Amps from the 1980's -- What gear holds up sonically? Reliably?

Just to get back on track, the 80's had great items made from many companies. In fact, To think of it, I think some of my favorite stuff was made in the late 50's, 60's, and early 80's. One of my best picks is the Threshold SA line: even though I'm not necessarily a SS person, the SA amps sound so pure and musical. They were made in the early 80's. Conrad Johnson's Premier 1, 4, & 5 amps are still highly sought after in Hong Kong for they special sound. They are not as accurate as other amps but they are very open, musical, euphoric, and magical when set up correctly. Amps that are the most accurate do not necessarily make magic in a system. The Rogers LS3/5a for example is a speaker made from the 70's - 80's and it is definitely not the most revealing monitor I have heard by far. But I once heard it paired with Cary 805 amps and a tube preamp and till this day, I still feel it was one of the best, engaging, super large sounds I ever had the pleasure of hearing. It was an experience not a listening session. System 

Daveyf, I would rather own and listen to a McIntosh tube amp any day over a Audio Research tube amp. Yes that is my preference and I have heard AR amps along with MAC amps. That why I can't see your AR amp being the cream of the crop from the 80's. just because you like it a lot doesn't mean everyone else thinks it's the best. 

80s is vintage? Much of my gear is 50s, 60s. 

All seperates, btw. 

Hegman Hapi preamp .

Epicure model 1 power, Soundcraftsman pre and power. Apt Holman.

Mac stuff from the tube age with upgraded parts might surprise a lot of people. Great midrange and totally non fatiguing, I still own a pair of MC-60s. Not used every day but I can't part with them either and always enjoy listening for a change of pace. REALLY nice with an heavily upgraded PV9a, my current everyday pre. Back to the future kind of.

lowtubes--"In responds to Daveyf remark, "vote for cream of the crop," there is no way the AR components you mentioned would take that spot. There were way too many great sounding items. And I haven’t checked but I’m assuming that the AR amp you mentioned was either SS or a 6550 based amp. I for one, prefer EL34 amps over 6550 designs and even still, the 300b tube over EL34. So that’s why I do not prefer AR amps and some of the CJ line. I mention MCIntosh amps in an earlier reply because MCIntosh had been quiet for many years and returned back in the spot light in the 80’s. And to my discovery, they make some awesome sounding hifi equipment. I never own MAC stuff but have heard it several times and I’m very impressed. These 5 preamps I own and are using in my systems - the main preamps- Marantz 7, AR SP-11 mk 2, Stevens Billington Silver passive, and the Conrad Johnson PV9A & PV-11 preamps used just for phono-sections. I don’t want to begin the list of amps and turntable I have set up."

That’s all IYHO. My ARC amp does use 6550’s. Your preference for EL34’s or 300B’s is just that a "personal" preference.
Have you actually ever heard one of the ARC amps I mention...recently, I am betting not. MAC stuff from the tube age is nice, but is more colored and less resolving ...IMHO. YMMV.

In responds to Daveyf remark, "vote for cream of the crop," there is no way the AR components you mentioned would take that spot. There were way too many great sounding items. And I haven't checked but I'm assuming that the AR amp you mentioned was either SS or a 6550 based amp. I for one, prefer EL34 amps over 6550 designs and even still, the 300b tube over EL34. So that's why I do not prefer AR amps and some of the CJ line. I mention MCIntosh amps in an earlier reply because MCIntosh had been quiet for many years and returned back in the spot light in the 80's. And to my discovery, they make some awesome sounding hifi equipment. I never own MAC stuff but have heard it several times and I'm very impressed. These 5 preamps I own and are using in my systems - the main preamps-  Marantz 7, AR SP-11 mk 2, Stevens Billington Silver passive, and the Conrad Johnson PV9A & PV-11 preamps used just for phono-sections.  I don't want to begin the list of amps and turntable I have set up. 

Hahaha, well in case anyone was hoping the drama would start in this thread, I guess it will be me. :)

In the 1980’s the CJ had me body and soul compared to ARC.

However in the 21st century, I’d rather have ARC.  This is partly because my tastes have gone away from euphonic and partly because ARC has gone more towards it.

Best,


E

Here's a vote for the amp that I believe is the cream of the crop from the 80's...the ARC D70Mk2. This amp along with the more powerful ( but slightly less resolving..particularly in the crucial midband) D115 and the great M100's exemplify for me the golden age of ARC.

