Legendariske forsterkere fortsetter...

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  • Torsen

    Hi-Fi freak
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    Da tråden ikke ble med i fra den gamle sentralen, så kan vi fortsette her. Forsterkeren jeg sikter til har fortsatt ikke dukket opp. Men jeg skal Google litt ekstra hard, så mulig jeg finner den;)
     
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    ymir

    Guest
    Er det en forsterker jeg skulle ønske å ha lyttet til og eigd må det vere
    Andy Rappaport AMP1.I min verden har DEN legendestatus.

    fra SoundStage:
    The only thing the new amplifier lacks is romance. I can't imagine the buyer of a practical, low-cost Starlight amp winning the girl of his dreams, building a real estate empire, making and losing millions of dollars, and then exiting through a ninth-floor window. The high rollers who pioneered the high-end audio hobby sometimes did. Not only the buyers crashed and burned. Some of the early hi-fi designers and manufacturers lived dangerously, as well. Names to mind include John Iverson, Andy Rappaport, Jim Bongiorno, Dave Belles, and of course, Mark Levinson. These fellows all had a common passion, class A power amplifiers--the real kind, the kind that turned on, played music, and blew up in class A, sometimes taking the business with them. After the ML-2s, I owned a dozen solid state amplifiers which ran scaldingly hot and operated (mostly) in class A . I can vouch for the magic of brute force. Paraphrasing Norma Desmond, we didn't need technology; we had class A, then.


    Artikkel fra AudioNote:

    What then should be put in place of the current system of technology and evaluation?It took me, with the help of many friends and collaborators, (special thanks here goes to Leonard Norwitz, whose musical knowledge and intellectual clarity are immense), the Comparison by Contrast method was born, refined and formulated. (See article, “The Road to Audio Hell” elsewhere on the web site.)

    With this “tool” in hand, I went searching for equipment that sounded better when selected by the method. To my initial surprise, I found shockingly little: the Snell loudspeakers (only the early types like the A/II, A/III, E/II, J/II and the Type K), the Spatial Coherence pre-amplifier, the Rappaport Amp-1 to name a few. To my astonishment, the most successful products at coping with “Comparison by Contrast” were more than 15 years old (in 1980, that is!) and the further back I went the better some of the products, especially the amplifiers, turned out to be.

    This lead me to a serious study of the earliest audio technologies and the history of recorded music and its reproduction in general. Not being an engineer, I was unable to replicate any of the circuits I found and most of the 1930's amplifiers I acquired could not be made to work, so I had to wait many years to test my evaluation theory on these circuits. During the 1980’s I applied many of the ideas that I had picked up from these studies in the products under the Audio Innovations brand, and when I sold the brand to concentrate on the work with Mr. Kondo on developing Audio Note™.

    Og denne
    Around 1980, two extraordinary solid-state amplifiers appeared in the high-end audio market. John Iverson offered the Electro Research A-75 and Andy Rappaport offered the Rappaport AMP-1. Both of these were 40-volt (75 watt per channel) amplifiers with temperature tradeoffs in their design. The A-75 had a noisy fan and the AMP-1 ran egg-frying hot. And these amplifiers changed the picture of hifi by presenting a musical signal with more range, more detail, more texture, more space, and more music than the previous generation of top tube amplifiers. These two amplifiers were an interesting contrast in design and measurement. The A-75 was a high-feedback design with something like 0.0005% THD while the AMP-1 was a no-feedback design with 0.5% THD at half-power in the high frequency range. Both amps, however, were articulate in their reproduction of music. Mark Levinson made some superlative solid-state amplifiers, but not in this league. And Jim Bongiorno offered the Sumo amplifiers which were. Russ Sherwood has continued improving John Iverson's designs to make the Eagle 11 amplifiers in my living room.


    electro research.jpg



    rappaport.jpg





     
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    ymir

    Guest
    Audio Research SP 3

    SP3.jpg


    SP6

    SP6.jpg

    SP 10

    SP 10.jpg


    Mark Levinson ML2

    ML 2.png


    ML 7
    ML 7.jpg


    Mark Levinson JC2
    JC2.jpg
     

    Steinar_Lund

    Hi-Fi freak
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    setton.jpg


    Jeg vet ikke helt hvor legendarisk denne er, men kul er den i hvert fall:D
    Det er en Setton RCS.X.1000 - no less!
     

    Bartesam

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    Her er en Sansui AU 9900 fra midten av 70 tallet. Hører med her den :)
    Sansui AU TU9900-1.jpg
     

    sense

    Overivrig entusiast
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    Når pengene er der, skal disse en dag i hus


    Ble vel laget for å vise hva de kunne.. og konkurere med de store der ute på 90-tallet

    ca 40 par ble vel produsert...

