Integrated Amplifiers and Receivers

    Nakamichi RE-2 receiver with Receiver2 remote control

Integrated Amplifiers with the addition of a Tuner or not seems to offer an favorable alternative to a Receiver.

Back in the 80's when I was stretching my economic might and assembling my first "audiophile" system I turned to the Yamaha A960 MkII integrated amplifier to power my JBL 4312's.

Yamaha A960 II

       JBL 4313

The Yamaha A960 II was a versatile and attractive unit (especially when ambient light was dimmed and the A960 II's lights glowed brightly) with ample output making a quality sounding match with the awesome JBL 4312's.  This system served me well during my college years.   I still have the Yamaha integrated amp. but sold the speakers during a phase when I developed considerable interest in ESS speakers, I got a pair of ESS 6D's with change to spare.


ESS 6D front sans grills.  Notice the cool cut wood border.


ESS 6D back with passive Sub-Woofer.

I loved the ESS 6D's to the point of getting two pair from Leo's Stereo in S. Cal., but the JBL's did sound better after all.

Enough about me, back to integrated amplifiers and later on to receivers.   Back in the 80's and the 70's it seems that manufacturers put a little extra "value" in the form of bells, whistles and a lot of watts (at least on paper) into Integ. Amps. Separates such as a amp and pre-amp offered better sound quality than a integrated amp but the expense of separates delayed my experience with them a few more years. Integrated amps seemed to be an more affordable avenue for a wannabe audiophile.

Back in the 80's when I got my Yamaha A960 II Int. Amp. I paid $400 and would have had to pay 3-4 times that much for decent separates.  The current output for the unit did not seem adequate for the Acoustat's I eventually upgraded to so I had to get some separates anyway.  There are numerous Integrated Amps from the manufacturers over the years that make good bargain units which can be found on auction sites or local classified online advertisements.    Or for the same 400 bucks I spent way back then for a Integ. Amp you can now get some Vintage Amplifiers and Pre-Amp combos that are amazing.

Will talk about receivers in the next posting since I now think they deserve more than a couple lines...

Pre-Amplifiers.

Rotel RC-870 Preamplifier "Stereo Control Amplifier"

Now, how to control the Amplifier output... Pre-Amplification.

This area is full of options from line source switchers with or without a phono-preamplifier to straight source CD player to Amplifier.

Magnavox CDB-473 Remote Control with volume adjustment buttons

A straight source from CD player to Amp. will only be useful when there is a means to adjust the volume.   Some CD players incorporate volume controls on the remote which allow output adjustment.  I have used a Magnavox CDB-473 CD player this way, but there are challenges.

Magnavox CDB 473 with awesome sounding TDA-1541  chip and adjustable output using remote.

When first turned on the CD player would revert to full output.   If after turning the unit on and I put a CD in the tray hitting play to close the tray but forgot to turn the volume down then the opening track would begin at maximum volume.   I damaged a lovely Mission 700 Mk II woofer this way.  Another challenge is wondering if there was signal deterioration when turning the output down on the CD player.  So in theory a CD player direct to Amplifier can be a means to minimizing signal loss or contamination such as may occur with some pre-amplifiers.   An Amplifer with a output control on the front can be a means for controlling the volume when going directly from CD to Amplifier.  If you are like me you are unlikely to keep the amplifier adjacent to the listening position and will keep it equidistantly between the speakers to keep speaker cable lengths short and equal.   Having to hop up and down to adjust the volume will get old.  But if you don't mind keeping the system at arms length to the listening position and using longer speaker cables, then you will benefit from output controls for each amplifier channel to help maintain balance between channels and to maintain balance between upper and lower frequencies when bi-amping.

CD to Amplifier with a DAC (Digital to Analog Converter) in the signal path is an option to consider for optimal transmission of musical signals with minimal loss or addition.   Will discuss DAC's later.

Output options for the Magnavox CDB 473 allow both analog and digital options.

Convenience is typically king, so when using separate components the more common approach is to use what is commonly referred to as a Pre-Amplifier.   Basically a Pre-Amplifiers purposes are signal manipulation such as volume and balance and bass and treble controls (sometimes a mid-range control is thrown in), pre-amplification with a phono-stage,  and a source selector.  There are numerous variations on the above.   A "purist" using a Pre-Amplifier would likely settle for a volume control, possibly a balance control, and at least one source input and a amplifier output but for bi-amplification two amplifier outputs are nice though cable splitters can achieve the same goal.  A phono stage pre-Amplifer can be off board and connected to a line source input, but more commonly they are incorporated as one of several inputs on a Pre-Amp.  So if the "purist" settles for an on-board phono-stage they are likely to want an additional source to choose for use of a CD player.  I need to emphasize that a "purist" might not be feeling honest if they "settle" for more than a volume control and a phono stage.  Also a "purist" might insist on an off-board (out of unit) power supply to minimize risk of signal damage which the phono-stage is most at risk of being affected.

