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  1. Further information: I am the second owner. These were purchased from another SNA member about 6 years ago. Recently serviced by Chris at Kimil Electronics to check all OK and the bias was reset. These are two heavy buggers to lug around but they sound sweet as. Very dynamic sounding with 200W power into 8 ohms, but Class A operating for finesse. Ideal amp for many diamond or Beryllium tweeter speakers as well as ESLs and ribbon speakers. Can be shipped as are in the original double boxes, but prefer personal pickup From the Xindak website The circuit features of XA8800MNE Designed as a separate mono-channel structure, XA8800MNE is a full symmetrical current negative feedback Class A amplifier. The input buffering amplifying stage adopts fast and wide-frequency amplifying circuit with cross coupling compensatory structure. Darlington complex structure on the Voltage amplifying stage not only ensures enough voltage gain but also raises the input impedance to reach excellent match between the different stages. Besides, the adoption of Cascode circuit offers a good solution of the effect on the high frequency by the transistor junction capacitance. Thus the frequency width could be raised, the output characteristic curve of the bipolar transistor could be improved, the distortion of this stage could be reduced and high stabilization could be achieved. On the current drive stage, it adopts high power FET to supply drive current for the end stage. The parallel output transistors on the end stage could reduce the output impedance, increase the output power, and improve the load capability with low resistor. The static working current of 6 pairs high power transistors on the end stage as parallel output is about 300mA and each transistor works in the special linear area where current is higher. This could eliminate crossover distortion and switch distortion efficiently and reduce the output impedance. Equipped with impedance compensatory network including L、Rs、Rz and C on the output terminal, the load of this unit will be closer to pure resistor and difficult to cause self-excitation. Meanwhile, it could afford bigger damp to enhance the controlling ability of this unit to the loudspeaker. In order to ensure the middle point voltage of this unit approximately to be zero, high quality operating amplifying components, high frequency non-inductance resistor, silver in glass capacitance and so on are put to good use to the loop current servo feedback circuit. As for the power supply for the complete unit, each channel adopts 600W high quality annular transformer while the other parts adopts winding group on the power supply separately. Additionally the power supply for the power amplifying, voltage amplifying and protecting circuit are separated: the power supply for the power amplifying part is equipped with 50A bridge rectifier and 60,000MF filtering capacitance and supplies power directly after commutating and filtering; the power supply for the voltage amplifying adopts stable power supply with fast speed, low noisy, low impedance and strong ability to avoid the “ripple” to avoid the modulating disturbance caused by fluctuation of the power on the following stage and make the sound purer. Additionally, this unit adds protection functions, including power-on delay concussion protection, zero point floating on the output terminal, over current and over voltage of the power transistor protection. In order to avoid the noisy when power-off, this circuit adds transient release circuit, power-on delay circuit and glittering indicating circuit for protection to make this unit more intellective. Parameter Name Parameter Values S/N Ratio ≥110dB THD ≤0.025% Input Impedance 47K ohms Number of Channels 1 Output One Pair Gold Plated Binding Posts Input Sensitivity 1.7V Frequency Response 5Hz~150KHz (±0.5dB) Input RCA*1, XLR*1 Rated Output Power 200W(8ohms),400W(4ohms) Net Weight 24Kg Dimensions (W*H*D) 305mm*202mm*427mm Photos: PLEASE READ If you include any reference to pricing whatsoever in this section (excluding RRP), your ad will not be approved If you are advertising multiple items, you must post one bulk price only, or post seperate ads for each item If you don't include photographs of the actual item being sold, your ad will not be approved You understand that a reasonable donation for selling fees is expected upon successful sale of your item
  2. Further information: A pair of Atsah NC500 NCore Class D monoblock amplifiers in carbonesque finish. These are very good. They barely sip angry pixies and won't heat your room while driving almost anything with lots of headroom to spare. Located in New Zealand. Price is in Australian dollars and includes courier delivery estimated at 2-6 days. Will ship in original boxes. A blurb: Building on the strong heritage of the UcD design of Class D amplifiers, NCore takes the things UcD does well and does them ten times better. Coupled with a dedicated switch mode power supply made specifically to work with the Class D design, this amplifier not only nudges at the performance of the best linear amplifiers, but surpasses them in every aspect of sound quality. Efficiency is over 90% and under normal operating conditions they radiate only small amounts of heat, thus negating the need for large external heatsinks. Some reviews: https://docs.wixstatic.com/ugd/c888f1_88e9dee135de4de5bd6b87436df40a2d.pdf http://v2.stereotimes.com/post/acoustic-imagery-atsah-nc500-monoblock-amplifiers From the NCore designer Bruno Putzeys: "In terms of value, I think the Acoustic Imagery Atsah 500 monoblock is a really good implementation of the