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post #1 of 30 Old 02-12-2012, 11:25 AM - Thread Starter
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Attachment 237034

Attachment 237035First thing, let's keep this civil. I am looking for opinions of those who have listened and/or owned both newer and "vintage" equipment.

I have been a member of this fine forum for a few years and have owned a lot of different audio equipment in that time (and previously). My favorite systems were those comprised of a pair of Dynaudio Contour 1.3 SE speakers and a Krell KAV-400xi integrated amp, a Krell 300r receiver and Bryston 0.5b and 4bST separates. Many other amps came through my doors and left. I have owned Creek, NAD, YBA, Cambridge Audio, Consonance, Arcam, Yamaha, etc... The one constant was Dynaudio speakers starting with Audience 50s, then Contour 1.3 MkIs and finally the 1.3 SEs.

After leaving the US Air Force I decided to pursue a B.S. degree in mathematics. I have subsequently decided to pursue a PhD. in math, hence, I was forced to sell off most of my previous stereo equipment to help finance this endeavor. The one constant for the past 3 years has been a Yamaha AX-592 integrated amp that I purchased in mint condition for next-to-nothing. I kept it as a backup because it was able to drive the power hungry Dyn 1.3 SEs nearly effortlessly if not perfectly like the Krell and Bryston. When I bought it I thought the Yamaha was going to be crap, but it wasn't! At moderate volumes it sounded quite similar.

The Dyn 1.3 SEs are now gone a victim to increasing tuition rates. After much research into a value speaker that would sound decent I purchased a pair of new Yamaha NS-555 towers. The Yamaha speakers surprised me with their fantastic weight and build quality for the price. They lack in areas to the Dyns but they a very surprisingly good sounding, lacking the "tizz" and bloated bass of most inexpensive speakers. They also image incredibly well!

I recently purchased an older Yamaha A-1000, a TOTL integrated from 1985. I cannot believe how full and powerful it sounds. It has almost zero background noise, powerful bass, great mids and highs. It seems substantially more similar to the Bryston and Krells than the newer Yamaha that I also own, it sounds effortless at nearly any volumes. Also, the built in phono pre amp sounds incredible! The A-1000 has a gimmick "Auto Class A" switch that just increases the bias current to allow class A operation up to 10 wpc...Who cares??? This beast seems to have the ominous "sound" of some of the big dollar amp/preamps, effortless, powerful and never strained, the more you turn it up the bigger it sounds, no collapse or popping indicating clipping.

I have all but been told that I am all but an idiot for comparing Kell and Bryston to an "old" Yamaha for sound quality. However, I feel that if I were to do a double blind test nearly nobody could tell the difference (volume and speaker independent)! The A-1000 is beautifully put together inside and out, nothing like todays mass market junk.

Am I out of my mind, am I imaging this or do any of you, experinced listeners, have more insight???

Pictures: Sorry inserted first.
LL
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post #2 of 30 Old 02-12-2012, 11:52 AM
 
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Originally Posted by math-geek View Post

I have all but been told that I am all but an idiot for comparing Kell and Bryston to an "old" Yamaha for sound quality.

Not by anyone with >"audiophile" intellect/logic (mathematical > ).
Anyone with sufficient logic, reason and technical literacy would tell you your comparison...and results, reflect the physical reality (soundwaves/soundfield) of the situation.

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Originally Posted by math-geek View Post

However, I feel that if I were to do a double blind test nearly nobody could tell the difference (volume and speaker independent)!

You are correct, but "listens" blind at home? I don't, do you? As such, if you understand our "hearing" mechanism/process, all additional "factors" are in play.

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Originally Posted by math-geek View Post

The A-1000 is beautifully put together inside and out, nothing like todays mass market junk.Am I out of my mind, am I imaging this or do any of you, experinced listeners, have more insight???

Nope. But don't let "weight/looks" be a heavily weighted factor in determining "quality", in this day and age of SMPS and digital. It may be a factor all else equal, or not.
Keep in mind also that there are "experienced" diviners, tarot readers, salesmen and shaman. All the "experience" in the world won't matter if based on psychogenic, irrational beliefs.

cheers,

AJ
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post #3 of 30 Old 02-12-2012, 01:00 PM
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M-G; I agree with what...at least partially...I think AJ is saying. There are a lot of factors, other than just sound...that go into how we embrace a piece of gear. I think life's too short to over-analyze them all; my approach is my perception is my reality. If I think it sounds better because it looks like it should, I like the cut of its jib...I read good reviews, it's more expensive, it's less expensive, etc...so be it. In the end, I think it sounds better and that's all that matters; not how my brain...which I can't control, to a certain extent...got there. That's why...in confrontational forums like this...I tried to stop saying "it sounds better", and instead try to say "I like it better" (certainly, no one can argue with that...although I'm sure someone would try. Truth be told...I just basically stopped expressing opinions at all, because of the nature of boards like this ).