Rare Quatre Pre-Amp

Some self described purists are comfortable "settling" for more than Vinyl to listen to and welcome a line source input in addition to a phono stage.  I like experimenting to find a comfortable level of convenience versus risk of signal damage.  My main system includes a Mission 776 Pre-Amp that offers an onboard battery power supply with an volume control and a source selector with a phono stage and 2 line sources.  No balance, no tone controls, no filters, etc. but this is quite satisfactory for me.

Quatre Pre-Amp's variety of inputs and outputs.  Note the 2 Amp outputs allowing bi-amping. 

Rotel RC-870 controls offering Phono Moving Magnet or Moving Coil options

Rotel RC-870 beautiful backside

Typically a Pre-Amp will offer Volume, Tone, and Balance controls with a several source selector as a minimum.   A number also add a built-in Tuner and these most commonly include remote capability. Other Pre-Amps allow for various filters, multiple phono-stage options including various cartridge capacitance settings for Moving Magnet cartridges and often Moving Coil cartridge compatibility.

Some Pre-Amplifers add Multi-Channel compatibility for use in Home Theater Surround Sound systems. Saving this conversation for a later posting.  But I must throw in now that I am still looking for a Multi-Channel preamp that will compete with an average two channel preamp for sound quality.  Also the Multi-Channel preamps seldom include a phono-stage.   In other words, when using a Home Theater as a primary sound system, you might not experience the level of two channel audio quality you are hoping for.

A side note for consideration...  Tube Pre-Amplifiers.   Most sound good to most of the audiophiles most of the time, mostly.  If using a Solid State Amp, then the effect of a Tube Pre-Amp will likely be most appreciated.   Also a Tube Amp with a Solid State Pre-Amp seems to be a good balance, but I have questions about a Tube Amp and Tube Pre-Amp together becoming a little too gentle.  I dont have a Tube Preamp yet, just Tube Amps, so I dont have a answer yet.  By the way, Solid State Amps and Preamps used together can be wonderful too, even without Tubes...

Pyramid of Sound Equipment begins with Amplifers.

Remember the Food Pyramid?   Basics at the bottom building up to the top.

Well, basic amplification begins with....

First Choice....  Mono Amplifiers.  Typically two to four are used in a system.   One or two for each channel.

One Mono Amplifier for each channel can neatly handle the full range of audio.

Or Two Mono Amplifiers for each channel when bi-amping.   For example a four amp array for two channel sound would often consist of a Solid State mono amp for each channels low frequency reproduction, and a Tube amp for each channels mid to high frequency reproduction.   Pairing Solid State with Tube amplification can provide more affordable and amazing sound quality.

Enjoyable Low Frequency sound requires more amperage than enjoyable Mid range and High range audio reproduction requires. Since Solid State equipment can produce high amperage at a much lower price than Tube equipment Solid State equipment becomes a logical and satisfying choice for lower frequency reproduction. And because Tube equipment excels at producing high quality mid-range and upper range audio, Tube equipment is often a first choice approach to high quality mid and high range sound reproduction.  Lower amperage Tube amplifiers are fairly affordable making bi-amplification with Solid State and Tube equipment together a logical choice.

Second Choice....   Stereo Amplifiers.   One "Basic" Amplifier to power the full range of both channels.

Quatre 2 channel amplifier

Or again a variation of Bi-amplification would be with two "Basic" Stereo (two channel) Amplifiers to power ranges between the lower and upper frequencies, one two channel amplifier to power the lower frequencies and another two channel amplifier to power the middle and upper frequencies.  This can be a mix of Solid State and Tube two channel amplifiers or all Solid State or all Tube equipment.  If your listening level tends to be less deafening than mine, and your speakers are fairly efficient (will discuss speaker efficiency later) you might be able to get an affordable level of amplification for the lower frequencies using Tube equipment solely for the full range.   However I feel the merits of Tube equipment are primarily in the mid and upper ranges of the sound spectrum and it seems illogical to spend extra money to amplify lower frequencies with Tube equipment.  I am not so sure there would be appreciable improvement in lower frequency sound reproduction when choosing Tube equipment over Solid State.

An all Solid State Bi-amplification can be highly rewarding and cost effective.
For example an BK ST-140 two channel amp would be ideal for cost effective amplification of the middle and upper ranges, and the same is often said for the Adcom GFA-535 two channel amp.  I own both and can confirm from experience that both of these Solid State two channel amplifers are exceptional in producing middle and upper range tones with finesse.  They do quite well with lower frequencies too but might have difficulty on their own producing the low frequency sound volume some desire.   Pairing either of these with a more powerful two channel amplifier (or pair of mono-blocks) for the lower frequencies is a nice way to get an amazing quality of sound for the commoner.   Champagne sound for a beer budget.

Next posting is Pre-Amplification.

Two Channel Stereo

Nakamichi Re-2 receiver.   2 channel love in a metal box.

Lets mostly talk Two Channel, or Stereo.   Later we can get into Multiple Channels such as for Home Theater but for now lets go for the ultimate sound quality for music which is typically produced in two channel Stereo.

I think it would be a good idea to show some options in amplification, pre-amplification, and speakers.   Also interconnects, speaker cables and connectors, types of Turn Tables with their varied components, and CD players.   As a side note I have very little interest in radio but since I have so many tuners and antennae options I will go over that venue as well.  I will anticipate minimal interest in Reel to Reel or DAT and Cassette formats but will address these eventually since there is some interest out there and I have collected some of this playback equipment too.

