{"id":34144,"date":"2026-09-18T00:00:11","date_gmt":"2026-09-17T16:00:11","guid":{"rendered":"https:\/\/www.richcoln.com\/?p=34144"},"modified":"2026-09-21T10:49:09","modified_gmt":"2026-09-21T02:49:09","slug":"unison-pre-dm_v2_hifinews-review","status":"publish","type":"post","link":"https:\/\/www.richcoln.com\/zh\/2026\/09\/18\/unison-pre-dm_v2_hifinews-review\/","title":{"rendered":"hi-finews \u8a55\u6e2c\uff5cUnison Research Pre\/DM v2 \u524d\/\u5f8c\u7d1a\u653e\u5927\u5668"},"content":{"rendered":"

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While the upgrades that Unison Research made to its Triode 25 integrated amp were sufficient to warrant a \u2018Black Edition\u2019 suffix, the Italian brand\u2019s decision to label its new pre\/power amplifiers as merely \u2018v2\u2019 is to underestimate the uptick in performance. The Pre v2 (\u00a35706) and DM v2 (\u00a38263) are not only the flagship separates of its Unico range but are markedly different from what has come before, both outside and in.<\/p>\n

Even the basic functionality of the preamplifier has changed. The previous Unico Pre [HFN Jan \u201907], first launched in 2002 and revised in 2010, was line-level and analogue-only. Its replacement adds a built-in phono stage for use with MM and MC carts, and a DAC stage fed by optical, coaxial and USB-B inputs. A little less purist, then, but a lot more flexible. Or, as the company\u2019s product engineer Alessio Fusaro put it to me, \u2018a more complete product\u2019.<\/p>\n

Golden touch<\/strong>
Some hyperbole is to be expected whenever a hi-fi brand launches a new model or range. Yet Unison Research can be cut a little slack when it says the Pre\/DM v2 feature a \u2018new stylistic language\u2019 that is \u2018both elegant and modern\u2019. These amps really are rather striking in their appearance, particularly when compared to their more nondescript predecessors, plus other units still current in the Unico range, such as the CD Uno.<\/p>\n

With the new look comes a new colourway, the Velvet Gold finish seen here replacing the silver option of the outgoing Pre and DM. If this is too flashy for your tastes (although the gold hue is subtle rather than \u2018in your face\u2019), there\u2019s a Midnight Black alternative. Whichever you choose, the machined aluminium faceplates, with asymmetrical bevel details and the absence of obvious branding, result in a clean, modern look. You can expect to see it continued in new Unico integrated amplifiers later in 2026.<\/p>\n

Design refined<\/strong>
Speaking of which, this strand of hardware is where Unison Research marries its passion for tubes with solid-state technologies. None of the glassware (2x ECC83s and 2x ECC82s in the Class A input stages of the Pre and DM v2, respectively) is on show, however. Nor does either amp run particularly warm in use.<\/p>\n

Inside the Pre v2, the dual mono tube\/transistor architecture of its predecessor has been retained but upgraded, with attention focused on \u2018delivering a more balanced, dynamic and engaging\u2019 performance. Unison Research says most of the available gain (+20dB via its single-ended RCA in\/outs and +15dB via its balanced XLRs) comes via its tube stage, while the solid-state buffer is designed to provide a low output impedance . The digitally governed volume, set by a front panel rotary, covers 95dB in 0.5dB steps. A second rotary cycles through the digital and analogue inputs, the latter comprising four line ins (three on both XLR\/RCA) in addition to MM\/MC phono.<\/p>\n

The last of these should satisfy casual vinyl users as adjustment \u2013 via rear-panel DIP switches \u2013 is limited to 40dB or 50dB gain with 100ohm loading for MCs, and just 33dB or 44dB gain with 47kohm loading for MM pick-ups.<\/p>\n

Between the rotaries is a new OLED display that shows volume and source but gives no indication of sampling rate with digital inputs (the USB-B connection handles PCM to 384kHz and DSD to DSD256). Menu options are also shown here, and include assigning preset volumes for the individual inputs, switching the line-level inputs between RCA or XLR, and instigating Unison Research\u2019s \u2018Line Loop\u2019 feature (for use with an external DSP unit). There are no options (choice of digital filter, upsampling, etc) related to the DAC stage, nor any balance or tone controls.<\/p>\n

