Marantz speakers audiokarma mcintosh
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Content:
- Marantz 2230...thoughts?
- Sansui 1000x audiokarma
- The Most Memorable Audio Receivers of the Last 50 Years
- Vintage Asylum
- Today's Best Hi-Fi Reviews and Commentary
- Why Your Dad’s $300 1980 Receiver Still Sucks
- So what is your favorite vintage stereo amp? McIntosh, Marantz, Fisher or???
- Marantz SR7015 AV Amplifier Review
- Audio Karma Fest going down in Livonia, MI this weekend
Marantz 2230...thoughts?
The amplifier in an audio system serves as the central command unit in a way, as it takes the audio from the source, amplifies it, and sends it to the speakers.
A receiver, or integrated amplifier, is even more involved in its role, as it has source selectors, speaker selectors, equalizers, and often a radio receiver, as well as other functions. For ultimate simplicity, and cost effectiveness, an integrated amp of receiver is recommended over obtaining and using the individual components. When it comes to receiver choice, there's two main categories: new and vintage. Vintage is generally preferable, as long as you don't need satellite radio, an iPod dock, wireless streaming or other superfluous features.
Vintage receivers are better than modern receivers with the same features for a few reasons: Build quality: vintage receivers are solidly built. They use high quality materials often all metal and wood too. Sound quality: vintage receivers often have very low harmonic distortion that often rivals modern receivers.
Beyond that, the sound is often thought of as being more lifelike, dynamic, or full by some. Repairability: a vintage receiver will last a lifetime. They require maintenance, but so do modern receivers. But often, modern receivers are unrepairable with surface mount components and other construction methods. Vintage receivers were usually built with the intention of being repaired when they break. Not thrown out. Value: A high end, restored vintage receiver will run you between an dollars usually.
A modern receiver with that level of sound quality is near impossible to find at that price. But a vintage receiver in need of repair will run you about 30 bucks, and can be brought back to better-than-factory condition for about 50 to 70 dollars, plus a couple hours of your time.
This Instructable serves as a basic guide to selecting of a vintage receiver and general repairs that need to be done to bring it back on line. A word to the wise: this Instructable, as I said, is a general guide.
There may be questions or issues that you stumble upon specific to your receiver. Also, try finding a repair manual on Google. If you find a free download, or even one for a couple bucks, it might just save your project from the scrap heap. When it comes to selecting a vintage receiver, there are a few considerations to make. The first is the age. The golden age of receiver quality is often thought of as being from to ish.
The second major consideration is brand. There are other great brands out there so do your research. A third consideration is condition. If there is a bad transformer in the power supply, walk away. Bad caps and scratchy controls, however, are not a major problem and are easy to repair. Blown bulbs are also expected, and should not lend much to the decision. Also, burned out components can sometimes be an issue.
Burned resistors are no biggy, but burned transistors can be a complete roadblock, with certain transistors no longer being available and equivalents being hard to determine. When it comes to where to find a receiver, there are many options. Many have old audio equipment kicking around. Since they often don't deal with vintage audio equipment, it can be purchased at a good price. Here, I'm going to use the rebuilding of my Sherwood S as an example. It's well built and easy to work on. I picked it up in working condition for 30 dollars from a local antique store.
There are a few issues that almost any old receiver will have, even if they had been well taken care of by the previous owner. These issues stem from the limited lifespan of certain components.
Three main issues are: Old capacitors: electrolytic and paper capacitors degrade with age. Paper capacitors tend to change their values, while electrolytics break down chemically and essentially turn into a resistor.
When power is put through them, they heat up, boil the liquids inside, and go boom. Capacitors have a shelf life of anywhere from 10 to 30 years, but a usable life of to hours, depending on application and quality. For those reasons it can be assumed a receiver from the s has bad capacitors.
Scratchy controls: the potentiometers that control volume, balance, and EQ need maintenance to function properly that almost was certainly never done. Dirt collects inside of the pots and wipers and traces depending on material corrode. Also, the lubricant inside the pot can gunk up with use and needs to be cleaned out and reapplied.
If a bad pot is turned, the audio from the speaker often crackles and pops, or even cuts out. While the effect of a bad pot is dramatic, often a cleaning is all it needs and that is easy enough.
Blown bulbs: most receivers that fall into the vintage category preceded widespread use of LEDs. For this reason, small incandescent bulbs were the source of illumination. Being incandescent, they burn out over time. Thankfully, replacement is easy if you can find a bulb, but if you can't an LED conversion is possible. The most overlooked issue by newcomers to vintage audio is the capacitors.
But a bad capacitor has the potential to fail catastrophically, as a quick search of YouTube will demonstrate. But with vintage receivers, they were built to be repaired and used indefinitely, so capacitor replacement is easy enough. First step is to open your receiver and have a look around. Marvel at the vintage construction techniques, and then start numbering the capacitors.
Make a list of all the capacitors, with their numbers and values, because it will make ordering replacements easier. While you are in the receiver, also mark capacitor polarity directly on the circuit board. Also, take note of the capacitor markings and can design. Many of the larger value capacitors, often labeled "computer grade" are two capacitors in one, where the two leads on the cap are in fact both positive and the can a common ground.
Both caps are usually the same value, though this is not always the case. The values of each cap are listed separately with a D or a triangle between them. As to where to order your capacitors, there is one only one place I can recommend, due to their selection, service, and prices, and that is Parts Connexion.
They also have many other replacement audio components, but they keep a large stock of many audio grade capacitors that are hard to find anywhere else. And as to what kind of capacitor to order The sky's the limit with capacitor prices, and many people don't want to buy the most expensive capacitors. Some recommended brand for their sound quality and price are: Elna Silmic II: said to have very clear, smooth mids and highs, and strong bass.