Ncore." https://www.soundstagexperience.com/index.php/wesworld-menu/feature-articles-reviews-menu/720-bruno-putzeys-navigates-toward-the-state-of-the-art Specs: 400 Watts into 8Ω Output power: 700 Watts into 4Ω 550 Watts into 2Ω THD + N, IMD: 0.001% Frequency response: 0Hz – 50kHz +0/-3dB all loads Gain: 26dB Efficiency @ full power: 93% Mains input: 230V/50Hz via IEC switched fused socket Signal input: max ±15V via Neutrik® XLR socket Loudspeaker connection: pole terminal binding posts - accept banana plugs, spades or bare wire Dimensions: 200mm width 220mm depth 65mm high Weight: 2 Kg Photos: PLEASE READ If you are advertising multiple items, you must post one bulk price only, or post seperate ads for each item If you include any reference to pricing whatsoever in this section (excluding RRP), your ad will not be approved If you don't include photographs of the actual item being sold, your ad will not be approved
  3. Further information: These amplifiers have hardly been used and are in excellent condition. They come complete with all original factory accessories and packaging. Current RRP $4995.00 Enjoy an unheard of level of control and command from your loudspeakers with the Stellar™ M700, one of the most extraordinary under $5,000 power amplifier pair ever crafted. The M700 combines the slam, linearity, control and pacing of a Class D output stage with the warmth, grace, and rich inner detail of Stellar’s Class A Analog Cell. The results are nothing short of breath-taking. Liberate all the toe-tapping energy trapped in your media library. Plumb music’s subterranean depths as your system gives you more bottom end than you thought possible. Revel in rich layers of fine, full detail. Marvel at the deep, extraordinary, wall-to-wall soundstage. Control your loudspeakers as never before. Effortless. Lush. Stellar. The problems faced when crafting a new power amplifier are many—delivering sufficient power, control, frequency extension, and dynamics while maintaining a perfectly layered soundstage under the most complex musical passages. All amplifiers sound different. What determines sound quality are the components and topologies of the amp’s input voltage stage and output current stage. Each section should complement the other. Between them, the amp develops its sound. Stellar’s design imperatives—affordable pricing, uncompromised sonics—were major challenges solved by the invention of a unique new circuit christened the Analog Cell™. Stellar engineer Darren Myers had planned from the outset to take advantage of Class D’s high current, low distortion, ruler flat linearity for the output stage—knowing full well it is the input stage that determines sonic character. This critical interface between preamplifier and power amplifier is where Stellar’s magic would be unveiled; where Myers could lavish upon the music the sweet, tube-like quality of Class A biased MOSFETs. His challenge was to synergistically marry both input and output topologies, for which he invented Stellar’s Analog Cell. The Analog Cell is the heart of the M700’s musicality, where richly overlayed layers of music’s inner details are preserved even in the most complex orchestral crescendos. The Analog Cell is a proprietary, fully differential, zero feedback, discrete, Class A MOSFET circuit, hand-tuned to capture the smallest micro dynamics without sacrificing the loudest macro dynamics music has to offer. Features Mono power amplifier pair Zero-loss Analog Cell input stage Powerful MOSFET balanced output stage RCA Single ended input XLR “true” balanced input 350 watts into 8Ω 700 watts rms into 4Ω 2Ω stable Less than 0.1% thd 20Hz to 20kHz at rated power Damping factor 1100 for excellent loudspeaker control Front panel standby button Efficient operation with very little heat Dual, solid copper, plated, output binding posts 27 pounds Input 12-volt trigger Photos: PLEASE READ If you are advertising multiple items, you must post one bulk price only, or post seperate ads for each item If you include any reference to pricing whatsoever in this section (excluding RRP), your ad will not be approved If you don't include photographs of the actual item being sold, your ad will not be approved
  4. Further information: Supratek Mondeuse Monoblocks. Purchased direct from Mick Maloney, this pair were part of his personal collection. They are hand made to custom order and are in excellent condition. I have upgraded the speaker terminals to USA made silver terminals. Tube component: 8 X KT88 Matched Octet Genalex Gold Lions. Produces 100 watts per channel. 4 x GZ34 Matched Quad Telefunken Black Diamonds. 2 x 6SN7 Matched Pair Electro-Harmonixs Gold Pins. 2 x 6H30 Matched Pair Sovtec. Overall condition is excellent. No base plates are included, as Mick didn't use them. Housed in beautiful solid Sheoak cabinets. Can supply generic power cables, but highly recommend quality cables. These are simply superb and a very rare find. No known issues. Photos: Advertisements without photos of the actual item will not be approved.
  5. Further information: Original owner Flawless condition Done less than 100hrs RRP replacement $4,399. Review: http://www.hifi-review.com/152615-audiolab-8200mb.html Specs: Rated Power Output 250W rms into 8 ohm / 400W rms into 4 ohm Frequency Response 0.1Hz - 120kHz (-3dB) Input Sensitivity 1.63V rms Input Impedence 20kΩ balanced, 15kΩ unbalanced Gain 29.0dB at 1kHz Signal-to-Noise Ratio Better than 88dB Total Harmonic Distortion (THD) Less than 0.03% Inputs Balanced XLR and Single-ended RCA Dimensions (H x W x D) 150 x 216 x 379mm Weight 9kg each Colour Choice Black Photos: Advertisements without photos of the actual item will not be approved.
