Hegel H600

Hegel is a company founded in 1988 by Bent Holter - an electronics engineer, music lover, and guitarist who was just finishing his engineering studies at Trondheim University of Technology. His thesis focused on the design of audio amplifiers, and in particular - a completely new solution to eliminate the disadvantages of traditional circuits. His work was not purely theoretical, as Bent, along with several colleagues, played the guitar in a band called The Hegel Band. To make it possible, they needed a sound system, so the young Norwegian drew out the schematics, grabbed a soldering iron, and built a dozen amplifiers from parts contributed by all the band members, almost all of which still work today. However, he felt a sense of dissatisfaction towards his work, as his amplifiers, similar to all the rest, produced distortion. The fact that no solutions had been proposed to solve the issue didn't bother him. It didn't help to comb through books or translations from people assuring him that it simply had to be that way, that this is the nature of amplifiers and each one adds something to the sound. One day Bent came up with an idea that, as it turned out later, was to define most of his adult life. Since amplifiers generate distortion, which we can measure and describe, perhaps it should be inverted in phase and added to the original signal, which would have the effect of deleting this unwanted element. Today, active noise cancellation systems in headphones operate on this principle, so the phenomenon is well known to us, but in the late 1980s, it was an almost revolutionary idea. The dynamic distortion cancellation system was named SoundEngine. And yes, of course, it is the basis of all Hegel amplifiers produced today.

Nevertheless, achieving success was more challenging than it appeared. Well, after all, where would a fresh university graduate get the money to start a hi-fi equipment company? It's true that Norway is a rich nation, but it's not rich enough for any young man to launch a business simply by having a good idea. In order for the distortion elimination system to find practical application, Bent Holter had to leave academia and go to the land of business gods. The solution he developed was of interest to Telenor. If you don't know what it is, I'll hint that if you go to Norway by plane, the name will probably appear in the upper left corner of your phone's screen right after you land. Yes, Telenor is one of the biggest players in the telecommunications industry in Scandinavia. At a time when analog technology was still dominant, the company wanted to use the Holter idea to improve the quality of its services. But not only that. Telenor came to the conclusion that such a revolutionary and ingenious in its simplicity solution should interest all manufacturers of audiophile amplifiers. So the company tried to sell the rights to use the SoundEngine system to manufacturers whose equipment music lovers around the world knelt before. And what's more, no one was interested in using this patent. Some reportedly didn't even want to see any schematics or measurements. Well, because come on, they don't know how to make amplifiers? Some youngster from Norway is supposed to tell them how to get rid of distortion? Business is booming, and sales figures are more than satisfying, so there's no need to invest in technologies whose operation probably no one will hear anyway.

Bent Holter benefited from the lack of foresight of the companies that received the proposal, although their identities remain unknown to me. Before anything else, he needed to endure through the more difficult time. SoundEngine's lack of appeal to high-end amplifier manufacturers led to its commercial failure, compounded by the telecommunications industry's shift to digital technology in the 1990s, which also caused disinterest from Telenor. In view of this, Bent put everything on the line. He started building his own amplifiers and DACs and later went to Telenor for negotiations. Even though he wasn't wearing a bride's outfit, he successfully retrieved his possessions. The youthful and enthusiastic creator repurchased the ownership of the SoundEngine technology from Telenor. He wasn't quite a savvy entrepreneur at that point, but he did acquire a belt, gloves, and a hammer. There was just one problem...