Point is...if you've found reason to embrace this Yamaha A-1000...despite its age, or "pedigree"...I say stop fighting it. I think, the majority of enthusiast would lean the other way; find reason not to like it, because it's old, or humble. If you're past those prejudices, and really like it...what's the problem (unless you're expressing reverse-bias...you like it because you see it as a bargain; a "diamond-in-the-rough", only you can appreciate...lol).

FWIW...my first "good" system, came about 2 years out of High School; so around 1988. It was a Yamaha Integrated and a pair of Polks. Not that I knew anything then...but the Yamaha had a nice, smooth sound. Just enjoy...but when budget allows, be open to try for something "better". To me, I can't judge in a vacuum; good, is only "good enough"...unless I can put something else up against it and say "that wins" (or...I like this better...lol). That's how we move forward, right?

CD

Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. -Plato
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post #4 of 30 Old 02-12-2012, 01:49 PM - Thread Starter
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W+-OW! Fantastic opinions!!! I am not saying that this system is as good or better than...It just sounds awfuly good for the money (very little)!

CD, you know where I am coming from! The Dyns were incredible! The Yamahas are pretty damn good, that is high praise considering the huge price disparity! I have never owned the latest and greatest of anything. I think that I have heard "great" sound...This seems to be very good sound at the very least!

I have have had only had through astrophysics classes. I know too little about solid state electronics too claim to know too much. I have an orange cat that may be as much good as I as explaining SS electronics. Stellar formation may very well be a different story! I think a lot of people would be very surprised by this "old" Yamaha amp!
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post #5 of 30 Old 02-12-2012, 03:18 PM
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I agree, when operating within their design limits, amplifiers are indistinguishable. That said, I do feel there are other attributes one can look to that are indicative of how well an amplifier is engineered/built. ..For most people, these things won't matter one iota, but they do to me. For example, each of my last four amplifiers - Bryston BP25/3BSST pre/amp; Peachtree Nova integrated; NAD C375bee integrated; and McIntosh MA6600 integrated - all performed differently when subjected to the following:

a) As you turn the volume down, does one speaker attenuate more than the other? If your amp has a balance control, you can always adjust for this. ..But if it doesn't ( eg., the Peachtree Nova), this can be problematic when listening to music at low volumes.

b) switch to an unused input and turn the volume all the way up. Can you still hear the music from other inputs? To my thinking, this is unacceptable. The Bryston and Peachtree both did this. ..Neither the NAD nor Mac do.

c) With volume turned all the way up - and no source playing - how much hum/hiss do you hear? With my Peachtree and Bryston I could hear plenty of hiss/hum from several feet away. ..Far less through the NAD and none at all through the McIntosh.

Again, these things may not matter to you. But to me, they seem at least as relevant - and far more identifiable - than the usual nebulous audiophile attributes like imaging, bass definition, PRAT, etc...
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post #6 of 30 Old 02-12-2012, 04:10 PM
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Japanise brands like Yamaha and Pioneer tried hard to get into high end market in 1980s. They produced very fine pieces of audio gear at that time. Just considering market price, they were sold for equivalent of 3-5000 a piece in today's dollars. Very high quality components were used back then, that is why they mostly work perfectly 20 years later.
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post #7 of 30 Old 02-12-2012, 05:21 PM
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I've had a mix of new and old throughout these past few years. One of my favorite integrated amps is a 50wpc (into 4ohms) Kenwood KA-4006 from the 70's. It sounds very good to me - up to where it starts clipping which obviously happens pretty quickly on the volume dial. Since most of my listening is done at low volumes that isn't a problem.

I currently have a mix of new and old amps in my stereo/HT setup. I use an Acurus A150 from the mid 90's to drive the mains and an Emotiva XPA-5 for the other speakers for HT use. Both amps are fed by a 2 year old Integra processor.