On to the DM v2, which is a good deal chunkier and weightier than its preamp partner. But this is no surprise, as its dual-mono design includes separate 750VA transformers for each channel. Power output is a claimed 220W\/8ohm [and 340W\/4ohm], delivered by a new three-stage amplification circuit culminating in three pairs of MOSFETs per side [see boxout]. A rear-panel switch combines the two transformers and bridges the output stages to create a mono amp rated at 650W into 8ohm\/4ohm loads.<\/p>\n

Once you accept the DM v2\u2019s 33kg mass, installation of both amplifiers is straightforward. Connections are clearly labelled and sensibly arranged. Inputs and outputs are split between left and right channels, and the loudspeaker binding posts are robust, multi-way types.<\/p>\n

On both units are front-panel power buttons, framed by natural wood. Once hit, the preamp\u2019s display shows a progress bar as its valves warm up. The power amp, meanwhile, needs waking from a \u2018power save mode\u2019 by the touch of a small button. Another button switches between XLR and RCA inputs, your selection shown by a change of the status LED from blue to white.<\/p>\n

Power play<\/strong>
PM\u2019s Lab Report [see here] demonstrates that Unison Research\u2019s DM v2, despite its tube-based Class A input, is still a proverbial \u2018big and beefy\u2019 solid-state power amp. Used with the Pre v2, the sound is not as \u2018tube-coloured\u2019 as some may hope for, as this duo is more likely to raise eyebrows for its power and dynamics. It will do sweet and lush if the source material obliges, but otherwise doesn\u2019t go out of its way to sugarcoat the music.<\/p>\n

As an example, initial impressions of The Allman Brothers Band\u2019s cover of \u2018Hoochie Coochie Man\u2019, from their 1970 sophomore album Idlewild South [Island Def Jam; 192kHz\/24-bit], were of a warm presentation, particularly in the rhythm section \u2013 but this is a facet of the recording. Where the amps stamped their authority was with the chaotic mix and edge-of-your-seat drumming from Butch Trucks and Jai Johanny Johanson. The Pre\/DM v2 coped superbly with the overload of information, displaying the fast feet needed to keep drum flurries and guitar licks coherent and distinct.<\/p>\n

Solo spotlight
The more I listened, the more I appreciated this pre\/power\u2019s clarity and attack. Switching to Miles Davis\u2019 \u2018Miles Runs The Voodoo Down\u2019 [Bitches Brew, Columbia; 96kHz\/24-bit], the sound of the dual bass guitars was plump and soft, but the amplifiers did nothing to mask the sharp, angular thrusts of Davis\u2019 trumpet. What\u2019s more, attention was easily focused on his solos even as the rest of the 11-piece band cut loose around him.<\/p>\n

But it\u2019s the way the system digs into a rhythm section that feels most indicative of the DM v2\u2019s inherent power. There was excellent groove and thrust to Aerosmith\u2019s \u2018Sight For Sore Eyes\u2019 [Draw The Line; Capitol Records 060245524833], while the drummed introduction to Red Hot Chili Peppers\u2019 \u2018Dani California\u2019 [Stadium Arcadium, Warner Bros.; 96kHz\/24-bit] was almost frightening in its scale and slam.<\/p>\n

As for the song the Chili Peppers were here accused of plagiarising, Tom Petty And The Heartbreakers\u2019 \u2018Mary Jane\u2019s Last Dance\u2019 [The Best Of Everything, Geffen; 96kHz\/24-bit] was rendered crisp and bright via the Pre\/DM v2, edgy guitar riffs and percussion slicing through the air. It\u2019s a sound that you might find to be just the ticket for waking up any loudspeaker with a slightly sleepy demeanour.<\/p>\n

Swapping the Matrix Audio Element X2 networked DAC, I\u2019d been using into the Pre v2\u2019s balanced XLR inputs for the preamp\u2019s own ESS ES9018K2M-based DAC stage found it giving ground, but not much. There was a touch less definition to the percussion in the Tom Petty track, and a slightly \u2018closer\u2019 feel to the presentation, but nothing to make me consider the Pre v2\u2019s digital inputs unworthy of their inclusion.<\/p>\n

With well-recorded music these amps might leave your jaw dropping \u2013 something I experienced hearing the smooth, mellifluous \u2018Mr Magic\u2019 by Roberta Flack [Feel Like Makin\u2019 Love, Rhino; 192kHz\/24-bit], with its peerless bass guitar tone and soft keyboards. The same was true with the triumphant, multi-textured pop\/prog of Toto\u2019s \u2018Rosanna\u2019 [Toto IV, Columbia 450088 9].<\/p>\n