The collapse of the U.S. mortgage lending market in 2008 set off a global financial crisis. For the burgeoning company, this could have meant the end of the fun. The audio equipment manufacturer decided to keep its funds safe and concentrated on navigating the chaos to emerge unscathed, avoiding significant financial setbacks, staff layoffs, and overwhelming debts. In contrast, Bent pointed out that this moment was ideal for making investments. He figured that since the market was stagnant, his company had a unique opportunity to catch up with more recognizable manufacturers. Malicious people say that the Norwegians simply had a lot less to lose, but the fact is that they took to the business like crazy, and when customers started looking in stores again for new toys, Hegel had a whole range of new amplifiers, preamplifiers, power amplifiers, and converters to offer them, for which the fashion was just beginning. Hegel was one of the first companies that decided to introduce something more than a USB port coupled with a DAC the size of a pack of matchboxes into their stoves. DACs and digital inputs played such a big role in Norwegian integrators that for some customers it was even a key argument for buying this model rather than another. Hegel had already made a name for itself as a manufacturer of good, solid equipment blessed with great sound, but with its bold introduction of DACs and soon streaming into its amplifiers, it began to be seen as one of the most inventive and progressive companies in the industry.

Hegel's current lineup no longer includes any integrated amplifiers that are solely analog. Only the P20 and P30A preamplifiers, the H20 and H30A power amplifiers, and the V10 phono preamplifier do not have the digital section. Integrated amplifiers, beginning with the H95, function as complete systems requiring only speakers and a network connection for optimal performance. But what if we are attracted to this idea, we appreciate its simplicity, we are not aiming to construct a tall tower with a dozen devices, but we also seek to reach a high level of quality and possess the power to crush rocks? In that case, there is only one solution - the H600.

Design and functionality

Although it seems strange from today's perspective, the Norwegian manufacturer delayed the introduction of its first true high-end integrated amp for a relatively long time. In 2012, the introduction of the H300 model shook up the market, pushing competitors to reconsider their offerings in terms of power (250 watts per channel at 8 ohms) and features (including an advanced DAC and six digital inputs), as well as pricing. While €4590 was considered a significant sum at the time, rival products at similar price points often fell short in terms of performance and connectivity. The next step was an integration labeled H360, which received network connectivity in addition to digital inputs, which opened the way to streaming and integration with smart home systems. For audiophiles, the H360 was a killer smashing most amplifiers in this price range in terms of both sound quality and functionality. In 2018, however, it lost its flagship status to the larger, more formidable H590 model. The Norwegians claim that the H360, and later its successor, the H390, is the target equipment for most people - an amplifier that can handle almost any task. For a long time, they didn't even see the need to go upmarket, but such inquiries started coming from customers themselves, and then dealers and distributors. It's not that the H390 wasn't enough for them. Most buyers simply liked it so much that they immediately declared their desire to buy a higher, more spectacular model, should one appear. And as is well known, there is nothing to argue with customers. The H590 turned out to be a hit. It was quickly loved by music lovers looking for the best network integrator on the market, as well as by those for whom the H390 was indeed not quite enough. It is worth noting that when visiting the Facebook group for Hegel equipment users, it becomes evident that these two models are the most favored in that community. The focus is not on the H95, H120, or H190 models as one would assume. Rarely do you come across photos and posts about the other products, as almost every social media post is centered around the admiration for the H390 or H590. It comes as no shock that both designs have endured to witness their replacements.

In terms of design, there is no revolution. The differences between the described stove and its predecessor are difficult to point out not only at first but also at second glance. H600 is the quintessence of Scandinavian minimalism. The designers were not tempted to add a slanted cutout at the top of the top panel, as in the P30A and H30A models and the Viking compact disc player. Is this a good thing or a bad thing? I don't know. It seemed to me that this design feature would be gradually introduced in Hegel's increasingly cheaper devices, but apparently, the company has no such plans at all, or something has been delayed in this regard. The mighty front panel of the "six hundred" is adorned with only four elements - a prominent logo, an easy-to-read display, and two knobs, used, of course, for source selection and volume control. The main switch will be found, traditionally, at the bottom. If you press the left knob, you'll enter the on-board menu, gaining access to additional options, such as the ability to check the network connection, set the default volume level, or disable automatic standby mode. The right knob can also be pressed, to which the quick mute function has been assigned. Cool, logical, and without over-combining. We can fire off some of the interesting, non-obvious functions with the remote control as well. The elegant metal controller was packaged in a separate box, along with a power cord and a beautifully published manual. Its cover features a photo depicting a rugged Scandinavian landscape, and the contents begin with congratulations on the purchase and a short note from Bent Holter himself. Seemingly insignificant, yet satisfying.