Still using an 1988 Audio Research D125 (125WPC 6550's) fronted by a 1968 Mcintosh MX-110Z on a daily basis. MX all stock except preamp tubes (50's RCA); D125 recap'd PS with regular tube changes.

A bit surprised no one has mentioned Belles.  I have an original Belles Research Model 1 purchased new in 1985 that sounds just as terrific now as it did then.  No repair or service required, even after a number of cross-country moves.  Detailed, quiet, clean & musical.  A winner all around, IMO.

FWIW, I purchased it through Gala Sound (Jim Gala).  For those of you who know Upstate NY, that might bring back a few memories.

the 80s kyocera gear was extremely well built--they aspired to be the japanese mcintosh. their separates are comparatively rare and pricey, but their receivers (r851, r861) are ubiquitous, cheap and great-sounding.

There is just too much stuff to mention, some equipment will do wonders in some systems and sound average in others. But if you hear the same model component being repeated, then you know something special about that item. I used to believe McIntosh was not high-end because for many years, they were not in the hifi game but after they got back in, and I got to hear their new stuff along with returned back and listening to their older gear like the MC 275, it definitely settled the issue that some Mcintosh is superb equipment also.

Shop I worked at in college sold a lot of Adcom triple nickels.  Of course, I couldn't afford that and beer money, even at cost!  The big Adcom (and later the 565) reliably drove the Thiel 3.5's in one of the shop's large, treated listening rooms, and I spent many days hoping one day to have a system as fine as that. Good people and sweet memories.  

Might be well known, but when asked what 'GFA' signified, reportedly the Adcom guys said it was short for 'Great F____ Amp'.  Certainly has earned its place in audio lore.

Cheers

Recently, my Precision Fidelity M7-A returned from the dead and immediately reconvinced me why I bought it in the first place-it just sings. Got it paired up with a pair of Silverline Audio SR11s', being pushed by an AR SP14 and a California Audio Labs Icon MK II. Detail beyond the boundaries of the speakers abound. It replaces a VERY high end amp that is most reputable, that doesn't sound near as good to my ears. It does all of the things I value very well.McIntosh? One of the best sounding systems I have ever owned was a C 28 pre, and a 2300 amp running into a set of homebuilt speakers. Had it all set up with a real time analyzer, and it was incredible sounding and dead solid reliable. Had it all installed in the wall of my mobile home set in the middle of 22 acres. I had no noise complaints....and a whole lot of fun, 1973 to 1983.

having my old Adcom 555, redone at VanL speaker works to use in my office.   always will have a softsopt in my heart for that amp. 

Well, for me the 80's was a time when CERTAIN designers made some really memorable items. My system today still has major components from the 80's. Beginning with Conrad Johnsons premier 1 amp all the way thru to the MV55 were all great sounding pieces. Audio Research made the excellent SP-10 & SP-11 preamps. Love all the Thresholds especially the SA versions. Cary Audio made some very special 300b pieces and Jeff Rowland was very good too. I was not a fan of Krell, too analytical sounding and not musical for my taste. Every era made good stuff, I'm listing to my vinyl now on an Unmodified 1957 Marantz 7 thru a CJ Premier Four thru Martin Logan Request Electrostats and the music is so pure, detailed, and musical with a dreamy super large soundstage. I paid $4500 for the Marantz 7 about 2 years ago and it is one of the best preamps I have every had the pleasure of owning and listening to. Don't discount older stuff, they still sound AMAZING!!!  Forget about specs, let your ears be the judge. 

Still use a Mark Levinson 335 amp

what a great thread!  If threshold is on the list, then I include Forte, either model 1 or 3.  My model three is still my amp  and recently had Jon S rebuild it.  I remember upgrading from my adcom 535 (still my backup), to the next level.  I unfairly compared the forte to threshold, levisnon, krell and AR with my monitor audio Mark IV gold.  Now my limited budget certainly contributed to my bias, but for me the only amps that bested it were AR and threshold - for me...

Great thread, Erik.  Going back a bit earlier, I had a Luxman integrated amp that was SOTA.... I wish I still had that powerful piece around.  It was built like a tank.  

@captvideo


Energy 22 are a great speaker are got mine at Bloor Radio in Toronto. Still have ’em along with a Kenwood C1 and M2

A system I would loved to have had back in the late 80s and wouldn't mind having, even now, would be a set of Apogee Duetta II Sigs. driven by a pair of Mark Levinson 23s. I had a chance to audition that combination and fell in love.
Maybe still someday - if I ever have the extra bucks and room.