Big reveal<\/strong>
On the other hand, the narrow staging of Robert Palmer\u2019s new wave hit \u2018Johnny And Mary\u2019 [Clues, Island 842 353-2] was ruthlessly exposed, as was the rather flat production of Mitski\u2019s \u2018Where\u2019s My Phone?\u2019 [Nothing\u2019s About To Happen To Me, Dead Oceans; 96kHz\/24-bit], where the singer struggles to cut through a wall of cymbals and jangling guitars.<\/p>\n

This is arguably what any hi-fi system should aspire to do \u2013 give an unfiltered view of the material \u2013 but I wouldn\u2019t deny anyone seeking a softer sound, with more opulence in the bass. A counter to this is that the Pre\/DM v2 bring their weight and drive to anything, making for a consistently thrilling, involving listen. Howard Shore\u2019s \u2018The Fighting Uruk-hai\u2019, from the first film in the Lord Of The Rings trilogy [Rhino\/Warner; 48kHz\/24-bit], was rendered with astonishing power to the brass and percussion, giving this orchestral piece the scale and drama it demands. But even the smooth soul of Amy Winehouse\u2019s \u2018Love Is A Losing Game\u2019 [Back To Black, Island; 96kHz\/24-bit] benefitted from the amps\u2019 dynamic flavour.<\/p>\n

I listened to a lot of music through the Pre v2\/DM v2 because I found them to be so much fun. Not fun to the point of being too eager or brash \u2013 there\u2019s a well-balanced and finely detailed approach here that fits the none-too-shabby price tag and gorgeous styling. These are, however, distinctly powerful and energetic-sounding. Looking for a system to really get your foot tapping? Look here.<\/p>\n

Hi-Fi News Verdict<\/strong>
Unison Research has given its \u2018hybrid\u2019 Unico range a superb new look with this pre\/power pairing, while the addition of digital and phono inputs make its preamplifier a genuine all-rounder. The sonic signature, steered by the potent DM v2 power amp, takes a different path to its all-valve models, but that\u2019s as it should be. We look forward to seeing where the range goes next with its integrated amps.<\/p>\n

Boxout<\/strong>
The Unico DM v2 is a triode\/MOSFET hybrid amp, but it\u2019s no ordinary tube\/tranny mix. On the one hand, the 2xECC82 triode input stage is conventional enough, its relaxed local feedback setting the \u2018tonal colour\u2019 for the amplifier as a whole \u2013 the extended distortion harmonics, dominated by a strong 2nd, adding up to ~0.1% [re. 1kHz\/10W; see Graph below]. The innovation, however, is left to the output\u2019s three parallel pairs of MOSFET power devices, configured in complementary pairs but with a twist to the usual push-pull convention.<\/p>\n

Unison\u2019s ASHA (Analogue Synchronised Hybrid Amplification) refers to its \u2018hybrid biasing\u2019 of each \u2018synchronised\u2019 pair of N- and P-channel FETs. Here the N-channel FET carries the full waveform voltage \u2013 it never switches off and, as such, forms the Class A heart of Unison\u2019s Class A-AB topology. This FET also carries the positive-going current. The partnering P-channel FET is synchronised to the leading N-channel device, so as the current falls in the latter it increases in the former during negative-going cycles of the musical waveform. This is the Class AB \u2018half\u2019 of the circuit. It\u2019s the leading N-channel FET\u2019s voltage waveform that sets the linearity of the output stage as a whole while both FETs deliver the current to support that voltage into \u2018real\u2019 loudspeaker loads. This \u2018synchronising\u2019 of current between the complementary FETs is achieved by what Unison describes as a \u2018robust and fast control circuit\u2019 that integrates the transistor drivers for the leading N-channel and following P-channel power FETs.<\/p>\n