I use a Pioneer VSX-9900S in my office space. It was built in 1991 - has gobs of power - works perfect and I like the sound of it. Except that the DSP is noisy so I use it in direct mode only. Some of the old gear has 'character' - some of it doesn't. I've got a Kenwood KR-3130 that has none. Works great but it just doesn't do anything for me.

I think too many people skip over the older gear thinking there must be a reason why they don't still make that model any longer regardless of how it sounds. Its kind of like why autos are 'new' each year. Nobody wants to be driving last years look-alike when they just paid new price money for their car.

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post #8 of 30 Old 02-12-2012, 05:52 PM
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Quote:
Originally Posted by Knucklehead90 View Post


I think too many people skip over the older gear thinking there must be a reason why they don't still make that model any longer regardless of how it sounds. Its kind of like why autos are 'new' each year. Nobody wants to be driving last years look-alike when they just paid new price money for their car.

Some technologies used in old amplifiers do not exist anymore, like VFET transistors. They were used in high-end power amplifiers due to their unique characteristics: they behaved more like tubes. But they were expensive to make due to low production yeld and had no use outside of audio. Nobody makes them today.
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post #9 of 30 Old 02-12-2012, 06:02 PM - Thread Starter
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Originally Posted by syd123 View Post

I agree, when operating within their design limits, amplifiers are indistinguishable. That said, I do feel there are other attributes one can look to that are indicative of how well an amplifier is engineered/built. ..For most people, these things won't matter one iota, but they do to me. For example, each of my last four amplifiers - Bryston BP25/3BSST pre/amp; Peachtree Nova integrated; NAD C375bee integrated; and McIntosh MA6600 integrated - all performed differently when subjected to the following:

a) As you turn the volume down, does one speaker attenuate more than the other? If your amp has a balance control, you can always adjust for this. ..But if it doesn't ( eg., the Peachtree Nova), this can be problematic when listening to music at low volumes.

b) switch to an unused input and turn the volume all the way up. Can you still hear the music from other inputs? To my thinking, this is unacceptable. The Bryston and Peachtree both did this. ..Neither the NAD nor Mac do.

c) With volume turned all the way up - and no source playing - how much hum/hiss do you hear? With my Peachtree and Bryston I could hear plenty of hiss/hum from several feet away. ..Far less through the NAD and none at all through the McIntosh.

Again, these things may not matter to you. But to me, they seem at least as relevant - and far more identifiable - than the usual nebulous audiophile attributes like imaging, bass definition, PRAT, etc...

I have not had the input bleedover with Krell, Bryston, or Yamaha. The Yamaha integrateds are purely the quietest amps that I have ever heard (not heard)! They have nearly zero background noise at max volume! I read a review once that said that Yamaha embarasses kilobuck amps in this aspect...It is true, they are dead nuts silent at any volume.

I also have never heard any channel imbalances with any well made amp though I have heard of this phenomenon.

Thanks to all for the input. This is a fascinating subject!
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post #10 of 30 Old 02-13-2012, 01:14 PM
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Quote:
Originally Posted by ap1 View Post


Some technologies used in old amplifiers do not exist anymore, like VFET transistors. They were used in high-end power amplifiers due to their unique characteristics: they behaved more like tubes. But they were expensive to make due to low production yeld and had no use outside of audio. Nobody makes them today.

True, but what's old is new. Power JFETs are back, but in silicon carbide. I have been evaluating them for high temperature inverters, and I have noticed how triode-like their drain curves are. Look for somebody to use them in audio amplifiers.
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post #11 of 30 Old 02-13-2012, 05:21 PM
 
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Originally Posted by CDLehner View Post

M-G; I agree with what...at least partially...I think AJ is saying.
CD

Try not to be so definitive.
And you are dangerously close to not only comprehending...but agreeing..with something I wrote.

cheers,

AJ

p.s. too lazy to search, but IIRC, didn't you have an older "hot-rodded" amp?
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post #12 of 30 Old 02-13-2012, 05:28 PM
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Quote:
Originally Posted by AJinFLA View Post

Try not to be so definitive.
And you are dangerously close to not only comprehending...but agreeing..with something I wrote.

cheers,

AJ

p.s. too lazy to search, but IIRC, didn't you have an older "hot-rodded" amp?

(David) Belles 150a Hot-Rod (on back-burner), C-J mf-2500a currently; Belles 150a Ref v2 on the way.