Still have and it still performs well and sounds sweet, a early to mid 80s Audible Illusions pre-amp. with phono section. One of my favorite small amps, affordable for my budget, was the PSE Studio II. At a modest 80w/140w - 8ohm/4ohm respectively, it did a nice job driving my ESL-63s. Also had early model Brystons and Krells.
Another piece of equipment that I had and liked allot was my Nakamichi ZX-9 Cassette Recorder/Player - now worth more than when I bought it new. After 15 years in storage, I got it out, cleaned and serviced it and all functions performed beautifully and still sounded great. 

I am still listening to the Energy 22's I purchased in the early 80's when I was selling audio. I wish I still had the Denon PMA 950 pure class A integrated amp I had then. I don't know how reliable it would have been as it ran very hot.

I also agree with those who mentioned Bedini (25/25). A great sounding amp.

I have an Adcom 555 but it has't worked in years and is not worth the price to repair (over $500.00) but it was a fine amp in its day, tons of good clean power but a bit harsh at higher volumes. They powered Snell E3's in my system. The Snell's were definitely fine speaker but modern speakers image leave them for dead. Sold the Snells for a decent price about a year ago.

Speaking of Ampzilla and Mr. B, I owned a Son of Ampzilla in the 70's. I didn't like the lack of on-off switch, and called Mr. B about it. He just said fine and sent me an outboard switch to install myself. -Never used the switch but liked the amp a lot. I traded for a used Naim amp and pre just to get the mc phono card in the preamp. Before it was over, I had a Linn-Grace707- Supex 900 E plus super set up. Those were the days.
-Sorry, but this stuff brings back fond memories.

The thing about Sumo's consistently is they sounded deep. Side by side with a Hafler, the Hafler's of that era would sound weak and thin and compressed.

Though for mid-range and treble transparency and quietness, I wouldn't trade my modern amps for them anymore.

Best,

E

I've had several models of Sumo amps through here in the past 20 years, of them 3 Nine Class A's including the prototype. None of them needed recapping (per James Bongiorno who I befriended in '98) and all of them sounded great. We did mod the Nines to a newer opamp and IEC socket but I also had an Andromeda, a NOS Gold, and a NOS Power, the Power especially took my breath away. I still have the silver-faced rackmount Nine plus a Rowland Model 5, a ML no.336, and a Bedini 250/250 working perfectly now as when they left the factories. Only my Mac 2105, probably 70's, needed new power supply caps (oversized ones definitely gave me better bottom end). I also use a Nak 420 power amp in my studio from that era. There's also a Yamaha P2200, BGW 750D, QSC USA 400, an Audionics PZ3, and a hunkering Crest 4001 in the garage, all still work fine. The only other amp I had to replace caps in was a Harmon Kardon Q50A from 1964, rather older than these. Quicksilver caps were a huge upgrade but we also bypassed all the junk stages (tone, filters, blend) and the thing sounds awesome. Only a Merrill Veritas monoblock pair ( here for review, $12K) exceeded these but I didn't have the Levinson then which is my daily driver. I can't believe some people feel all amps sound alike (AES!) but then I hear cable differences too, so sue me. ABX is deeply flawed. Go with your ears...after a reference check multiple times. Blah, blah...

I’m the original owner of a beloved SAE 2200 amp bought in 1977 that is still in use. In 2001 I paid the original designer James Bongioro to completely upgrade it. Every capacitor got replaced with poly & premium electrolytics. He replaced all the semiconductors (diodes, transistors) except the matched input transistors which he said were working well and had no better modern alternatives. The output power protection circuit was removed. And the final upgrade was his addition of an op amp servo bias circuit board that was not present in the original SAE design. He used an Ampzilla servo bias circuit board. Boy did he boost the bias voltage over the original factory set level, too! The unit now runs about 50% hotter (and sweeter) than it did all those years before 2001.

Recently I’ve added an Ayre AX-5 Twenty amp for daily use. But I still have the SAE 2200 hooked up. I’ve auditioned many solid state mid-high amps over the years and until I heard the Ayre, none were more musical than my upgraded SAE. Certainly nothing within an order of magnitude above the $400 paid to James for the upgrade.

James Bongiorno, a "pioneer of audio", passed on in 2013, sad to say. http://forum.audiogon.com/discussions/death-of-jim-bongiorno

Seriously, nobody's bringing up McIntosh ????