Pre v2 specifications<\/strong><\/p>\n

Type:<\/strong> Fully balanced hybrid preamplifier
Valves:<\/strong> 2 \u00d7 ECC83 \/ 12AX7 Gold Lion
Operating mode:<\/strong> Class A
Output stage:<\/strong> Solid state
Volume control:<\/strong> Infrared
Analogue inputs:<\/strong> 3 \u00d7 Line RCA, 3 \u00d7 Line XLR, 1 \u00d7 Phono MM \/ MC, 1 \u00d7 Line In
Digital inputs:<\/strong> 1 \u00d7 USB, 2 \u00d7 Toslink, 2 \u00d7 S\/PDIF
Maximum input voltage:<\/strong> 2.58 Vrms (RCA) \u2013 5 Vrms (XLR)
Input impedance:<\/strong> 20 k\u03a9 (RCA) \u2013 57 k\u03a9 (XLR)
Gain:<\/strong> 20 dB (RCA) \u2013 15 dB (XLR)
Outputs:<\/strong> 2 \u00d7 RCA, 1 \u00d7 XLR, Dual subwoofer output, Line Out, 1 \u00d7 12 V Remote Power On
Maximum output voltage (@1% THD+N, 1kHz):<\/strong> 8 V (RCA) \u2013 16 V (XLR)
Output impedance:<\/strong> 770 \u03a9 (RCA) \u2013 1500 \u03a9 (XLR)
Global feedback:<\/strong> 0 dB
Power consumption:<\/strong> 50 VA
DAC:<\/strong> Sabre ES9018K2M
USB:<\/strong> USB-B input, PCM up to 384 kHz, native DSD up to 256\u00d7, DoP up to 128\u00d7
Toslink:<\/strong> 2 \u00d7 inputs up to 192 kHz
S\/PDIF:<\/strong> 2 \u00d7 inputs up to 192 kHz
Dimensions:<\/strong> 45 \u00d7 43 \u00d7 14 cm (17.5 \u00d7 17 \u00d7 5.5 inches)
Net weight:<\/strong> 11 kg<\/p>\n

DM v2 specifications<\/strong><\/p>\n

Output power (@ 1 kHz, 1% THD)<\/strong>
220 W continuous @ 8 \u03a9 (stereo)
340 W continuous @ 4 \u03a9 (stereo)
370 W continuous @ 2 \u03a9 (stereo, limited by protections)
670 W peak @ 2 \u03a9 (stereo)
650 W continuous @ 8 \u03a9 (mono)
650 W continuous @ 4 \u03a9 (mono)
Input stage<\/strong>
Pure Class A
Dual-triode stage (ECC82 \/ 12AU7) Gold Lion
Output stage<\/strong>
A.S.H.A. Technology
Class A-AB
Three complementary MOSFET pairs
Inputs<\/strong>
1 \u00d7 unbalanced RCA
1 \u00d7 balanced XLR
1 \u00d7 remote power-on input
Output connectors<\/strong>
4 + 4 binding posts for bi-wiring
1 \u00d7 remote power-on output
Dimensions (W\u00d7D\u00d7H)<\/strong>
46 \u00d7 42 \u00d7 21 cm \/ 18 \u00d7 17 \u00d7 8 inches
Net weight<\/strong>
33 kg<\/p>\n

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While the upgrades that Unison Research made to its Triode 25 integrated amp were sufficient to warrant a \u2018Black Edition\u2019 suffix, the Italian brand\u2019s decision to label its new pre\/power amplifiers as merely \u2018v2\u2019 is to underestimate the uptick in performance. The Pre v2 (\u00a35706) and DM v2 (\u00a38263) are not only the flagship separates […]<\/p>\n","protected":false},"author":2,"featured_media":34146,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1920","footnotes":""},"categories":[335],"tags":[],"class_list":["post-34144","post","type-post","status-publish","format-gallery","has-post-thumbnail","hentry","category-review-divi","post_format-post-format-gallery"],"yoast_head":"\nhi-finews Review\uff5cUnison Research Pre\/DM v2 pre\/power amplifiers - Richcoln<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.richcoln.com\/zh\/2026\/09\/18\/unison-pre-dm_v2_hifinews-review\/\" \/>\n<meta property=\"og:locale\" content=\"zh_HK\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"hi-finews Review\uff5cUnison Research Pre\/DM v2 pre\/power amplifiers - Richcoln\" \/>\n<meta property=\"og:description\" content=\"While the upgrades that Unison Research made to its Triode 25 integrated amp were sufficient to warrant a \u2018Black Edition\u2019 suffix, the Italian brand\u2019s decision to label its new pre\/power amplifiers as merely \u2018v2\u2019 is to underestimate the uptick in performance. 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