Old Amps that can still Kick Butt
Not being a believer that time necessarily = progress, I would like to offer the following example of a sonic gem that has transcended time and can totally kick butt in a modern milieu:
The Robertson 4010. I got one of these about two years ago because it was in immaculate condition, the price was so low and I was inquisitive. I hooked it up and let it warm up for a couple of days. OMG this thing was in the super amp league: Transparency to die for, slam that you couldn‘t‘ believe for for a 50W amp.. Peter Moncrieffe wasn‘t wrong in his review of this amp: this thing is in the Sterreophile Class A component category hands down. Even after all these years.
What amps have you encountered that have defied time and can still kick butt today?
So many great amps listed in this thread. I’m about to move overseas in just under a month so now I’m on this shoe box sided British integrated amp phase and have had an Onix OA21s & OA 20/2 which were both excellent mid 80’s amps. Now I have an original Linn Majik I and a Meridian 551 and both are quite good. |
Loooong time ago, my friend (RIP, Asit) worked for roadrunner records, went to the recording studio here near him in Chicago, Suffocation, Deicide, all the 80’s roadrunner bands recorded there!,!! Was awesome! Met Suffocation,Deicide, King Diamond, and so many other bands in the studio. they had the B&W 80? In the studio, and ran everything with Threshold amps. They are still relevant and amazing!! |
@atmasphere -- ... Interesting info (not quoted) re: feedback. Apart from the traits of an easier-to-drive speaker with higher impedance load (i.e.: >8 ohms), benign phase angles and high to very high efficiency, getting rid of a passive cross-over is another vital measure to ensure the amp(s) is seeing an easier load, even lessening its importance the same way higher speaker impedance render cables less important. I’d even wager much of the (in my view) ludicrous tendency of over-built (and insanely expensive) amps from the likes of D’Agostino, Boulder and others are a symptom of the heavy load they’re presented with, and how they strive to be less affected by it (until thermal issues will arise in the speaker). Complex passive cross-overs are very much to blame for this, effectively making a rated, limited sensitivity somewhat of a variable (i.e.: potentially lower) - depending on the amp driving it; one that is more or less impervious to load will see the speaker deliver closer to its full potential at its rated sensitivity (insofar it’s correct to begin with), whereas an amp that is not will obviously hinder a speaker’s performance and its clean dynamic range. My 30 watt pure Class-A Belles SA30 is coupled directly to a pair of EV compression driver + horn combo with 111dB sensitivity (8 ohm version) - covering from ~600Hz on up. So, there’s another factor to consider: the range a given amp is going to cover. The Belles is practically freed from anything below ~600Hz - again, coupled directly to the CD without any intervening passive cross-over - meaning that in every conceivable way in a domestic setting it’ll simply cruise along under the best of conditions. Maybe that amp is even overkill as it is, but I’ll never part with it. |
I bought my VAC PA 100 100 tube amp and ARC LS15 tube pre amp back in 1995 and they are still going strong with no issues I just replace the tubes on both units as l thought it's probably time to replace them Just recently l bought a used Spectron musical MK ll class D amp to drive my Maggie's and l love that old amp and how it makes the Maggie's beg for mercy! |
@bdp24 My friend has an RM-9 Mk2. It is excellent. But so are McIntosh 225 and 240 amps. While this is a current amp, the Prana Fidelity Class D amp has no shortcommings. At the LA SHOW yesterday, I heard the $10K 400 watt 8 ohm amp driving the Prana two-way average efficiency speakers off of a Townshend Allegri Reference Autotransformer preamp, Silversmith cabling and EAR Classic CD player. Best in show sound (it was a limited size show with only about 70 vendors). Other than deep bass, it had superlative coherent sound, dynamic and involving. Better than a twice the price Harbeth 40.2 anniversary. Listened for 45 minutes (analog too). Never heard a autotransformer pre-amp with such slam/dynamics and colorful sound. I heard the amp several years ago and was impressed. Our records and CDs, classical, vocal, jazz and rock. Now, the entire chain of music was magnificent! https://pranafidelity.com/index.php/project/purnama-amplifier/ I use a combo of classic amps, EAR 890, radical modified Dyna ST70 and a pair of custom Altec 1459 (transformer and case only original parts). The Prana is definitely in the running to replace the custom pair and 890. |
The Music Reference RM-9 Mk.2. THE classic tube amp, better than the Marantz 8b and 9, the Mac MC75, and the ARC D76. For low impedance loads, the RM-200, "Class A" rated in Stereophile by Michael Fremer since 2002. The only tube amp I know of that puts out as much power into 4 ohms as it does into 8. |
@calvinandhobbes, I belong to a similar school of sound, i.e tonal accuracy and timing being the fundamental goal. Check out Croft amplifiers from UK. http://www.croftacoustics.co.uk/ |
Second that Coltrane 1 I have a 1999 Plinius SA100 Mark 3 matched with the M16 Pre. Amp recently juiced by Ralph Abramo of Pliniusrepairs.com. (the Ultimate upgrade) with all new caps, relays, switches, etc. What a difference he made to an already wonderful amp. Drives Dynaudio C1 Signature monitors through Tara Labs cables. Even the Plinius integrateds are wonderful. |
I am not prepared to pay $6K for Doug-Shredders Class-D love affair. My Mark Levinson 23.5 is Kick-ass, paid about $1000 and I enjoy my sound a lot. Jim Bongiorno's designs are also great and I still have a Son of Ampzilla. My 'The Nine', about 60W class-A by the same designer is exceptional but was stolen unfortunately. |
Any of the old Hafler Excelinear amps..... I have run the XL280’s vertically biamped to Vandy 2ci’s forever! https://www.facebook.com/groups/hafler/?ref=share |
One of my all time favorites was the old mid 80s PSE Studio II (80/150W) paired with my Audible Illusions - Modulus II Pre. driving Vandi 2Cis and then in the early 90s upgraded to the Studio IV. (100/195W) driving my Quad ESL 63s. Incredible sounding and performing amplifiers. By anyone's standard, then and even now, might be considered sonic gems......Jim |
I also have a Scott Lk-150, and it is a special amplifier. It’s my “back up”, but I’ve tried it in my main system in place of a very well respected, current model amp, and it competes very well. I actually prefer it with some music. I took it with me to audio stores to compare to new amps when I was looking to buy. It sounded better than all the ones I auditioned. We’d listen to the new amp first, then put the Scott in its place and listen again. I could tell the moment the salesman realized the 60 year old amp sounded better… his jaw would drop. Literally. It’s also gorgeous to look at. I haven’t heard everything out there, but I’ve owned dozens of amps, and I’ve listened to many dozen more. Something about this Scott just sounds “real”. |