Looking at Hegel's new flagship integrator from the front, I got the impression that the shape of the aluminum cover has changed slightly compared to the H590. The vents are now wider, and on top of that, they were not just cut out in the simplest possible way. Inside each hole, we see a row of smaller holes, quite as if the whole thing was double-layered. It seems to me that the designers were primarily concerned with protecting electronic circuits from dust and other dirt while maintaining effective ventilation, but there is no doubt that such "gills" by the way look more interesting. It's as if the amplifier wanted to tell us that it hides advanced technology under this modest black cover. But the cover is still nothing. I set the Norwegian amp on its side during the photo shoot and was literally stupefied when I saw what its chassis looked like. Not only does it consist of several steel plates, but each of them has been covered with holes arranged in all sorts of shapes. Take a look, please, at the ones located near the sockets and tell me you don't see lightning there. Just such a curiosity. Under the heat sinks in the base were left large, empty holes. After all, nothing is likely to fall inside anyway, and with 303 watts per channel, effective cooling is an absolute must. Additional steel plates are designed to stabilize the heaviest components, such as the power transformer. From the user's point of view, even more important are the feet - tall, sturdy, and lined with rubber pads so that the unit does not move on the table. Oh, it's also important - the H600 looks beefy, but it weighs 22, not 30, 40, or 50 kilograms. Therefore, you do not have to seek help from someone else to unpack the amplifier from the cardboard box and set it up in the appropriate spot. A bigger problem might be the depth, but 44.5 cm is also not a value that an audio equipment table or even a decent dresser couldn't "handle". Despite having a huge amount of power available, transporting and assembling the equipment will not be overly difficult, sparing us from needing a physiotherapy session afterward.

The biggest changes from its predecessor can be seen on the rear panel. Not only has the configuration of the sockets been entirely changed, suggesting significant modifications to the amplifier's internal setup, but their quality has also been enhanced. I'm referring to the RCA connectors, which on the H590 were very, let's say, average. In this case, they have chosen sturdy sockets that are gold and glittery, with bases that shine in a pink hue. As a result, even heavy, rigid interconnects with solid plugs can be used without worry. There are two analog inputs and two analog outputs in this format. The inputs are standard, and the outputs differ in signal level - one is fixed and the other is adjustable. I just don't know who would want to connect an external power amplifier to the "six hundred". Maybe rather a subwoofer or subwoofers? As they say, it's better to have and not need, than to need and not have. As befits a hi-end amplifier, the H600 also offers two balanced inputs (XLR). The digital section consists of one BNC input and six inputs - BNC, coaxial, USB-B, and three optical. Connection to the network is made via a LAN jack (RJ-45). Massive speaker terminals are mounted on the sides, and a three-pin IEC power socket is mounted on the bottom. It is worth noting that all digital inputs except USB have been equipped with a signal sensor. This means that any device connected to these inputs can wake up the amplifier, in which case the amplifier should automatically switch to that particular input. Audiophiles will undoubtedly be more interested in the parameters of the signal that individual inputs can handle. And these are really high. PCM 24 bit/192 kHz and DSD64 are not a problem for any digital input, and the USB socket can even handle PCM signals at 32 bit/384 kHz and DSD256. In fact, all that's missing to be fully happy is a headphone output, an HDMI jack with a return channel (ARC), and a built-in phono preamp. Just how many customers would use these extras if the H600 had them? It's up to each individual to make their own assessment.