    80 kg stykket... osv

    poa-s1.jpg


    DENON/COLUMBIA POA-S1

    Strengths: Powerful monoblocks with ample power and extended deep bass, very smooth natural sounding mids and fast articulate high end. A very "analog" sounding solid state amp without many of the negatives associated with solid state designs.

    Weaknesses: Captive power cord, 200lbs each make them very heavy and hard to move, not the most beautiful amps for the money with a bit more of an industrial look in a gold finish - some like the look, some don't - I would prefer a different appearance myself.

    Bottom Line:
    I purchased three of these 200lb monoblock amps in a package deal along with some Wilson Maxx, Wilson XS subs and more. Sold the Wilsons and kept the Denons after extensive side by side comparisions with many other top reference amps including ARC Ref600, Krell FPB 750Mcx, Pass Labs 600, Levinson 20.6 and more - each time I clearly preffered the sound of the big Denons which were smooth, deep and warm - and made the other amps sound lean and sterile by comparison.

    Actually, when I got these amps in I did not expect to like them and was surprised each time I compared them so some other well known super amps that they kept winning - my personal bias was never with these but over time I found them to be really wonderful amps with a deep, fast articulate bass, smooth mids and detailed airy high end with lots of oooph. If you get a chance to hear them i think you will find them impressive ... I did.

    Similar Products Used: I compared these Denons side by side to the following amps:
    (and preferred the Denons much to my surprise)

    ARC Ref600 monoblocks,
    ARC Ref300 monoblocks,
    Krell FPB 450Mcx monoblocks,
    Krell FPB 750Mcx monoblocks,
    Pass Labs 600 monoblocks,
    Levinson 20.6 reference monoblocks,
    Levinson 336 stereo,

    Og selvsagt må vi ha forforsterkeren til ampene... dette finner du ikke noen steder ideg...

    1296704609.jpg


    Skjelden flott byggekvalitet her..

    2k0026fc5e6e.jpg
     

    jokris

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    jeg synes nå at EAR 509 blokkene også bør med her
    ear509.jpg
     

    ottone

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    Legendarisk?

    Quad II, definitivt, har vært nevnt.


    JE Sugden A21, fra 1968:
    A21pic.jpg


    Heh, litt snodig når jeg tenker på det, jeg har jo varianter av begge to i hus.
     

    bluesbreaker

    Rock`n`Roll Animal
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    Disse får bli med over fra 2ern.

    Michaelson & Austin M200.

    Paravicini konstruksjon.
    (Nå E.A.R.)

    EAR 509 vist over,(#14) blir småtteri!:)
     

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    ottone

    Æresmedlem
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    Tar med denne over også:
    Gamle Leak Stereo 20
    reserve2.jpg
     

    bluesbreaker

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    NAD 3020.

    Forsterkernes "folkevogn-boble"!

    Nevnt før i hfs2, men fortjener bilde.

    Det eneste NAD produkt som kan kalles legendarisk.
     

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    nysjerrigper

    Guest
    nad 3020. er den like god i dag?
    nad-int.jpg

    komponentene ser relativt moderne ut. ikke mye vintage hva angår karbon-mostander og lignende eller? :)
     
    Y

    ymir

    Guest
    hei

    David Belles hører til blandt de store amerikanske konstuktører.Her representert med OCM 1600 fra den tiden han jobbet for Magnum Dynalab.

    Belles driver i dag Power Modules.

    OCM.jpg


    OCM2.jpg
     
    Y

    ymir

    Guest
    NVA,Richard Dunn sine konstruksjoner er vel legendarisk,The Integrated Statement på Quad 63 var minneverdig.

    allnva.jpg


    TDS_Colourfull.jpg


    TDS_SlantS.jpg


    TIS_AP_2.jpg
     
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    Torsen

    Hi-Fi freak
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    Da kom jeg på hvilke forsterker som ble sammenlignet med Cyrus 1 og Nad 3020 som legendarisk. Den heter Advent 300. Men dette er en reciver etter hva jeg har forstått. Den er vel muligens i fra 70-tallet?
     

    oct

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    KRELL KSA-300S.jpg

    I mangel av bilde av KSA 50, legger jeg ut denne.Monoblokk?

    mvh
     
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    oct

    Æresmedlem
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    Oslo
    dscf8775.jpg
    Og denne. Ble vist på HFS 2 og.

    mvh
     

    Kabeldragern

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    KSA50 hørte jeg på et sett Quad ELS63 på Akers Mic (tror jeg det var). Ikke for å dra ned stemningen, men det var ikke "my cup of tea".... for å si det mildt
     
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