Rotel’s amp looks and sounds a lot more expensive than it really is. Unpacking the unit, I assumed it retailed for around $1K. I’m not sure how Rotel brought this amp to market for $699; it’s a tremendous value. Budget pricing didn’t put the kibosh on Rotel’s high-quality slit-foil capacitors designed to lower distortion. If you’re interested in multiroom applications, the RA 1062’s rear panel facilities include a 12-volt trigger and an IR remote input. The two sets of hefty gold-plated speaker binding posts can accommodate heavyweight audiophile cables. What is more, the RA-1062 even includes a built-in phonostage.
Tip: If you outgrow the RA 1062’s 60Wpc amplifier, take advantage of the preamp outputs and hook up a more powerful amp.
The RA 1062’s audiophile aspirations were apparent from the get-go. Not warm and juicy, that’s for sure, but its high-resolution midrange was definitely the star of the show. The RA 1062 won’t be the first choice if you’re into reggae or dance music.
The Old School CD [MA Recordings], a powerful jazz trio effort with Peter Epstein on alto sax, Scott Colley on bass, and former Weather Report member Peter Erskine on drums, put the RA 1062 through its paces. The midrange was remarkably transparent; detail and resolution on the bass and drums was excellent. Overall, the RA 1062’s sound better matched the Zu and Usher speakers than the more difficult to drive Dynaudios.
When spinning vinyl, I found the RA 1062 sounded not so different than it had on CDs, which came as a bit of a surprise (normally, good LPs exhibits greater resolution and a more 3D presentation than CDs). On John Hiatt’s Bring the Family [Mobile Fidelity, LP] the Rotel’s sound was dynamic and lively, but lacked the analog dimensionality I crave (and expect) from vinyl.