CD

Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. -Plato
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post #13 of 30 Old 02-13-2012, 07:10 PM
 
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Originally Posted by CDLehner View Post

(David) Belles 150a Hot-Rod (on back-burner), C-J mf-2500a currently; Belles 150a Ref v2 on the way.

CD

Not listed in your sys, but that's what I thought I recalled. Guess what's powering my systems at Axpona?

cheers,

AJ
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post #14 of 30 Old 02-13-2012, 07:16 PM
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Originally Posted by AJinFLA View Post

Not listed in your sys, but that's what I thought I recalled. Guess what's powering my systems at Axpona?

cheers,

AJ

Crown?

CD

Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. -Plato
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post #15 of 30 Old 02-13-2012, 10:08 PM
 
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Originally Posted by CDLehner View Post

Crown?

CD

Nope, that goes with the ice and Coke late Sat.
From memory, VT-01, MB200s and some Soloist series.

cheers,

AJ
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post #16 of 30 Old 02-14-2012, 05:38 AM
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Quote:
Originally Posted by AJinFLA View Post

Nope, that goes with the ice and Coke late Sat.
From memory, VT-01, MB200s and some Soloist series.

cheers,

AJ

Ah. I really love David's gear; there's something very honest and relaxed about the presentation. The C-J...only by contrast...has a "color" all its own; at least with the very revealing Dynaudio Special 25s...less so with my new C1 Sigs.

MB200s were my "dream" amps at one point...but one of the things I like about the 150a Ref v2, is that it can be run in mono; you go balanced rather than un, change the speaker cabling, and BOOM...500/1000 per side baby!

Good luck at AXPONA.

CD

Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. -Plato
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post #17 of 30 Old 02-14-2012, 08:34 AM
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I have a wide range of systems and use modern, recent and vintage in them. Foir example, I have a Maggie system (recent MG 1.6s with an ACI Titan XL active sub) being driven by a 10-year old B&K dual mono Reference 4420 amp (350 watts/channel @ 4 ohms) with an Outlaw 2150 as a preamp and feeding it digital audio from an iMac through a Schiit Bifrost DAC.

I have another system which is a rebuilt 35-year old Sansui 9090DB (125 watts/channel @ 8 ohms) driving a pair of modern Epos M12.2 speakers and a REL T-3 subwoofer with sources including an Oppo 83 universal disc player and a Macbook Air via a Musical Fidelity V-LINK to a V-DAC to the Sansui. This system is where I actually do my most critical listening these days...

I can clearly hear the difference between each of these systems and a pair of $90K Focal speakers driven by a $25K digital music server that I heard at the Toronto AV show. Each of these systems can sound very good depending on the situation and I am ALWAYS listening to music.

Life is good and there is a lot of great gear out there that has been pushed aside by "new and improved" marketing rhetoric. There is some great stuff emerging right now as well. Sigh...

To be honest, I probably won't have the $90K Focals any time soon however... 8^)

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post #18 of 30 Old 02-14-2012, 09:53 AM
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Quote:
Originally Posted by gsmollin View Post

True, but what's old is new. Power JFETs are back, but in silicon carbide. I have been evaluating them for high temperature inverters, and I have noticed how triode-like their drain curves are. Look for somebody to use them in audio amplifiers.

Why would someone want to choose a given output device technology because of triode-like drain curves?
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post #19 of 30 Old 02-14-2012, 11:33 AM
 
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Quote:
Originally Posted by CDLehner View Post

Good luck at AXPONA.

CD

Thanks.

Quote:
Originally Posted by arnyk View Post

Why would someone want to choose a given output device technology because of triode-like drain curves?

It may appeal to customers and sell well?
Just a hunch.

cheers,

AJ
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post #20 of 30 Old 02-14-2012, 03:00 PM
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Quote:
Originally Posted by arnyk View Post


Why would someone want to choose a given output device technology because of triode-like drain curves?

They are more linear than regular MOSFETs. That lets designer use less feedback to reach the same THD level. Work in depletion mode also simplifies circuitry.
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post #21 of 30 Old 02-14-2012, 05:46 PM
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Quote:
Originally Posted by math-geek View Post

... I am looking for opinions of those who have listened and/or owned both newer and "vintage" equipment. ...

When it comes to electronics (pre-amp, amp, etc.), it's a mature part of current sound technology; so a good/great unit that is only 3 or 4 (or more) year old unit will still be very close to the best comparable units of today.