  6. Item: Nuforce Reference 9SE Rev3 Monoblocks Location: Gosford Nsw Price: 2095.00 Item Condition: Excellent Reason for selling: Retiring audiophile Payment Method: Pickup - Cash, Paypal plus fees, COD Only Extra Info: From the collection of a well known Sydney audiophile. Highly rated Audiophile monoblocks. Amazingly powerful & offer high end sound at a fraction of the size & cost of comparable linear amplifiers. Many reviews online - perfect match for Maggie’s especially, or so I’ve been told. Will ship Worldwide with packing & insurance at buyers cost. Photos: Advertisements without photos of the actual item will not be approved.
  7. Item: Pair of Emotiva XPA-1 Gen1 monoblock amplifiers - BEASTS Location: Williamstown Victoria Price: $2100 for the pair (New model is $2399 ea!!!) Item Condition: 9 out of 10 Reason for selling: NLR Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: I seriously stopped and asked myself whether I wanted to sell these beasts... because really, can you ever have enough power!!! 500 watts into 8 Ohms 1000 watts into 4 Ohms - Yes the magic doubling of watts as the Ohms halve!!! Massive 1.2 KVA toroidal power transformer Completely stable into 4 Ohm loads 34kg of hulking, bruising power Fully balanced differential amplifier XLR and RCA inputs Each amp has dual speaker binding posts so you can bi wire with seperate cables if you choose Powerful enough to drive pretty much any speaker you're able to fit in your home, this amp showed that Emotiva could play with the big boys. With a fully balanced differential design, the XPA-1 has an advanced microprocessor operating system that protects it from all fault conditions. Quality build and attention to detail you'd find in amplifiers cost much more. Its truly a high quality amplifier, that isnt just about braun, and put Emotiva on the map as a creator of quality and great sounding hi-fi components. I've had these amps running off many pre-amps, into many different speakers, and they never fail to catch my breath with their power, control, finesse, subtlety and rhythm. I've been listening to them all day to test them... originally was only going to put them on for 15 minutes, but got drawn into listening to them through my Monitor Audio PL300ii speakers, they're just that good. These amps scale up really well with quality speakers, so rather than their shortcomings becoming apparent, they end up staying in your system while many other components are upgraded. The Emotiva is the proverbial iron fist in a velvet glove. You can never get enough of having all that power in reserve - its not about playing loud, its about dynamics and effortlessness that you cant achieve any other way. If you have power hungry speakers, or you just want to be certain you have plenty of headroom when you play orchestral pieces with pipe organ, this power amplifier will do the job. Current price of $2399 per monoblock can be found at: https://vaf.com.au/products/emotiva-xpa-1-reference-mono-block These amps are in great condition - I've said 9 out of 10 only because they're not new. These amps have also just been in for a service and clean. • All binding posts have been replaced as a couple of the plastic collars had cracked due to over tightening - I think they came in a set so the tech just replaced them all • An RCA socket was also replaced as it had come loose due to a stupidly tight Chord cable I used to have The amps have never played up and have worked consistently without a hitch, so it was only these items that needed attention. The lucky buyer will have serviced and fully tested amps Yes I have the boxes and the instruction manual. These amps are really heavy, and I mean REALLY HEAVY. So if you want them couriered to you it will cost you as they are just over 40kg ea packed. I'll be really sad to see them go, but time to clear out my gear, make space for upgrades - and get some money to pay for them! Donation made to SNA on successful sale of amps. Photos: Advertisements without photos of the actual item will not be approved.
  8. Item: Audio Note Kits (ANK) Legend Monoblocks and AN-E Speakers 03 Location: Newcastle, NSW Price: : $3690 combo price Item Condition: Very good with only few light scratch marks from normal use, only visible close up Reason for selling: need to downsize living space Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: This beautiful amplifier/speaker combination provides a perfect rendition of the famous Audio Note sound: shimmering highs, rich midrange and effortless bass; with fine instrumental textures and natural imaging. This set up provides fine Class A sound at an amazing value! The amps and speakers are offered at a discounted package price of $3690 as they are well matched for efficiency and sound quality. They are also available for sale as separates: $1950 for the monoblocks and $1950 for the speakers. Note that the original cost of these items direct from ANK Canada in 2014 was US$3500 for the monoblocks and US$4000 for the speakers. Shipment to other Australian locations can be arranged at buyer’s cost. Interested persons are welcome to arrange a no-obligation audition of these items in a high-resolution system at the house here in Newcastle. Legend Monoblocks 300B http://www.ankaudiokits.com/Legend-300B-Power-Tube-Amplifier.html Class A 300B triode output valves Parallel single-ended configuration 18W per channel 6HS7 valve input driver Assembled in 2014 AN-E Speaker Kit 03 http://www.ankaudiokits.com/newSpkr.html 98dB efficiency Two way system, rear-ported bass-reflex configuration Russian birch cabinet built by ANK in Canada Hemp cone woofer Assembled in 2014 Photos: Advertisements without photos of the actual item will not be approved.