I just rebuilt a MC2300 for a friend (can't do what we did for $$$, only for friends). Compared it to our Aurion(tm) with nCores - now the MC2300 isn't a Constellation - but I was surprised how good the sound quality is. Those OPTs Mac held onto must have something to do with it. Stable as hell, very musical amp. Circuit design is as basic as you can get, but this amp has held up for almost 50 years! Who can say that now?

Forgot to add .... whether or not the gear has been in frequent use is important to maintaining the condition of passive (and some other) parts. Perhaps as much or more as "brand".

Equipment I or my close friends have still in use .... Amber 70 amp (original condition), HK Citation 11 (original condition), Teac 7040 high speed two track tape deck (original condition), Teac 4070 consumer tape deck (just had minor servicing, first since I bought it in 1970), Audio Research SP6-B (in daily use from 1980 untill I sold it in 2007), Audio Research D90 (in daily use from 1980 until I sold it in 2007), Thiel 3.5 speakers (four, in use since 1989), Thiel 2 2's (two, in use since 1995), Audionics Bt-2 preamp and CC-2 power amp (I've owned six at one time or another in original condition, no problems with any an all sounded great although not with exceptionally low noise or transparency.  BTW, the CC-2 was THE FIRST low TIM amplifier).
Koss Pro 4aa headphones.  Heil AMT-1 speakers (with woofer suspension replacment).  Counterpoint SA-1000.

This is all gear that is up to modern standards and operating in substantially good systems.  Hope this helps.

Still running a cj pv-5!   1983 vintage I believe.   Blows away many current SS pre's and some modern tubes as well (and it comes with a pretty darn good phono stage)

I am the "Computer Audiophile on the Cheap" and have been considering a NAD 3020, that has been re-capped and tuned up for $269 (e-bay). Any opinions about that legendary 'entry-level' integrated that was such the rave back in the day? I have an h/k 330i and a Yamaha RX-350 recently updated by my technician, but everyone still speaks about the NAD with great reverence...it looks like there are a steady supply of them from that vendor.

I must be the only one here that likes Parasound. I have had a few with the HCA-1500A the best one so far. I have two I run in mono to drive Vandersteen 3A’s, which sound really nice. At $350 each, I think it’s not only reliable, but a great value! I’m pretty sure that most of the gear listed so far costs more. So I think it’s important to differentiate price point. I think John Curl is a top circuit designer. It’s too bad the amps don’t have a more distinctive "cool" look like some of the amps mentioned here.

I have a Hafler DH 220 that I’ve been using since 1984, driving first Spica TC-50s and now Maggie MG-1.5 QRs with no hiccups.

My vintage Mark Levinson ML-9 has been re-capped at the store where I bought it used several years ago, and my technician brought it back up to spec awhile back, and it sounds amazing!

You can see it in my system at the link below:

https://systems.audiogon.com/systems/5523

Reading one post they were known as flame throwers that is because of people pushing them too overload like a junky the more you turned them up the better they sounded until blow up time if kept under the o dB point no problem. I've got two 400's that have never been touched but the ones heavily used will need the electrolytes on the circuit boards as they  definitely need to be replaced to last another 30 years  Even with the rebuild they still would be a lot cheaper than some new ones

Count me in as another Adcom affectionado.  My introduction into the world of separates started back in the late 70s, when I bought a Sansui QSD-1 four channel unit and started using separate amps for both the front and rear channels and a little later on, I added biamping to the mix and added a third amp.
My first set of dedicated amps were a matched set of three Heathkit 125w/ch amps which I built over the course of one, long summer.  The Heath amps lasted about six years and then one of the channels went out on me.  Looking around for a replacement, I wandered into a stereo store and picked up an Adcom 545 - only 100w/ch but i figured it would be OK for the subwooferes.
As soon as I hooked it up I was aware this little Adcom was way better than my more powerful Heaths.  So much better that I immediately started collecting Adcoms.  
My next Adcom was a 555 which I put into place as my front channel amp. By this time I was using Magnepan 1a speakers for both the front and rear and the 555 proved to be a wonderful partner.  A audio-sales friend of mine told me that if I thought the 555 matched well with Maggies, I should try the 5500.  So I did.
The MOSFET design by Nelson Pass turned out to be a match made in heaven with the Maggies.  It didn't take long for the second 5500 to come into my system.
25 years later, my three Adcoms still form the backbone of my system.  I still have the same pair of subwoofers but the Maggies have been upgraded to 1.7s, front and rear.  All along I have had a pair of McIntosh C-20 preamps, each placed just before the 5500s to provide final balance and volume control plus add that wonderful tube sound.  The tube preamps work so well with the MOSFET design, and the resulting sound that comes out of my Maggies makes every listening sesion "a little slice of heaven".  Hopefully, I will never have to change.
Now, I don't mean to suggest I haven't done anything to help these amps.  Both of the 5500s have been in for service a couple of times and about five years ago I took them in and had the caps upgraded. This summer they are going back in and I'll have the power supplies looked at.  But even if the power supply is upgraded my maintenance/upgrade cost over these 25+ years will average out to about $35 a year.  For that expense (after all these years) I get a fantastic soundstage, a warm, liquid sound, and a noise floor so low that as a song winds down and it gets to the few seconds between songs, you'd swear that nothing was even turned on.
On the other hand (except for a replacement off/on switch), the poor, little 555 has had absolutely no service performed on it since the day I bought it.  Since the 555 has more bass than the 5500s it has been powering my subwoofers whithout a flaw for 25+ years. 
Thank you Nelson Pass !!!