The one key downside to buying an older pre-amp/amp is that it's that much closer to needing repair service. OTOH my own experience with buying old pre-amp/amp units is that they are especially good value.

Old speakers (> 4 or 5 years old) are much more questionable, as speakers continue to improve fairly rapidly.

The best is the enemy of the good. Voltaire (1694-1778)

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post #22 of 30 Old 02-24-2012, 03:49 PM - Thread Starter
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It is very surprising how good some inexpensive electronics and speakers sound these days! The biggest difference I see between newer mainstream electronics and their predecessors are overly optimistic power output ratings. Much of the high quality vintage gear was way underrated in power output. My "old" A-1000 is a great case in point...It is efforlessly powerful, I cannot imagine finding anything better for less than $1500.00-$2000.00 new and maybe more). As well, it is so quiet that you have to put your ears to the tweeters to hear the slightest hiss at max volume!

Read the excellent article by Peter Aczel, the editor of the Audio Critic, on the performance of the Yamaha AX-592. Yamaha was less than truthful about this amps capabilities...They way understated them! It was a $500.00 amp with vanishingly low distortion and big continuous and dynamic power on demand! As is noted it was not built to Krell/Bryston military spec, but it was made with very good components where it counted. My A-1000 is built to a much different standard than the AX-592, the build quality is damn fine and the headroom seems ridiculous!

I have a feeling that the Yamaha A-1000 would emabarass many multi -kilobuck amps made today if we could see a full measurement test done on a fine working example.

I stand by my claim that this amp, used within its power parameters, is every bit the equal of a Bryston or Krell! There may or may not be differences if ran into very large impedance swings, that I do not know. I do know that it can kick some serious butt!!!
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post #23 of 30 Old 02-24-2012, 06:10 PM
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Great thread, very interesting. I am in the process of finding a good pre-amp/amp combo to go in my 2 channel all analogue system. I want to build a good analogue system to compare to my current all digital setup. Not really sure why, I just want to see what kind of differences in SQ there are between them. As far as pre-amps, I have been looking at the Bryston 1B or possibly a McIntosh C26.
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post #24 of 30 Old 02-24-2012, 07:26 PM
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Originally Posted by Martycool007 View Post

Great thread, very interesting. I am in the process of finding a good pre-amp/amp combo to go in my 2 channel all analogue system. I want to build a good analogue system to compare to my current all digital setup. Not really sure why, I just want to see what kind of differences in SQ there are between them. As far as pre-amps, I have been looking at the Bryston 1B or possibly a McIntosh C26.

Personally, I'd recommend the Mac C26 as it has tone controls and mono switch - two features that think every preamp should have. I had a Bryston BP25 preamp for years and though it performed well I grew frustrated by the minimalist design. Plus it had noticeable channel bleed and hiss/hum. My McIntosh MA6600 has none.
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post #25 of 30 Old 02-24-2012, 09:09 PM
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Quote:
Originally Posted by math-geek View Post

It is very surprising how good some inexpensive electronics and speakers sound these days! The biggest difference I see between newer mainstream electronics and their predecessors are overly optimistic power output ratings.

It was done a lot in the old days too. Don't assume that because it's vintage it exceeds specs. If buying it vintage too, it may not meet specs depending upon the condition it's in.
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Originally Posted by math-geek View Post

Much of the high quality vintage gear was way underrated in power output.

That's true of a lot of the better gear, but many of the big brands had a range of models and some were better than others. there was also a lot of subtley deveptive marketing, such as 'class A' amps that weren't but were sliding bias of various sorts.
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Originally Posted by math-geek View Post

My "old" A-1000 is a great case in point...It is efforlessly powerful, I cannot imagine finding anything better for less than $1500.00-$2000.00 new and maybe more). As well, it is so quiet that you have to put your ears to the tweeters to hear the slightest hiss at max volume!

Read the excellent article by Peter Aczel, the editor of the Audio Critic, on the performance of the Yamaha AX-592. Yamaha was less than truthful about this amps capabilities...They way understated them! It was a $500.00 amp with vanishingly low distortion and big continuous and dynamic power on demand! As is noted it was not built to Krell/Bryston military spec, but it was made with very good components where it counted. My A-1000 is built to a much different standard than the AX-592, the build quality is damn fine and the headroom seems ridiculous!

I have a feeling that the Yamaha A-1000 would emabarass many multi -kilobuck amps made today if we could see a full measurement test done on a fine working example.