In the vast majority of cases, however, the digital section will be used, where there have been quite a few changes. Of course, I'm referring primarily to streaming functions, because today that's what customers are most interested in. Hegel has once again embraced the subject comprehensively. The H600 supports UPnP streaming, Spotify Connect, AirPay, TIDAL Connect, and Google Cast. You'll have to wait for Roon Ready certification, and unfortunately, no one can predict whether such an update will be rolled out tomorrow, next month, or maybe six months from now. The most important thing, however, is that the "six hundred" is already reported and will receive this functionality sooner or later. The user doesn't even have to worry about possible updates, as they are checked and installed automatically every time the amplifier is turned on. So once again, Hegel has made sure that we have peace of mind and can focus on listening to music instead of fiddling with the settings. When I read about all this, it makes me arouse some inner opposition. This is equipment for total slackers! And they are now supposed to get what should only be available to the hardworking and persistent? They won't have to wrestle with software, configure network drives, drive the amplifier to the store to install new software, and then they'll still get the sound we could once only dream of. Well, that remains to be seen, but for now, it looks like music lovers who have dedicated many hours and evenings in their lives to improving the sound of their stereo system may already be pre-boiling. Experts will surely be pleased to know that Hegel's flagship is a highly customizable device, according to the manufacturer itself. So you can change and set more in it than you can see in the on-board menu. You just need to know how to do it. For example, we can program the amplifier to respond to commands issued by other remotes, including the one from the TV. Most inputs can also be switched to direct mode, bypassing the volume control. This allows the H600 to work as a power amplifier in a home theater system. It's not a well-known fact that the two worlds are difficult to combine, so in one room, we can have a stereo system based on the H600 and large audiophile speakers, and a surround system with an amplifier and effect speakers in the walls, where the Hegel and our "main" speakers will act as front channels. I think rarely will any user do this on their own, but installers might find it easier.

As in the first amplifiers from the Norwegian company, in which the digital section was extremely elaborate, so in the H600 it is an element that may even determine the purchase of this stove. Here we get not only several digital inputs but in fact a full-fledged streamer, so connecting any external source becomes an option, not a necessity. The question arises whether this is a good thing. It used to be said that throwing such a DAC into an integrated amp is pointless because any normal audiophile will buy a decent player, DAC, or digital transport anyway. It appears to be the case, but in reality, not everyone requires it. If you primarily listen to music through files and streaming, it's best to utilize a single device that can handle all your needs. Of course, there is also a group of "serious" audiophiles who will always pay to improve the sound quality, not caring that it also generates other costs, such as cluttering the listening room, additional cabling, and so on. But that's what split sets are for. I have indirectly utilized this opportunity myself, as the H20 serves as an ideal power amplifier, and I am deeply loyal to Auralic's gear when it comes to the source. Nonetheless, it seems that supporters of this idea are in the minority, and the primary buyers of amplifiers such as the H400 and H600 are now music enthusiasts who are not self-professed audiophiles. They don't want to transform their living room into a listening cavern with acoustic panels on every wall. They don't want to build dripping gold altars in honor of musical gods. They don't want to get into discussions about cables. Instead, they know that music is important to them, and they want an amplifier that does everything they want - connects to streaming services, works seamlessly with their TV or home automation system, and has so much power that they don't even have to look at the specifications when choosing speakers, going solely by sound and looks. If you think about it, this is how luxury is defined today. The equipment requires a minimum of time and energy from us and doesn't take up too much space, for that it does very, very much for us and allows us to enjoy music as we please.

The question remains, what will audiophiles who like to rummage, read, change, and match speakers to the amplifier, cables to speakers, and a cartridge to the turntable's tonearm? Well, they, too, may choose the H400 or H600 because of the sound. And if the whole digital section doesn't work for them, because they already have another hi-end source? Well, it certainly won't be the first time in their lives when they pay for something they won't use. However, they should first be interested in preamplifiers and power amplifiers, because if one likes to play with equipment and considers oneself hi-end, an integrated amplifier, even a pure analog one, after all, is also a compromise solution. And whatever one says, the P20 and H20 or the P30A and H30A make split sets that look really great. They are so, hmm... Worthy of a "real" audiophile. Finally, here's a tidbit I received literally a while ago. The H600 is the first unit that can be controlled via the Hegel Control app, available for iOS and Android mobile devices. It is also expected to work with the H400 and probably many other models to come in the future. The Norwegians claimed that they would never create such a thing, because in their view it is up to the user to choose the software that suits him, whether it be the TIDAL app, Roon, or another free system. Apparently, however, they have changed their minds, because with the TIDAL app, it is difficult to at least change the input on the amplifier. The problem of Internet radio is tackled by the Hegel Control app, which grants users entry to Airable Radio and Airable Podcasting. Most importantly, however, the app is simple and responsive, so it's kept in typical Scandinavian style. Seemingly nothing much, yet it's nice that the theme has been embraced. Now we can control the amplifier from a phone or tablet, using a metal remote control or knobs on the front panel. Nothing to add, nothing to take away.