  9. Item: VINCENT SPT-100 HYBRID TUBE MONO AMPLIFIERS Location: MELBOURNE Price: $1500 ONO FOR THE PAIR Item Condition: EXCELLENT Reason for selling:NO LONGER REQUIRED Payment Method: Pickup - Cash, Paypal, COD Only
  10. Item: Mola Mola Kaluga Monoblocks Location: Perth Price: $9000 Item Condition: Excellent As New Reason for selling: Champagne taste Beer budget Payment Method: Pickup - Cash, Paypal, Bank Transfer Extra Info: In excellent condition, happy to ship interstate as these are supplied in a flight case. Will consider cash plus a media player such as NAD M50.2 or Cocktail Audio X50. I mainly use a USB stick to listen to music so looking for a reasonably hi end device. Let me know what you have. Bonus if it has hdmi out and dac. Pictures:
  11. Item: VTL compact MB100 monoblocks Location: blue mountains NSW Price: 1500 Item Condition: very good Reason for selling: NLR Payment Method: Pickup - Cash, Paypal( +3%),transfer Extra Info: the MB100s have a wide and deep sound - clear with heaps of tight punch. they will drive most loads comfortably with plenty of headroom. they are heavy and very well built- quite industrial. one mono is running the original VTL 5ohm output transformer, but the other runs a good quality but non-original 8ohm transformer..i have listened to these extensively and can say that there is no variation in sound quality between the amps . if there is a negligible difference in audible output between them then it may be ironed out by using 12AU7s in one and 12AT7s in the other or via your pre but i have generally not found it necessary. these are 240V. i have included specific photo of scratch on one transformer . i have the original VTL packaging so easy to transport Pictures:
  12. Item: Cymer SE monoblock poweramps Price Range: 2.5-3K Item Condition: Used Extra Info: I'm looking to move from SS to tubes and have been lucky enough to have heard one of Elson's amps in my system and now I'm hooked. It was an Single Ended design with 88 watts of class A heaven so I'd be looking for about the same amount of power.This was in combination with an all tube line stage preamp. If anyone knows or is thinking about selling their Elson designed/built SE monoblocks I'd be extremely interested. Thankyou, Linc.
  13. Item: MUSICAL FIDELITY 2008 750 supercharger mono block power amps- rare and matching set with consecutive serial numbers relisted- use as mono blocks or to increase a lower powered tube amp etc. Location Perth Price $5000 then $4500 now bargain $4250 come on 750 watt twin mathing mono blocks these were $10,000.00 US new - $16000 Aus at the time now bargain at $4500---now, $4250, beasts with a few scratchea around base on floor. Are in perfect working order and only one of 500 units worldwide and now have a matching Musical Fidelity KWP pre amp for a complete Musical Fidelity pre power system- pre amp kust serviced by Liquid Audio $2000 will list seperalty . Item Condition: Very very good, very mildly scratched on tops of base plates and more on bottoms for complete transparency from sitting on floor and moving around etc are very heavy. and can only be seen close up underneath. Can be spiked as well. Reason for selling: Simplifying and remodeled listening room and system for final time...hopefully. Changing to rack mounted power amps system due to lack of space. These are big and weigh 17.2 kilos each. and sit on the floor behind or next to speakers. 2008 Models from memory, have boxes and books to transport safely. Payment Method: Pickup - Cash, Paypal, COD Only- Delivery or pack and send at buyers expense etc, have original boxes and manual etc. 2 nd owner bought from Simply HIFI in Perth. And i used only on and off across the last 8 years mosyly with small tube amp systems, but can add 700 watts to even a big solid state syatem for more headroom. Extra Info: Stereophile Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. The Mark Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000 US/ a pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet. Read more below or at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-page-2#i6r6GAwqwpQxVePD.99 In Perth, super rare and exclusive and hardly ever for sale, if i could turn them horizontally and rackmount would never sell but due to room reconfiguration they do not fit. Musical Fidelity 750K Supercharger monoblock power amplifier x2. Sidebar 1: Specifications Description: Solid-state, monoblock power amplifier with balanced and unbalanced line-level inputs and 1 pair speaker-level inputs. Maximum power output: 750W into 8 ohms (28.75dBW), 1150W into 4 ohms (24.7dBW). Maximum output voltage: 78V RMS, 20Hz–20kHz; 222V peak–peak. Maximum current: 250 amps peak–peak. Frequency response: 20Hz–30kHz, +0/–0.2dB. THD+noise: <0.01%, 20Hz–20kHz. Damping factor: 220. Input impedance: 50k ohms (line), 50 ohms (speaker). Input sensitivity for full power out into 8 ohms: 2.5V (line), 35V (speaker). Signal/noise (no reference level quoted): >120dB (line), >115dB (speaker), both figures A-weighted.Dimensions: 22" (560mm) H (including feet) by 8.5" (215mm) W by 8.75" (220mm) D (including terminals). Weight: 37.75 lbs (17.2kg)..Price: $10,000/pair. Approximate number of dealers: 70. Warranty: 5 years parts & labor.Manufacturer: Musical Fidelity Ltd., 24-26 Fulton Road, Wembley, Middlesex HA9 0TF, England, UK. Tel: (44) (0)181-900-2866. Fax: (44) (0)181-900-2983. Web: www.musicalfidelity.com. US distributor: KEF America, Inc., 10 Timber Lane, Marlboro, NJ 07746. Tel: (732) 683-2356. Web: www.kefamerica.com. Read more at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-specifications#VQ5rr8YsdQZ4Cqdv.99 https://www.stereophile.com/solidpoweramps/1208mf/index.html Musical Fidelity's "Supercharger" concept is simple, which is perhaps why no one