Boulder amplifiers.
Still very much in love with the 500  and don't see any need to replace or update. Absolutely amazing to this day.
As for reliability I expect this will outlive me, easily (no, I'm not THAT old),  and still sound spectacular.More info here for those interested: http://www.stereophile.com/solidpoweramps/886boulder/index.html

I still have the Krell KSA 250 that I spoke of above. I had it updated to a 250S, sold it bought a 700C, sold it and ended up with the 250 again after the owner died. I have been using it quite a bit although I have a pair of Citation IIs running in balanced mono, it still sounds great.
I also have a Yamaha CA 2010 that sounds super and a Mcintosh MA 6100, a Bryston 3B, Transcendence 400, Belles 1, a pair of Audionics and various other Yamaha receivers. There may be others.

Agree strongly with the Electron Kinetics Amps. All of the Eagle 2 series power amps are stable down to 2 ohms. They became the building platform for all of the mono amps that followed.
I managed to purchase a pair of 11 prime mono blocks recently and will never look back!
I purchased a 7a dual mono amp from John Iverson and later he upgraded it to a 7b (only 22 exist) which I still have.
Used to own Thresholds, Accuphase, and briefly Phase Linear. None compared to EKSC Eagle, especially with dynamic loudspeakers.
The BEL (Brown Electronic Labs) were peerless and remain so when driven as mono blocks for Electrostatic Loudspeakers, especially Dayton Wright's.

I bought a Bryston 3B new, in and around 1985. It still works flawlessly, and has seen a tough life at times, but not once did it ever go back for service/repairs. It has now been passed along to my son for his system. I never strayed from the Bryston line. Owned many of the 4B series and now have a pair of 28B SST2's. Perhaps I'm stuck in my ways, but I feel loyal to the brand that has worked out so well for me, and being a Canadian, I like to support home grown manufactures whenever possible.

Phase Linear are still great amps and some still sound great in relation to modern amps. If they still work your all set but if not there are a few places on E-Bay that will get them back to Snuff I use Circle Stereo in Texas. You had the 400's 700 and 500 and the newer ones had a B designation and had  different meters  and they still sound as good as most new amps and maybe better after being rebuilt. I still have all of these and I can't get myself to part with them. And by the way Pink Floyd used too use the 700's stacked so that goes to show how good they were. Look up the most influential amps of all time and you'll see the 400 as right up  near the top. Bob Carver was the guy who got the ball rolling as far as high powered good sounding amps. I am 72 and have heard them all. Most important is the Pre amp as that will make the big difference and a lot of new ones have made great strides as far as better sound.

True story. Back then I purchased a preamp from a woman who worked for a terrific high end store west of Madison WI. As we talked, she related to me that she was into high-end. She told me that her theta amp was the best she had ever heard. She also related that she kept it hidden from her husband and pulled it out whenever he went to work. Ultimately, she was discovered and her love for her amp, led to her divorce....

It was nice because most tube amps sounded musical back then. Now more than half the tube amps sounds closer to solid state, at least in tonal balance. I wish Conrad Johnson had stuck closer to their musicality heritage, for example.

Who didn't like the look of McIntosh? I always loved the look! ;) The green glow.

I just sold my quad 63 and went back to Snell Type A... The originals, totally refurbished. Both are magnificent sounding speakers. They complete against expensive designs of today. It is amazing how little speakers have improved in almost fifty years ... once again, in terms of musicality.