Sound performance

As a true fan of the Norwegian brand, its philosophy of designing and building stereo equipment, and a user of one of its devices, I question my own objectivity in my mind before each test. It seems to me that a healthy dose of skepticism is useful for every audiophile, but when you take out of the box the fifth, tenth, or twentieth device from a company whose equipment has never let you down so far, never caused you any major problems and played in such a way that, apart from some minor details, there was nothing to complain about, it is hard to expect that this time will be different. Especially when the matter concerns the flagship integrated amplifier, which is a collection of the best technical solutions, the greatest achievements of the designers, and, for obvious reasons, is particularly important for the manufacturer. Nevertheless, I would not like this review to turn into a commercial text, so we will bite the subject from two sides - first I will fuss, complain, cling, and invent the very problems, and then we will reverse the scheme. Which version will be true? Or maybe both? I'll leave that to everyone's consideration and for possible verification by listening.

The H600, like other devices from the Norwegian company, is a painfully boring device. You plug in the cables, press a button under the front panel, open the app of your favorite streaming service, and music starts coming from the speakers. That's the whole philosophy. The amplifier is there for us to make it louder or quieter. Fact, it has a fair amount of power at its disposal, so you can't complain about dynamics, but other than that nothing happens. It plays, because it plays, but apart from a slight emphasis on the lowest bass and a gently cranked, side-splitting stereo stage, there's not a single element here that we can hang our ears on for longer. Some will say that this is what a perfect amplifier should be, that the unsurpassed ideal is the so-called wire with amplification, and yet the H600 is almost exactly such a case. Not only that - if we don't use an external streamer, compact disc player, turntable, or any other source, this concept automatically extends all the way to the wall socket. In order for us to get away with anything, to give the sound some character, we have only one option - to choose speakers that will give us a bit of "that something" and stick to their concept strongly enough not to be subjected to this Norwegian dictator. If we don't do that, if we choose loudspeakers with an even, neutral, universal sound, the situation will be utterly hopeless. We will get a sound with the smell of air, the taste of spring water, and the color of pure glass. Zero additional excitement, zero temperament, no color, and your own thoughts on what you are doing. Such a hardware NPC - an amplifier of no distinction, acting as a background, behaving mechanically and strangely, not participating in the gameplay.

In many ways, the H600 resembles hi-end designs operating in Class D - NuPrime's and Lyngdorf's high-end models, Devialet's all-in-one systems, or NAD's new power amplifiers with Purifi Eigentakt technology. On the first day, we listen to such equipment with interest, appreciating its neutrality and dynamics, but then quickly begin to get bored. Why turn on equipment that always plays perfectly? Why play any song a second time, when we've heard everything the first time? Be careful what you dream about, because it may come true - should be said to those who still believe that hi-fi equipment should be transparent, and absent, doing justice to the artists and recording producers. The realization of a long unrealized dream can lead to depression. What seemed impossible suddenly becomes a reality, so we almost immediately move on to the next step - now what? What else to look for, what to chase? Look around for silver cables? Deliberately mess up the system so you can fix it later? I know that laid-back music lovers and people who are fortunate enough that the H600 may be the first serious amplifier in their lives will have their answer to this, but when you've been an audiophile for many, many years, the matter is not so simple.