Some feel the bass can be unrealistic however. This is my preferred capacitor. Nichicon Muze Kz: said to be relatively neutral in tone, and having great clarity. Some say the highs can be harsh. Some other brands to look into include Mundorf and Sanyo Oscon. When it comes to selecting replacements, make sure the voltage rating of the new cap is higher than the old, as well as capacitance value.
But that being said, if the old cap is uf, the new one can be uf. Power caps can be upgraded to larger values, but not by too much, as it can over stress the power supply. For my receiver, there are 25 electrolytic capacitors. The uf main power cap was changed to a uf, as were the uf output caps. Here I used Nichicon Gold Tune, since they are priced well and come in the required values and voltages. Some of the other power supply capacitors that were uf were changed to uf to balance out the increase of the main capacitor.
These, as well as all the smaller value caps, were almost all Elnas. Scratchy controls go hand in hand with old equipment. The contacts in switches and buttons need to be cleaned, but the biggest issues lie in the potentiometers. The metal wipers tend to corrode, and the carbon contacts become scratched and dirty.
Thankfully, potentiometers and switches are easy enough to clean. To clean a potentiometer can be done two ways. One is the more drastic method of opening it up and using a pencil eraser to clean the carbon contacts, remove corrosion from the wiper, lubricate and reassemble.
This is risky, so the way I would recommend to start with us a chemical cleaning. It's a multiple step process but with positive results: Dust removal: use an air duster to spray the dust out from in the pot. Put the straw in the space by the leads and give a couple sprays. Deoxidation: use a chemical cleaner to remove any tough dirt and oxidation. Caig products are also available at Parts Connexion. There are many types, but I recommend the airosol spray type, since it more effective at reaching into the pot.
Lubrication: this is a necessary step to preserve the life of the pot. Many hate the idea of using WD40, but if the pots on the receiver were as bad as mine the WD40 also helps break up the tougher corrosion that the Caig products did not. The lubricating properties also preserve the pot and prevent further corrosion.
Sansui 1000x audiokarma
David, aka Grumpy, needs our help. Great news. David is home! It was quite the ordeal to get him home and into the house, but it is done. Thank you to everyone for their support.
The Most Memorable Audio Receivers of the Last 50 Years
Jan Vigne. Nick K. Posted on Thursday, July 24, - GMT I want something different, something that's rare and obviously sounds good. Any advice? I would go there and introduce yourself and pose your question. Why Marantz? Why Quadraphonic?
Vintage Asylum
Sabah port sandakan vacancy Pathology slide scanner Who owns flex glue Discussion in ' Speakers ' started by allentuApr 22, Log in or Sign up. I know the basic cosmetic differances between the and but overall. Which is a "better? Anyone who heard both, please post your responses. Messages: 16, Location: St.
Today's Best Hi-Fi Reviews and Commentary
Steve Hoffman Music Forums. Please recommend me a Mcintosh amp and preamp. Hi folks. Seems my old Marantz is about to retire after a long life of vinyl playing service. I'm a huge analog fan and when I'm home I only play vinyl. I've always liked the way Mcintosh builds its gear, so guess it's time for the big investment.
Why Your Dad’s $300 1980 Receiver Still Sucks
Sansui x audiokarma. Nouveau Sansui X. D-Xi Cassette Deck with last logo from I am looking for middle of the road probably 40WW. Over on Audiokarma, several folks have had great success with ON-Semi originals that are nearly fit-form-functional replacements. Tape-1 can be connected either through the pin-type jacks provided or through the DIN socket while Tape-2 can be connected directly or coupled with a 4 The Sansui receiver offers a nominal impedance of 8 Ohms with 20 watts of continuous amplifier power per channel.
So what is your favorite vintage stereo amp? McIntosh, Marantz, Fisher or???
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Marantz SR7015 AV Amplifier Review
RELATED VIDEO: Vintage tube audio system - McIntosh MC-60 + Marantz 7 + Tannoy 15\These days, great sounding speakers seem to becoming smaller yet, the sound quality is better than ever shameless self plug ,. The Nines were the first full range electrostatic speakers produced in America. These classic McIntosh pieces are revered by audiophiles and command a hefty price. The Empire turntable and cartridge delivered excellent sound quality. Back then, you could also buy stereo reel to reel tapes that sounded great. Even some of the more affordable tubed stereo receivers from companies such as Fisher, Scott and Harman Kardon still sound great along with modestly priced speakers like ARs and KLHs.
Audio Karma Fest going down in Livonia, MI this weekend
The Marantz SR is the latest mid-range AV amplifier from the company, and builds on an established pedigree by adding so many features that the front plate is running out of space for all the different company logos. On the left hand side is a large input dial with the power button beneath it and on the right is a large volume dial. In between the two dials is an attractive circular display with a blue light around the outside, although this can be turned off if you prefer. The fact that the small round display has minimal information is largely irrelevant for two reasons: first of all there's an excellent on-screen display; and also there's a second larger and more informative display behind a drop down flap. The build quality is generally very good, and this certainly feels like a solid and well-engineered audio product.
When you have musicians and audio engineers speaking the same language the result is full natural sound fidelity, plus innovative features which translate directly into improved tonality or operating convenience. Yamaha's insistence on total music performance, not just isolated specs, is behind a revolutionary new approach to audio component design; one that gives the CA integrated amplifier as well as all other models in the line music fidelity audibly superior to many separate preamp and power amplifier combinations. Instead of putting our development muscle into the power amp section alone, Yamaha engineers paid the same attention to every section, including the phono equalizer and preamp stages.
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