had thought of it before: If you love the sound of your low-powered amplifier but your speakers are insensitive, or you just need more loudness, you insert the high-power Supercharger amplifier between your low-powered amp and speakers. The Supercharger loads the small amplifier with an easy-to-drive 50 ohms, and, in theory, has so little sonic signature itself that it passes on the sonic signature of the small amp unchanged, but louder. image: https://www.stereophile.com/images/archivesart/1208mf.jpg Michael Fremer reviewed Musical Fidelity's first Supercharger amplifier, the 550W 550K ($5000/pair), in September 2007. Using the 550K both as a traditional monoblock power amplifier and as a Supercharger to increase the dynamic range of his beloved Music Reference RM200 tube amp, a 1964-vintage Scott 299D integrated amplifier, and some solid-state designs, Mikey was impressed by what he heard. "Using a variety of very different-sounding amplifiers of various power outputs overwhelmingly demonstrated to me that the 550K Supercharger will retain the sonic attributes of your favorite low- or medium-powered amp (50–200Wpc), whether tubed or solid-state, while increasing its output by 10dB or more....The result will be dynamic realism and, in most cases, better overall performance. You can have your cake and make it rock, too." In my own auditioning of the same pair of 550K Superchargers, used as conventional monoblock amplifiers, I was very impressed by their effortless dynamics and iron-fisted control of the loudspeakers' bass. However, I ultimately felt that the 550Ks did have some character, sounding lean compared with my reference Mark Levinson No.33H monoblocks, and with a less liquid midrange. Overall, the 550Ks sounded very similar to Musical Fidelity's flagship dual-mono kW behemoth, which Michael Fremer reviewed in January 2004, but perhaps with less delicacy (footnote 1). Of Musical Fidelity's high-powered amplifiers, I much preferred the balance of the kW750 (750Wpc into 8 ohms, $10,000). I had first encountered this stereo design when I used it to drive Wilson Sophias 2s, playing some of my high-resolution recordings at a pair of musical evenings promoted by North Carolina dealer Audio Advice in December 2005. The kW750 combined the kW's extraordinary dynamic range and control of the woofers with a warmer lower midrange and sweeter-sounding high frequencies. Mikey found it too mellow compared with his kWs, though that is perhaps a matter of taste. After using it in my system for a while, I seriously considered buying a kW750, but a cooler financial head than mine prevailed. So when MF's Antony Michaelson told me that he was introducing a Supercharger based on the 750K's circuitry, I asked for a pair for review (footnote 2). The 750K At first glance, the 750K Supercharger looks identical to the 550K: a black cylinder topped with an aluminum cap, made in Taiwan. It has the same music-sensing turn-on/off circuit and the same three LEDs at its base: red for standby, blue for operation, orange for thermal overload. However, while the new amplifier shares the 550K's 8.5" diameter, it is just over 6" taller, and its aluminum cap has a mesh-covered vent, through which two temperature-controlled fans exhaust hot air. (There are discreet inlet vents at the sides; the fans run briefly when the amplifier is first switched on, then remain off until the heatsink temperature rises above a preset threshold.) There is now a balanced XLR input jack on the rear panel in addition to the 550K's single-ended RCA. The maximum power is specified as 750W into 8 ohms or 1150W into 4 ohms, an increase of 1.75dB compared with the 550K, though the price is 6dB higher: $10,000/pair compared with $5000/pair. Sound Psychoacousticians tell us that our aural memories are reliable only in the short term (though that doesn't tie in with the fact that we instantly recognize friends' voices on the phone despite the lack of fidelity). But from the instant I powered up the 750K Superchargers in my system, using them as conventional monoblocks from their balanced inputs, I was immediately reminded of the kW750. A warmish midrange, sweet-toned high frequencies, tight, deep low frequencies, and a voluminous, stable, well-defined soundstage—all were exactly what I remembered of the sound of the kW750 in my system, back in the day. The images of the singers in Cantus's luminous performance of Eric Whitacre's Lux Aurumque, from While You Are Alive, the recording I made with them in summer 2007 (CD, Cantus CTS-1208), were precisely positioned in space; it was very easy to perceive when the tenors turned away from the microphones to add spaciousness to their sound. And the character of the voices was as natural-sounding and as unforced as I expected, with no added hardness in the climaxes of the suite, A Sound Like This, by Edie Hill also featured on the CD. (Male voices singing close harmonies at high levels provide the perfect test signal to reveal shortcomings in amplifiers and loudspeakers.) The Musical Fidelity's enormous dynamic range and bass control got the best from Live at Merkin Hall, my recording of Stereophile reviewer Bob Reina's jazz group, Attention Screen (CD, Stereophile STPH018-2). I use as few mikes as possible when I record a drum kit: two cardioids overhead as an ORTF pair, a Shure cardioid clipped just above the snare drum's top skin, and an AKG dynamic mike in front of the kick drum's front skin. I time-align the outputs of the two spot mikes with the outputs of the cardioid pair, my goal being to capture both a natural image of the drums and their natural dynamic range. With an empathetic drummer capable of optimally tuning his kit—eg, Attention Screen's Mark Flynn—almost no equalization or compression is required in postproduction. And