The worst part, however, is boredom. This Norwegian contraction doesn't even respond much to warming up. Well, so that we would at least get some kind of thrill, knowing that it plays poorly after startup, and only after 20-30 minutes does magic begin to appear in the sound. Here, on the other hand, we can barely hear it. The hot H600 plays perhaps 5% better than the cold one, but the changes are limited to a slight acceleration of the bass or sharpening of apparent sources. The rest remains the same - passionless, cool, evenly rolled. Technically perfect, but without any emotion. You will say that this is a good thing because such an amplifier will match any speakers and any music? Okay, but it's like going to dinner and getting a plate of rice and sliced cucumbers, without any condiments. Are we meant to take pleasure in this cuisine, since it harmonizes with a wide range of other dishes? It could be Chinese-style chicken, tender salmon, stuffed cabbage rolls in tomato sauce, grilled sausage, or sirloin in mushroom sauce - whatever you like. The question is where to get what is supposed to give the dish its flavor. It won't materialize on its own. The same is true when listening to Hegel. One has to show initiative, take action, and actively contribute to the sound gaining character.

To reverse this "unfavorable" situation, all you have to do is do one thing - stop being an audiophile and get on with listening to music in peace. I get the impression that this is what many customers have come to love Hegel equipment for. Suddenly we are out of a world where one constantly changes power cables and tubes in the preamplifier to get a little more of this or that, and literally uses a few samples produced by super audiophile labels and sounds interesting even on a €100 wireless speaker, while musically worth nothing to evaluate the changes. The H600 appeals to two specific types of customers. An affluent individual who loves music and wants to treat themselves without navigating through online forums for audiophiles. With such an amplifier, they will shorten this whole journey to a dozen, maybe several dozen minutes. All they need to do is choose speakers, buy decent cables, set up the new equipment in the living room, connect the cables according to the instructions, and they will be happy to return to their normal life, enjoying better sound. It may not be a cheap option, but what an uncompromising one. The second type, on the other hand, is an experienced audiophile who at some point has come to the conclusion that they have had enough and no longer want to exchange tube for transistor, paper for metal, and copper for silver. Nor do they want to participate in the fiftieth cable discussion or wonder whether their system would sound better if they bought a line power supply for their mains transport or set their cables on ceramic stands that the author of some blog raved about. It's no secret that after a certain level, the audiophile hobby becomes tiresome. Last week, we shared a chuckle with a friend who dedicated an afternoon to tidying up his gear sanctuary. Unplugging and wiping down cables, marking with painter's tape the places where everything stood, moving and cleaning each block, disassembling and washing the table, vacuuming the floor, and then reassembling it all again, making sure every spike went into its place - a whopping five hours with a coffee break. And then still, not knowing why, the system sounds worse than before cleaning. Madness. One would like to get off this train, but on the other hand, once you get used to the top-notch sound, it's not easy to give it up just like that. The H600 may be the answer to this dilemma. Does its sound match what a set of several or even a dozen devices can offer us? No, but it's really close. So close, in fact, that some will begin to ask themselves whether this difference is worth the sacrifices involved in buying, using, and maintaining such a system.

The most interesting thing for me was the comparison of the H600 with the H20 power amplifier. In terms of design, the two devices are similar, but the H600 has more power, is a more advanced and refined amplifier, and thanks to its built-in DAC and network module doesn't need an external source of any kind. The H20 has one big button on the front panel and decent sockets on the back, and from a user's point of view, that's pretty much it. Putting these two devices side by side seems pointless, but is it? Many audiophiles may ask themselves whether it's really worth investing in a flagship integrated amp, because whether we have two hundred or three hundred watts per channel on hand, it's still a lot, and the price difference is almost double. Since the Norwegian amplifier is accompanied by the Auralic Vega G1, I decided to simply put the flagship integrator next to it and rewire the speaker cables in search of differences. The result? I'd say the H600 was a tad faster, more accurate, and more decisive. Its sound was a tad harder and minimally cooler, but that made it evidently closer to the conventional zero, more neutral. The H20 strives for transistor perfection, but still allows itself a bit of frivolity in shaping the stereo stage and lets the lows run wild, offering bass in true American style. It's not some kind of uncontrollable buzz, but if those subwoofer murmurs are even a few or a dozen percent more than the bill, the H20 doesn't see it as a problem. In the H600, space is better organized, and if the lowest frequencies go outside the bracket, the Norwegian integra firmly calls them to order. In this aspect, one can clearly hear how the extra hundred watts translates into reigning over the speakers. The bass reaches the same low levels as in the H20 model, but it is more agile and slightly more solid, ensuring precise timing and accuracy even in challenging situations where the equipment may struggle.