I stand by my claim that this amp, used within its power parameters, is every bit the equal of a Bryston or Krell! There may or may not be differences if ran into very large impedance swings, that I do not know. I do know that it can kick some serious butt!!!

I'm also a fan of Yamaha amps, both older units and modern pro units at least. I have no need for 2ch pre/pro set ups etc as I have been multi amping for years, so don't have much experience with the newer stuff. I have about 20 channels of Yamaha pro amps in use or to be used soon.

As you mentioned the Audio Critic, read the DBT by Nousaine and Zipser with a Yamaha AX700 and a Pass Labs amp, starting on p7 of the pdf in the letters section.
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post #26 of 30 Old 02-25-2012, 07:35 AM
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Personally, I'd recommend the Mac C26 as it has tone controls and mono switch - two features that think every preamp should have. I had a Bryston BP25 preamp for years and though it performed well I grew frustrated by the minimalist design. Plus it had noticeable channel bleed and hiss/hum. My McIntosh MA6600 has none.


Thanks for the advise Syd123. Is the McIntosh C-26 a pretty good pre-amp compared to today's offerings from companies such as Musical Fidelity or Linn?
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post #27 of 30 Old 02-25-2012, 09:23 AM
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Thanks for the advise Syd123. Is the McIntosh C-26 a pretty good pre-amp compared to today's offerings from companies such as Musical Fidelity or Linn?

I may be the wrong one to ask as I believe that all modern day electronics - provided they are engineered for low distortion rather than some sort of "signature sound" - will sound the same. I think Linn, Musical Fidelity and McIntosh all fall into this category; they are engineered to be linear so they probably sound alike. ...So for me it comes down to features. Balance control, Tone Controls, and a Mode (stereo/mono) switch are essential as I use these to help make flawed recordings sound much better. If there are indeed audible differences b/w these three brands, they are apt to be so small as to be insignificant. But the differences that balance/tone/mode controls make can be heard by anyone with functioning ears. Hence, of the three listed, I would consider only McIntosh.
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post #28 of 30 Old 02-25-2012, 11:16 AM
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Originally Posted by Martycool007 View Post

Is the McIntosh C-26 a pretty good pre-amp compared to today's offerings from companies such as Musical Fidelity or Linn?

It's a very old design with early semiconductors and both design and parts have come a long, long way in 40 years. Unless you want vintage for vintage sake, you'd do better with a Rotel.
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post #29 of 30 Old 02-26-2012, 12:05 PM
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Originally Posted by A9X-308 View Post

It's a very old design with early semiconductors and both design and parts have come a long, long way in 40 years. Unless you want vintage for vintage sake, you'd do better with a Rotel.


Hmm...thanks for the advise! Any specific model Rotel's you might recommend? How do you think Rotel compares to companies such as Cambridge Audio and Musical Fidelity? I am not sure that I believe in the "all pre-amps sound the same" type of crowd. Another pre-amp that I have been eyeing is a Krell KSL. I can pick up the Krell for under 800.00$. I have also beening considering a Bryston 1B. Another question I would like to ask you is, how do semiconductors effect sound quality? Are there ways to upgrade the semi conductors in older units? Just curious?
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Originally Posted by Martycool007 View Post

I am not sure that I believe in the "all pre-amps sound the same" type of crowd.

Well, seeing that the only "crowd" making those strawmen, are the very same ones who believe practically everything "sounds" different, you should be all set. Should be very simple for you to decide which of the 8000 preamps that "sound best", to 8000 different audiophiles, will "sound best" to you, sitting there reading about it on the internets.
This one has more PRAT than that one, but slightly less sub-atomic microdynamics and sound stage depth (65' vs 70' deep). Attack and decay about the same, etc, etc.
Real simple.

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Originally Posted by Martycool007 View Post

Another pre-amp that I have been eyeing is a Krell KSL. I can pick up the Krell for under 800.00$. I have also beening considering a Bryston 1B.

Those are both so incredibly good preamps, that they won't need tone controls whatsoever. They cause the unhappy electrons - that make recordings bright and/or create +/-10db swings in your in room soundwaves response - happy. Quite brilliant no?

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Another question I would like to ask you is, how do semiconductors effect sound quality?

They have a significant impact on the audiophile brain.
Need we explain what that does to "sound" quality?

cheers,

AJ
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