Review: Exposure 3510 integrated amplifier – With a dot at the top

The Exposure 3510 integrated amplifier is a Class A/B type is a Powerful, but where necessary subtle and transparent

The fully aluminum housing has remained, but the front looks more modern than its predecessor. On the left an on-off switch and next to it a large rotary knob that functions as a source selector. On the right side the same rotary knob for adjusting the volume. Between the two controls is now a milled panel where the sources are listed, with a small LED under the names that lights up under the selected source. In addition, the infrared eye for the remote control and a headphone connection. The 3510 has six line inputs, one of which is suitable for installing a DAC or MM/MC phono stage plug-in module. Integration into an AV setup is also possible through a fixed gain AV input. Two sets of pre-out for connecting separate power amplifiers. A tape monitor connection is even provided. Not surprising given the tape deck revival that is going on. The negative is removable and can be replaced by a better one if desired by the user. The power amplifier part, derived directly from the 5010 series monoblock, delivers 110 Watts per channel at 8 Ohms. This provides better linearity and lower distortion. The preamplifier is constructed with discrete transistors with a hybrid power supply circuit. The design of the printed circuit boards ensures minimal crosstalk. At 12 kilos clean on the hook, and the weight largely on the side where the power supply is placed, the 3510 is a big boy. With dimensions of 440 x 300 x 115 millimeters, the amplifier looks slim. On request, the Exposure 3510 is available in silver or black.

Exposure 3510  – Setup

The Exposure 3510 amplifier finds a place on the top shelf of my Quadraspire rack. Since the copy made available to me does not have a DAC module, I connect my Bluesound Vault Gen2 with a set of Inakustik Rhodos Silver analog interlinks to the amplifier. During the review period, a Dual CS518 turntable will also be added. This is equipped with a built-in phono stage and can therefore simply be connected to a line input. Speaker cables are from Supra and link the Exposure 3510 to my Audiovector R3 Arreté speakers. The standard supplied power cord is connected to an Atlas EOS Modular junction box. The network cables are also from Atlas, type Hyper. The Exposure 3510 can be used straight forward, making settings is not an issue. Press the power button, select the correct input and play.


The delivered copy is new out of the box, so first warm up with internet radio for a few days. After about four days, I sit down and put the 3510 through its paces. Previous experience with the 5010 series from Exposure a few years ago means that expectations are high. Does this integrated 3510, partly due to the trickle down technology, have similarities with the top models? Guided by the music section in the English magazine hi-fi news, I listen to a number of tracks by Joe Cocker, George Benson and Lou Rawls, among others. On George Benson’s album The Other Side of Abbey Road on which he sings Beatles songs. Lord gomes the Sun/I Want You starts off very quiet but in the second part it gets loose. The trumpet solo sounds fantastic, a great sound image is created, lifelike and with a drive that is wonderful. What a first impression! take it back by the American rock band The J Geils Band is another surprise. I only know them from the big hit centerfold but take it back from the album Sanctuary is unadulterated R&B that sounds pleasant. The Exposure 3510 amplifier provides a nice open sound image, smooth and with a pleasant flow. It is clear that the new appearance of this 3510 fortunately has not influenced the typical Exposure sound signature. at last best known in the performance of Etta James, however, the performance of Lou Rawls and Dianne Reeves is at least as impressive.

The 3510 amplifier knows how to reproduce voices well. Powerful, full of character and lifelike. In two years Or Torture a beautiful saxophone solo sounds, you can hear it blowing and the so typical sound of the instrument is perfectly reproduced. On top of that Lou’s soulful and outspoken voice, biting and sometimes growling into the depths. A grunting Hammond organ can be heard in the background in the deep stereo image and the piano fills the room with great force. In fine brown frame Dianne Reeves stars as she appears to be dueling Lou in the final part. A lot less beautiful in terms of recording, but going through marrow and bone beautiful Goodbye by Amanda Marshall. The amplifier has such a power and grip on the reproduction, halfway through the song there is a break with a short moment of silence after which the music starts full power again. The amplifier overcomes this hurdle effortlessly and swings the music very dynamically into the listening room.