Here, however, we return to the question of price. The H20 costs €6299, joined by a streamer worth €3299, but not only that because the two devices also include additional power and signal cables. During the experiment, the Vega G1 was powered by Enerr Transcenda Supreme cable, and the KBL Sound Red Corona worked as an interconnect. Their retail prices are €2000 and €2200, respectively. I know, it's a lot, and perhaps it's not necessary to invest so much in cabling for such a set, but if our goal is to create a two-element system that will beat the flagship integrated amp, then we should put more money into the player at the start, choosing, for example, the Vega G2.2. And already at this point, the price "advantage" of a two-box system is going away. Assuming that with the Vega G2.2 and cheaper cables, I would manage to get the same sound that the H600 offers, the basic question remains the same - why would we go to such lengths when we can have it all in one box? Er, uhm... Well, that's exactly it. I'll be brutally honest - when I started this test, I thought the H600 was way too expensive. €11495 for an integrated amplifier, however good it might be, is a bit crazy. On the other hand, what we get here is reference, ultimate, target equipment, for which it's not easy to find an alternative, even if you try to "cheat the system" by using a power amplifier from the same stable. The top amplifiers from brands like Accuphase, T+A, McIntosh, or Mark Levinson are currently priced between €15000 and €20000. These devices are primarily analog or may have a DAC with multiple digital inputs, requiring additional components like a network transport or a full-fledged streamer, which can easily push the total cost beyond a hundred thousand euros. The H600 objectively isn't cheap, but it's a complete solution that will satisfy even the most picky audiophiles, and when you compare it with rivals, look at the parameters, and weigh all the pros and cons, it comes out as a fair proposition. Strange? Crazy? Just what do I make of it? After all, it's pure mathematics!

Build quality and technical parameters

The H600 is Hegel's reference integrated amplifier. With 303 watts per channel at 8 ohm, an attenuation factor of 4000, and the ability to drive loudspeakers at impedances down to 2 ohm, this powerful stove can work with any speakers, according to the manufacturer. The Norwegians report that their flagship integrator is a dual mono design, which brings it close to the performance of two mono amplifiers in a single chassis. The H600 also features a preamplifier with an extremely precise volume attenuator, which can be found in the reference P30A preamplifier. As for the dual mono circuit, virtually everything agrees except the power supply transformer. In the center of the chassis was a large toroid, with a mass of separate taps for the right and left channels. Some may complain that the use of two such transformers would have been a better solution, but this topic has repeatedly come up in Internet discussions and the Norwegians firmly defend their position. Saving money is not the issue, despite how it may seem. Let's be honest, at this price of the device, the cost of an additional toroid does not make much difference. The problem is that such transformers generate interference, plus they can get into vibrations, which also appeared in comments and posts on the Facebook group of Hegel fans. At the company's Oslo headquarters, there is a sizable parts warehouse, the lion's share of which are transformers. Designers order and test virtually everything they can buy, but only a fraction of the components available on the market meet their requirements. The rest lie on shelves and collect dust, and some, smaller transformers are used, for example, as door stops. Oh, a misguided investment. When we want to build high-end equipment, there will be more such "rejects" than parts that pass even the initial selection. In the end, Hegel's designers came to the conclusion that the only good solution is one very good transformer without shielding (this problem has also been raised more than once, and the Norwegians are adamant on this issue as well). Interestingly, the main transformer has a friend in the form of a second, smaller toroid, hidden under the metal shelf on which the digital section is mounted. As a result, circuits that are particularly sensitive to noise are almost completely isolated from the "dirty" power section, which occupies virtually the entire "floor" of the amplifier. The DAC is based on the well-known and well-liked ESS Sabre 9038Q2M chip. The power amplifiers are mounted vertically, on their sides, along with aluminum heat sinks. Twelve Toshiba bipolar transistors were bolted to each of them. The key to the exalted performance and neutral sound of Hegel's flagship is, of course, SoundEngine 2 technology, or, as the manufacturer puts it, a local error elimination system that combines the advantages of Class AB amplifiers and Class A amplifiers, without the disadvantages of Class A and Class AB amplifier technology. More specifically, the solution eliminates the high-frequency distortion created when a signal passes through zero. If you'd like to know more, there's a 23-minute video available on the manufacturer's website in which Bent Holter explains how the technology works in great detail, using a whiteboard and marker, of course. There are diagrams, charts and terms used by electronics engineers. I wimped out around the 12th minute, but if you are hungry for knowledge and can assimilate what the Hegel founder talks about, I heartily recommend it.