Mark hit the heck out of his Gretsch kit that February night in Merkin Hall. There are some snare-drum shots on "Blizzard Limbs"—the three beats at 3:40 that divide the rocking improvisation that begins the piece from the more contemplative second section, for example—that go from –60 to 0dBFS from one sample to the next. Amplifiers that can't swing as many volts as the 750K will clip those peaks, unless you play the music too quietly. With the Musical Fidelitys, I could play this track at live levels without waveform clipping. It being the end of Zeptember as I write these words, I had to get the Led out, specifically How the West Was Won (DVD-Audio, Atlantic 83587-9), recorded live at two L.A. concerts in 1972 by Eddie Kramer. Yes, suck-and-blow compression is obvious at times, but this set features great recorded drum sound, with tangible space around and between the drums. Forget "Stairway to Heaven," "Immigrant Song," "Whole Lotta Love"—the highlight of this album is the blues "Since I've Been Loving You." Even at ear-bleed levels—is there any other way to listen to Led Zeppelin?—the Superchargers allowed me to hear into the layering of the soundstage, with Bonzo's drums behind Jimmy Page's guitar and "Percy" Plant's wailing. Read more at https://www.stereophile.com/solidpoweramps/1208mf/index.html#V9ZajPhOcrMpjyHV.99 Musical Fidelity 750K Supercharger monoblock power amplifier Page 2 Looking back at what I've written, I seem to have concentrated on the 750K's abilities to play loudly and cleanly—which they indeed did. But for all their ability to kick loudspeaker butt, the Musical Fidelity could still do delicacy with aplomb. Robert Plant and Alison Krauss's Raising Sand (CD, Rounder 11661-9075-2) has been in heavy rotation chez Atkinson since I picked it up while killing time at a Starbucks a year ago. The double bass on this disc can be problematic with some amplifier-loudspeaker combinations, as its considerable midbass energy demands an amplifier capable of retaining control of the woofers if the sound is not to degenerate into mud, while at the same time allowing this recording's wealth of midrange detail to emerge unscathed. The bass in Gene Clark's "Polly Come Home" had the appropriate combination of weight and definition, without obscuring Plant and Krauss's mysterious-sounding harmonies as they soared over Marc Ribot's contemplative guitar figurings, all against a richly ambient backdrop. Again looking back, I see I have avoided mentioning how the Musical Fidelitys coped with complex classical music. They did very well with naturally miked recordings. They allowed, for example, the sense of space Tony Faulkner had captured with Antony Michaelson's performance of the Mozart Clarinet Concerto, with conductor Robert Bailey and the Michaelangelo Chamber Orchestra (SACD, Musical Fidelity MFSACD017), to emerge from the speakers unscathed. And with a hi-rez, 24-bit/96kHz FLAC download of Britten's Simple Symphony, performed by the Trondheimsolistene (originally released on the SACD Divertimenti, 2L 2L50SABD), the joyous sound of the violins never became steely or hard, or too soft or mellow, while the double bass and cellos neither boomed nor sounded too lean. Only once did the amplifiers' cooling fans turn on. I was playing organist Michael Murray's thunderous performance of Bach's Prelude and Fugue in D (Telarc CD-80088) and reveling in the Revel Salon2s' apparently limitless dynamic range when driven by the Musical Fidelitys. At the end of the track, after the blower noise from the organ on the disc had faded away, I could just hear the much quieter sound of the 750Ks' fans. They never came on at normal listening levels. Comparisons While it shared many of the merits of Musical Fidelity's own 750K at half the price, the 550K Supercharger sounded lean in direct comparison with the 750K. Whereas the 750K worked well with every speaker I hooked it up to, the 550K needs to be matched with speakers balanced a little on the fuller-figured side. Significantly, after Cantus producer Erick Lichte had turned in his Follow-Up on the 550K, we spent a weekend together working on the mixes for the next Cantus CD, using the 750Ks to drive Revel Salon2s. "That," he said, pointing to a 750K, "is a very different amplifier from the 550K." Yes it is! Against my long-term reference amplifier, the Mark Levinson No.33H(150W, $19,900/pair when last available), the Musical Fidelity surprised me by having better-defined, more extended low frequencies. The Levinson sounded somewhat "puddingy" in direct comparison—not at all what I had expected. The Levinson had slightly sweeter mids and highs, but it was a close-run thing. Next up was the Parasound Halo JC 1 (450W, $7000/pair), a long-term favorite of this magazine's review team and of mine. The Parasound had low-frequency slam and definition to match the Musical Fidelity's but was cooler-balanced overall, sounding similar to the 550K, though its highs were smoother. My auditioning of the Musical Fidelity 750K was interrupted by two weeks spent with the Ayre KX-R preamplifier, reviewed last month by Wes Phillips, along with the Ayre MX-R monoblocks (300Wpc, $18,500/pair) he had used to prepare the review. In direct comparison, the Ayre matched the 750K's slam, bass definition, and soundstaging depth, and offered a slightly sweeter high end. I mean no disrespect to the 750K when I say that the MX-R could be my ultimate amplifier. But the price difference is significant, and I could happily live with the Musical Fidelitys. Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. While I still prefer the Mark Levinson No.33H for ultimate midrange sweetness, the Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000/pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet.