The right way

The number Liverpool Rain from the Zeeland band Racoon shows that powerful and subtle go hand in hand. The guitar sounds warm, pleasant but certainly not soft. The strings are easy to follow individually. The cymbals at the back of the beautiful 3D stereo image have exactly the right metal timbre, and sound nice and long. little Down on the Upside let the fragile voice of singer Bart be heard in the song with all emotion. When he stops singing and starts to whistle softly in front of him it sounds so lifelike and I have the feeling that he is standing next to me in the room. The emotion this arouses gives goosebumps from my head to my toes. jesus to a child from George Michael via Tidal in an MQA version sounds pleasant and natural. Compared to my reference set I miss a little bit of detail in the highs, but this is partly due to the lower quality source and cabling. let Her Down easy from the live album Symphonica once again shows that the midrange is perfectly fine, making George’s voice warm, pleasant and very fluent. Another striking aspect in the reproduction is the way in which the amplifier is able to let the room atmosphere be heard. Without the audience being audible, you feel the space in which the music is recorded. As soon as the volume of the vocals drops you can hear the buzz of the crowd in the background. The song is regularly featured on NPO Radio2 my Fathers daughter by Olivia Vedder, indeed Eddy’s daughter. The track was quickly found through Tidal and I can listen to it in better quality. Her voice reminds me of Sarah McLachlan, and is fragile and emotional. No problem for the 3510 amplifier which reproduces it in just the right way. The strings in the background are nicely separated from the other instruments and vocals.

Of duel of the German band Propaganda, the amplifier can briefly let you hear that playing the tiles from the roof is no problem. A wide and deep stereo image is created with a good portion of detail that remains intact at high volume. The Exposure 3510 shows that it has more than enough power. I’m still stuck in the 80’s with Tinseltown In The Rain from The Blue Nile. The typical synthesizer loop sounds powerful and tight, and remains audible throughout the entire track. The voice of singer Paul Buchanan sounds loose in the foreground. There is a wide stereo image with the strings in the back. The special atmosphere that the song evokes is perfectly captured. INXS is also a band that flourished in the late 80s. Need You Tonight has an enormous drive, which can mainly be heard in the guitars and drums. Grist to the mill of the 3510, which effortlessly turns it into a tight rhythmic whole. The voice of singer Michael Hutchence sounds great, what a character! The raspy edge and the slight hoarseness are clearly present and ensure a high level of realism.

Especially fascinating

It can’t just be a party so at the end of the listening session I choose it beautifully recorded The Girl And The Cat by Lori Liebermann. The plan was to only listen to the first track, but the playback is so addictively beautiful that I listen to the entire album. Lori’s voice sounds so lifelike, has warmth and ensures an enormous involvement in the music. The second voice can be followed separately but blends very nicely with the first voice. Guitars have body and the strings can be followed individually. Halfway through the review period, I get a Dual CS518 turntable with a built-in phono stage. Nice to combine with the Exposure 3510 amplifier. Rumor Has It of Adele’s second album 21 may kick off. The stereo image is fairly wide and deep with quite a bit of detail and sparkle in the highs. The bass reproduction is somewhat messy and less tight than with the digital Bluesound Vault as the source. The amplifier is transparent enough to mercilessly reveal the differences in source quality. The reproduction of the mid and high range is closer to the digital source.

The violins in Turning Tables sound natural and sharpness is fortunately lacking. The Dire Straits debut album of the same name is a significantly better recording that immediately translates into a good reproduction. The guitar is snap on and Mark Knopfler’s voice may be a little less full, but the character is there. The Dual CS518 turntable enhances the amp’s excellent flowing and rhythmic character. Again there is a fairly wide stereo image, with a lot of detail in the highs. Six Blade Knife shows all facets of Mark’s voice, from a deep growl to a bit higher pitched. The guitar on the right in the picture has detail and power. The music is played very dynamically and without reserve. Anyway, back to digital with Leonard Cohen’s album Songs From The Road Live. The guitar playing in Bird On A Wire reminiscent of John Mayer, languid and dragging. The saxophone is powerful and the singers in the background remain audible. Leonard’s voice growls and seems to come from his toes. The Hammond organ is whirring. When the volume is increased, the voice becomes even more loose and seems to take a step towards the listener. A beautiful stage is built with a lot of air around instruments and voices. This Exposure 3510 amplifier easily plays the music. Powerful but also subtle but above all fascinating. Dynamics and realism at its best!

Conclusion Exposure 3510

It should be clear, with this 3510 Exposure again does not disappoint. Powerful, but where necessary subtle and transparent. The affinity with the 5010 power amp is clear, flowing and easy without falling into dull or sluggish. Rather rhythmic and above all able to involve the listener in the music. In terms of connectivity options, you will not run into problems quickly. The option to add a DAC module or phono stage makes the amplifier even more universal. The new look gives the amplifier a little more cachet without letting go of the characteristic no-nonsense look. The build quality is at a high level and seems to withstand eternity. In short, if I were in the race for a new, relatively affordable amplifier, this Exposure 3510 would definitely be at the top of my short list!


  • Exposure 3510 € 2700,-



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