Tube equipment is the original format for Stereo, then came Solid State, later Hybrid equipment combined Tubes with Solid State circuitry.

Tube equipment remains popular today, and among Audiophiles it is largely considered the best route to Nirvana, the Nexus of musical experience most like "being there".  In fact many compare Solid State equipment to Tube equipment by proudly saying it produces Tube like sound.  Tube equipment has disadvantages too when compared to Solid State.  Most notably Tube power as sweet as it is can be quite expensive when trying to produce higher volume levels which is where Solid State shines.  But of course a lot of high end Solid State equipment is prohibitively expensive for the budding audiophile unwashed masses.  Mid-range Solid State equipment is arguably the best avenue for the budding audiophile.  It produces the most bang for the buck and is easier to use. On average Solid State is more reliable and let me re-emphasize more affordable.

The debate rages between Tube versus Solid State or the hybridization of the types when addressing Pre-Amplifiers, Amplifiers, and even CD playback equipment.  The battle will rage on, both formats have merits over the other and a mixture of the two seldom seems to settle the debate.

Building Your System

Lets start with Media Sources.

Typically your options in the Analog domain will be Vinyl LP's for playback on Turn Tables, various tape formats like Reel to Reel (or as they like to say... "Reel to Real!"), Cassette, or even Beta and VHS Hifi tape players, and FM  radio via Tuner.

Technics SL-5 linear tracking turntable

LP's are fairly common and can sound amazing so starting here is a sure bet. You will also have the pleasure of full size album covers and inserts which can be quite visually satisfying.  A lost art.  A sound room with album art on display can reveal the real you, and look good doing it.  Now that I am older I really appreciate larger pictures and print found on LP's packaging.

Typical playback options in the Digital domain include Compact Discs "CD's", mini CD's, and Laser Discs the size of a LP.  Digital Audio Tape "D.A.T." was popular with studio musicians but not much out there for the hobbyist.   And of course there are the downloads in the form of mp3 files,  etc.  They can be on thumb-drives, writable CD's, or hard-drives, etc.

Lovely sounding Nakamichi OMS-7 CD player is built like a M1 Abrams tank

Just so you know, my playback preferences are for CD's and LP's, in that order.
I have settled the debate internally between LP's and CD's by using both.  I have substantial collections in both formats but find myself listening primarily to CD's simply because of the convenience they offer.  For example typical CD players produce great sound with a minimum of fuss and setup and often have remote control-ability.  In my experience Vinyl has a better sound quality, more pleasing to my ear but the time and effort that goes into getting that extra quality in sound most often results in resorting to the CD format for my listening pleasure.   When I am in the mood for an genteel evening of uninterrupted musical pleasure, quality vinyl equipment makes a very satisfying way to spend it.  Or if I am wanting to explore the parameters of my equipment's qualities and change things around a bit I will typically use CD's.  The same when I am not quite sure what I am in the mood for, CD's are a quick way to find out.

We will explore more equipment options for playback in a moment.   First I would like to throw in a comment you might find interesting.

Pleasurable audio is a combination of quality sound and equipment.   Additional pleasure can be found in Nostalgia by producing the best sound from equipment you had way back when...   Or by acquiring the equipment you wanted way back when but couldn't have and hold until now.  Visual and Tactile satisfaction can be very important too when experiencing great sound!

Lets have some fun Vintage Style...

Greetings Budding Audiophiles, Neophytes, and Hopeful Wannabe's,
I hope you will enjoy sharing my flashback to my youthful exuberant love of 70's and 80's Audio equipment and the music it can bring to life.

Now that I am retired with time and resourcefulness on my hands I can pursue my dreams and enjoy the fruits of my labor.  I have acquired a number of pieces of Audio equipment over the years but had to place them in storage in hope that someday I would have the space and time to play with them.  Now I do.   I've added quite a few pieces to my collection recently since retirement.  During my ventures into the world collecting fine Audio equipment, I have discovered many are getting rid of their equipment simply because they inherited it and don't know how to use it.  Others are typically downsizing and moving and don't want to haul heavy and sometimes bulky equipment around.  This spells OPPORTUNITY to Vintage Audio Collectors.

This Blog is to take as many as I can with me down memory lane and hopefully encourage some newbies to take advantage of the enjoyment to be found in seeking fine sound quality.  Ancient Audio gear and newer both require some finesse to reap the rewards offered.  I hope you will be able to use the shortcuts here to reap maximum rewards with a minimum of frustration.

You will find a variety of topics which will answer questions you will run into, and help you achieve awesome sound without damaging your priceless equipment.  Perhaps some of you knew how to set up and achieve maximal enjoyment when you first had your system before storing it or selling it to make room for little ones, or before deployment.  Time has a way of erasing details from our memory so I hope to refresh your memory with this Blog.

I realize many are rebuilding the systems they had when they were better positioned to enjoy their music way back when...
This group will enjoy my other blog "Vintage Audio Reviews" too.

Lets get started and have some fun.

Steve M