System configuration

Audiovector QR5, Equilibrium Nano, Unison Research Triode 25, Hegel H20, Auralic Aries G1, Auralic Vega G1, Marantz HD-DAC1, Clearaudio Concept, Cambridge Audio CP2, Cardas Clear Reflection, Tellurium Q Ultra Blue II, Albedo Geo, KBL Sound Red Corona, Enerr One 6S DCB, Enerr Tablette 6S, Enerr Transcenda Ultimate, Fidata HFU2, Melodika Purple Rain, Sennheiser HD 600, Beyerdynamic DT 990 PRO, Beyerdynamic DT 770 PRO, Meze 99 Classics, Bowers & Wilkins PX5, Pro-Ject Wallmount It 1, Custom Design RS 202, Silent Angel N8, Vicoustic VicWallpaper VMT, Vicoustic ViCloud VMT.

Verdict

Could Hegel's flagship amplifier be given the nickname "Mjolnir"? Looking at its versatility, ease of use, brute power, build quality, performance, and restrained, minimalist design, typical of Scandinavian products, I would be inclined to agree with this conclusion. Like Thor's hammer, the H600 is capable of crushing any target to dust, but it does so only at our express request. On a day-to-day basis, on the other hand, it remains a modest, unobtrusive, meticulously performing music listening tool. It doesn't question, doesn't judge, and doesn't have strange moods. All it needs to be fully happy is speakers with which it can cooperate, and even with which we would occasionally allow it to perform its terrifying spectacle. Everything fits. Except for one thing... When I sent the H600 back after the review was over, it never came back. What's even worse, I'm afraid that even if I put on a wedding dress and went to the land of giants to get it, no one would be fooled. Well, all that's left for me is to switch to H20 again, but at least I already know that it all can be done better. Better, and simpler. In the world of stereo equipment such things do not happen very often.

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The instruction manual for Hegel's flagship amplifier looks like an album of Scandinavian landscapes.

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Technical data

Output power: 2 x 303 W/8 ohm
Analog inputs: 2 x RCA, 2 x XLR
Analog outputs: 2 x RCA (fixed and adjustable)
Digital inputs: 3 x optical, 1 x coaxial, 1 x BNC, 1 x USB, 1 x LAN
Digital outputs: 1 x BNC
Connectivity: AirPlay 2, DLNA, UPnP, Spotify Connect, TIDAL Connect, Roon Ready (under certification)
Distortion (THD): < 0,005 %
Signal-to-noise ratio: > 100 dB
Damping factor: > 4000
Frequency response: 5 Hz - 100 kHz
Dimensions (H/W/D): 17.1/43/44.5 cm
Weight: 22 kg
Price: €11495
Manufacturer: Hegel Music Systems

Sound performance

Editor's rating

8.6Overall10Sound9Functionality8Design9Quality7Price