual

P5
Anthem and its parent company, Paradigm, are
on a roll. Anthem recently introduced the
AVM 30 surround-sound processor, which
improves on the award-winning AVM 20 at
a price lower than its predecessor’s. The
Anthem Statement D1 surround-sound
processor is even more impressive, and
Paradigm’s new Reference Signature line of
speakers is earning rave reviews.
To complement these new processors and
to provide the high-quality amplification
required to get the most out of the Reference
Signatures, Anthem has introduced several
new power amplifiers in their Statement line
of electronics. I was provided the Anthem
Statement P5 five-channel power amplifier
as part of a top-of-the-line Anthem-Paradigm
home-theater system that included the
Statement D1 processor and Paradigm
Reference Signature speakers, the S8,
C5, Signature ADP, and Signature Servo
subwoofer.
THE ULTIMATE STATEMENT
The first thing I noticed about the Anthem
Statement P5 is its size and mass. It weighs
130 pounds, and its shipping box would
not easily fit into the hatch of my car —
I solicited the help of a coworker with a
strong back and a pickup truck to transport
it. Many large audio/video components
have warnings on the packaging that
recommend they be moved by two people,
but with the P5 it was a necessity. Along
with the P5’s enormous mass comes a
rock-solid build quality that, while not
necessarily an indication of sonic per-
formance, will instill the utmost confidence
in its durability.
The P5 is a multi-mono design, each
channel of amplification residing on a
separate circuit board with its own
heatsink and, more important, its own
power supply. This minimizes the inter-
ference between channels for enhanced
performance and ensures that all channels
can simultaneously be driven to their
maximum rated output. The major draw-
back of this type of design is the added
cost of providing sufficiently large power
supplies so that each channel can inde-
pendently deliver its rated output. Because
of the need for these large separate power
supplies, there are relatively few mono-
design multichannel amplifiers on the
market. Those that are available typically
have lower output ratings than similarly
priced amplifiers that share common
power supplies and can shunt power as
required to any channel — which is why
such amps’ power ratings are often
specified for only one or two channels
driven. However, the P5 is rated at 325Wpc
into 8 ohms, 500Wpc into 4 ohms, and
675Wpc into 2 ohms, all channels driven.
The P5 is said to be stable down to a short
circuit at full output. Judging by these
power ratings and its tremendous build
quality, you begin to get an idea of just
how serious an amplifier the P5 is.
PRODUCT
REVIEW
BY ROGER KANNO
… simply spectacular …
multichannel audio of the highest order.”
“

P5 2
“Like the P5 itself, the sound was big and bold
… the band’s wonderfully tight playing was
positioned precisely in the huge front sound-
stage … sound of the choir filled the entire
acoustic space … harmonizing — sounded
gorgeous … showed off the P5’s ability to
present an extremely quiet background and
the simple beauty and emotion of vocals with
minimal musical accompaniment.”
In addition to its high-power output and size, the P5 sports many
high-quality design features. Fourteen bipolar output devices
are provided for each channel, as well as a proprietary Active-
Load Cascoded Complementary Feedback Input Stage, which uses
eight hand-matched bipolar input devices; heat-shrink tubing is
applied to each input pair to improve thermal tracking. The
circuit boards — two-layer designs with thick, 2-ounce copper
traces — feature extensive use of power and ground planes to
reduce interference.
“Recordings with reference quality sound —
were simply spectacular … razor-sharp
imaging, dynamics, and all the the other hall-
marks of a true high-end amplifier … Its grip
on the bass frequencies and ability to snap
images into focus and lock them in space
was uncanny.”
The P5 has no fuses in its DC rails — the amplifier is directly
connected to the power-supply capacitor bank, which is intended
to keep output impedance very low and make more power
available to the amplifier. Another sophisticated feature is
Anthem’s Advanced Load Monitoring (ALM) circuitry, which
constantly monitors the output devices for temperature, current,
and voltage to ensure the P5’s long life. Anthem claims that ALM
is “totally non-invasive,” engaging only in the most extreme
circumstances, to protect the amplifier from damage.
Two separate power cords are provided; Anthem recommends
they be connected to different 15A circuits. While SoundStage!
managing editor Jeff Fritz may have in his home multiple 20A
circuits specifically for power amplifiers, the P5 seemed to work
just fine with both cords plugged into just one 15A circuit in my
listening room. Power on/off options can be set to Trigger, Manual,
or Auto mode; the last turns the P5 on when it senses an input
signal, and shuts it down 20 minutes after the signal is no longer
detected. Both RCA and XLR inputs are provided (including
switches to attenuate the XLR inputs by 6dB) as well as a relay
trigger input and output on 3.5mm mono jacks. The XLR input
stage is described as being “fully balanced,” which Anthem claims
reduces interference to provide the lowest level of noise and
hum possible.
SINGING THE ANTHEM
A DVD that has been getting a lot of playing time on my system
is An All-Star Tribute to Brian Wilson. Filmed live at Radio City
Music Hall, this great-sounding disc features fantastic performances
by some well-known artists, as well as by Wilson himself. The
band, the Wondermints, is the one featured on Wilson’s wonderful-
sounding Live at the Roxy [DVD-Audio, Rhino R9 73928]; they
sound just as good on this recording. The musicians were spread
evenly across the front speakers, the P5 placing them exactly where
they should have been in the soundstage. This is not a perfect
recording, but it captures the energy of the performances with
surprisingly good fidelity for a live concert DVD.
“Everything sounded immediate and real …
incredibly tight and defined … deep bass
notes were powerful, seeming to reach
down lower than I had ever heard without
sounding boomy or unnatural … incisive
without becoming overly aggressive …
amazing composure.”
“Good Vibrations,” sung by Ann and Nancy Wilson, of Heart,
is one of several highlights on this DVD. Backed by classically
trained baritone Jubilant Sykes, the Boys Choir of Harlem, and
the Wondermints, the Wilson sisters give a triumphant performance
that brings the crowd to its feet. Like the P5 itself, the sound was
big and bold; the band’s wonderfully tight playing was positioned
precisely in the huge front soundstage, and the sweet sound
of the choir filled the entire acoustic space. The more understated
performance of Carly Simon, David Crosby, and Jimmy Webb
harmonizing on “In My Room” sounded gorgeous, and showed
off the P5’s ability to present an extremely quiet background and
the simple beauty and emotion of vocals with minimal musical
accompaniment.
“… wraparound soundstage was totally
enveloping … drums sound taut and con-
trolled … various PVC instruments and
drums sounded distinctly different from one
another — even at very high levels …
subtle changes in the overall volume and of
individual instruments were discernible …
small details, such as the crystalline sound
of cymbals — were startlingly clear …”
The Blue Man Group’s Audio [DVD-Audio, Virgin 77893 9] is one
of my favorites for dynamic and immersive multichannel music.
“Rods and Cones” sounded surreal through the P5 – the wraparound
soundstage was totally enveloping, sounding as if one of the
BMG’s big PVC drum kits was placed squarely in the middle of
my living room. Although the P5 made the massive drums sound
extremely taut and controlled, it was the little things it did that
made me sit up and take notice. The various PVC instruments