  14. Item: Electrocompaniet AW 180 Monoblocks and EC 4.7 Pre Location: Mooroolbark Price: $7000 now $6500 Item Condition: Used Reason for selling: Moving to all tube setup Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Moving my Electrocompaniet gear. Currently have 95 DB efficient speakers so deciding to go to an all tube setup. The mono blocks have almost unlimited power and i can't turn the volume past 3 before the walls start to shake. Functionally the equipment is all working as it should, bar the remote which only works when it wants to. (am including a Logitech remote which operates all the functions on the preamp). Cosmetically the equipment would be a conservative 8 / 10. Feel free to ask questions and happy to Demo Pictures are in previous Ad
  15. ?Item: 2008 MONO BLOCK MUSICAL FIDELITY power amps- rare and matching set with consecutive serial numbers relisted- use as mono blocks or to increase a lower powered tube amp etc. Location: PERTH Price:$ 5000 now $4250 BARGAIN They were $10,000.00 US - 16000 Aus at the time. when new and are in perfect working order and only one of 500 units worldwide. Item Condition: Very very good, very mildly scratched on tops of base plates and more on bottoms for complete transparency from sitting on floor only but not visible as underneath. Can be spiked as well. Reason for selling: Simplifying and remodelled listening room. and system, Changing to rack mounted power amps system due to lack of space. These are big and weigh 17.2 kilos each. and sit behind or next to speakers. 2009 Models from memory, have boxes and books to transport safely. Payment Method: Pickup - Cash, Paypal, COD Only- Delivery or pack and send at buyers expense etc, have original boxes and manual etc. 2 nd owner bought from Simply HIFI in Perth Extra Info: Stereophile Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. While I still prefer the Mark Levinson No.33H for ultimate midrange sweetness, the Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000 US/ a pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet. Read more below or at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-page-2#i6r6GAwqwpQxVePD.99 In Perth, super rare and exclusive and hardly ever for sale, if i could turn them horizontally and rackmount would never sell but due to room reconfiguration they do not fit. Musical Fidelity 750K Supercharger monoblock power amplifier x2. Sidebar 1: Specifications Description: Solid-state, monoblock power amplifier with balanced and unbalanced line-level inputs and 1 pair speaker-level inputs. Maximum power output: 750W into 8 ohms (28.75dBW), 1150W into 4 ohms (24.7dBW). Maximum output voltage: 78V RMS, 20Hz–20kHz; 222V peak–peak. Maximum current: 250 amps peak–peak. Frequency response: 20Hz–30kHz, +0/–0.2dB. THD+noise: <0.01%, 20Hz–20kHz. Damping factor: 220. Input impedance: 50k ohms (line), 50 ohms (speaker). Input sensitivity for full power out into 8 ohms: 2.5V (line), 35V (speaker). Signal/noise (no reference level quoted): >120dB (line), >115dB (speaker), both figures A-weighted.Dimensions: 22" (560mm) H (including feet) by 8.5" (215mm) W by 8.75" (220mm) D (including terminals). Weight: 37.75 lbs (17.2kg)..Price: $10,000/pair. Approximate number of dealers: 70. Warranty: 5 years parts & labor.Manufacturer: Musical Fidelity Ltd., 24-26 Fulton Road, Wembley, Middlesex HA9 0TF, England, UK. Tel: (44) (0)181-900-2866. Fax: (44) (0)181-900-2983. Web: www.musicalfidelity.com. US distributor: KEF America, Inc., 10 Timber Lane, Marlboro, NJ 07746. Tel: (732) 683-2356. Web: www.kefamerica.com. Read more at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-specifications#VQ5rr8YsdQZ4Cqdv.99 https://www.stereophile.com/solidpoweramps/1208mf/index.html Musical Fidelity's "Supercharger" concept is simple, which is perhaps why no one had thought of it before: If you love the sound of your low-powered amplifier but your speakers are insensitive, or you just need more loudness, you insert the high-power Supercharger amplifier between your low-powered amp and speakers. The Supercharger loads the small amplifier with an easy-to-drive 50 ohms, and, in theory, has so little sonic signature itself that it passes on the sonic signature of the small amp unchanged, but louder. image: https://www.stereophile.com/images/archivesart/1208mf.jpg Michael Fremer reviewed Musical Fidelity's first Supercharger amplifier, the 550W 550K ($5000/pair), in September 2007. Using the 550K both as a traditional monoblock power amplifier and as a Supercharger to increase the dynamic range of his beloved Music Reference RM200 tube amp, a 1964-vintage Scott 299D integrated amplifier, and some solid-state designs, Mikey was impressed by what he heard. "Using a variety of very different-sounding amplifiers of various power outputs overwhelmingly demonstrated to me that the 550K Supercharger will retain the sonic attributes of your favorite low- or medium-powered amp (50–200Wpc), whether tubed or solid-state, while increasing its output by 10dB or more....The result will be dynamic realism and, in most cases, better overall performance. You can have your cake and make it rock, too." In my own auditioning of the same pair of 550K Superchargers, used as conventional monoblock amplifiers, I was very impressed by their effortless dynamics and iron-fisted control of the loudspeakers' bass. However, I ultimately felt that the 550Ks did have some character, sounding lean compared with my reference