P5
3
and drums sounded distinctly different from one another; even at
very high levels, subtle changes in the overall volume and of
individual instruments were discernible as the music built to an
incredible crescendo. Buried deep within the mix were small
details, such as the crystalline sound of cymbals, that were
startlingly clear, even amid the intense drumming and the guttural
growl of an electric guitar.
“… a level of performance far beyond what is
normally available at this price … a spectac-
ular combination for both multichannel and
two-channel sound … one of the very best
multichannel amplifiers currently available …
I am not aware of anyone else who offers this
level of performance in such a massively built
multi-mono design and at this price.”
The P5’s exceedingly clean sound, quiet background, and neutral
character were even more apparent on stereo recordings. Everything
sounded immediate and real on Johnny Cash’s American IV:
The Man Comes Around [CD, American 4400770830]. The guitar
on the title track was incredibly tight and defined, and the piano’s
deep bass notes were powerful, seeming to reach down lower
than I had ever heard without sounding boomy or unnatural.
The stark arrangement of “Hurt” was incisive without becoming
overly aggressive; even at the end of this track, where less
capable amps can sound distorted and compressed, the P5 held
everything together with amazing composure. Recordings with
reference-quality sound, such as Diana Krall’s The Girl in the
Other Room [SACD, Verve B0002293-36] or Daboa’s From the
Gekko [CD, Triple Earth TRECD115], were simply spectacular, with
razor-sharp imaging, dynamics, and all of the other hallmarks of
a true high-end amplifier.
COMPARISON
I have been fortunate to have recently had three outstanding
multichannel amplifiers in my system: the Simaudio Moon
Aurora (five-channel version), the Bel Canto eVo6, and the Anthem
Statement P5. Although each amplifier had, to some extent, its
own “personality,” they were actually more similar than not. As
you might have guessed, the P5 was the most powerful of the
three, and sounded it. Its grip on the bass frequencies and ability
to snap images into focus and lock them in space was uncanny.
The 200Wpc Aurora was not far behind it in terms of grip and
authority, but it sounded ever so slightly darker; and the eVo6,
although rated at only 120Wpc, held its own against these two
more powerful amps with only a minor decrease in subjective
power and control.
Some may prefer the slightly warmer Aurora and the eVo6, while
others might favor the marginally more transparent P5. However,
the differences in sound quality were very minor; each amplifier
produced multichannel audio of the highest order. Where the P5
will distinguish itself from the competition is in its incredibly robust
build quality and its prodigious power output, which should
allow it to drive even relatively inefficient speakers to home-
theater-approved levels. Although many competitors offer
excellent-sounding multichannel amplifiers that are also very
powerful, I am not aware of anyone else who offers this level of
performance in such a massively built multi-mono design and
at this price.
CONCLUSION
Like the amazing D1 processor, the P5 is a superb addition to
Anthem’s line of Statement electronics. Neither product is
inexpensive, but they offer a level of performance far beyond
what is normally available at this price; together, they made a
spectacular combination for both multichannel and two-channel
sound. I lavished a great deal of praise on the D1 in my review,
but the P5 – with its high power output, incredible build quality,
and first-rate sound – is just as deserving. It should be considered
one of the very best multichannel amplifiers currently available.