Mark Levinson No.33H monoblocks, and with a less liquid midrange. Overall, the 550Ks sounded very similar to Musical Fidelity's flagship dual-mono kW behemoth, which Michael Fremer reviewed in January 2004, but perhaps with less delicacy (footnote 1). Of Musical Fidelity's high-powered amplifiers, I much preferred the balance of the kW750 (750Wpc into 8 ohms, $10,000). I had first encountered this stereo design when I used it to drive Wilson Sophias 2s, playing some of my high-resolution recordings at a pair of musical evenings promoted by North Carolina dealer Audio Advice in December 2005. The kW750 combined the kW's extraordinary dynamic range and control of the woofers with a warmer lower midrange and sweeter-sounding high frequencies. Mikey found it too mellow compared with his kWs, though that is perhaps a matter of taste. After using it in my system for a while, I seriously considered buying a kW750, but a cooler financial head than mine prevailed. So when MF's Antony Michaelson told me that he was introducing a Supercharger based on the 750K's circuitry, I asked for a pair for review (footnote 2). The 750K At first glance, the 750K Supercharger looks identical to the 550K: a black cylinder topped with an aluminum cap, made in Taiwan. It has the same music-sensing turn-on/off circuit and the same three LEDs at its base: red for standby, blue for operation, orange for thermal overload. However, while the new amplifier shares the 550K's 8.5" diameter, it is just over 6" taller, and its aluminum cap has a mesh-covered vent, through which two temperature-controlled fans exhaust hot air. (There are discreet inlet vents at the sides; the fans run briefly when the amplifier is first switched on, then remain off until the heatsink temperature rises above a preset threshold.) There is now a balanced XLR input jack on the rear panel in addition to the 550K's single-ended RCA. The maximum power is specified as 750W into 8 ohms or 1150W into 4 ohms, an increase of 1.75dB compared with the 550K, though the price is 6dB higher: $10,000/pair compared with $5000/pair. Sound Psychoacousticians tell us that our aural memories are reliable only in the short term (though that doesn't tie in with the fact that we instantly recognize friends' voices on the phone despite the lack of fidelity). But from the instant I powered up the 750K Superchargers in my system, using them as conventional monoblocks from their balanced inputs, I was immediately reminded of the kW750. A warmish midrange, sweet-toned high frequencies, tight, deep low frequencies, and a voluminous, stable, well-defined soundstage—all were exactly what I remembered of the sound of the kW750 in my system, back in the day. The images of the singers in Cantus's luminous performance of Eric Whitacre's Lux Aurumque, from While You Are Alive, the recording I made with them in summer 2007 (CD, Cantus CTS-1208), were precisely positioned in space; it was very easy to perceive when the tenors turned away from the microphones to add spaciousness to their sound. And the character of the voices was as natural-sounding and as unforced as I expected, with no added hardness in the climaxes of the suite, A Sound Like This, by Edie Hill also featured on the CD. (Male voices singing close harmonies at high levels provide the perfect test signal to reveal shortcomings in amplifiers and loudspeakers.) The Musical Fidelity's enormous dynamic range and bass control got the best from Live at Merkin Hall, my recording of Stereophile reviewer Bob Reina's jazz group, Attention Screen (CD, Stereophile STPH018-2). I use as few mikes as possible when I record a drum kit: two cardioids overhead as an ORTF pair, a Shure cardioid clipped just above the snare drum's top skin, and an AKG dynamic mike in front of the kick drum's front skin. I time-align the outputs of the two spot mikes with the outputs of the cardioid pair, my goal being to capture both a natural image of the drums and their natural dynamic range. With an empathetic drummer capable of optimally tuning his kit—eg, Attention Screen's Mark Flynn—almost no equalization or compression is required in postproduction. And Mark hit the heck out of his Gretsch kit that February night in Merkin Hall. There are some snare-drum shots on "Blizzard Limbs"—the three beats at 3:40 that divide the rocking improvisation that begins the piece from the more contemplative second section, for example—that go from –60 to 0dBFS from one sample to the next. Amplifiers that can't swing as many volts as the 750K will clip those peaks, unless you play the music too quietly. With the Musical Fidelitys, I could play this track at live levels without waveform clipping. It being the end of Zeptember as I write these words, I had to get the Led out, specifically How the West Was Won (DVD-Audio, Atlantic 83587-9), recorded live at two L.A. concerts in 1972 by Eddie Kramer. Yes, suck-and-blow compression is obvious at times, but this set features great recorded drum sound, with tangible space around and between the drums. Forget "Stairway to Heaven," "Immigrant Song," "Whole Lotta Love"—the highlight of this album is the blues "Since I've Been Loving You." Even at ear-bleed levels—is there any other way to listen to Led Zeppelin?—the Superchargers allowed me to hear into the layering of the soundstage, with Bonzo's drums behind Jimmy Page's guitar and "Percy" Plant's wailing. Read more at https://www.stereophile.com/solidpoweramps/1208mf/index.html#V9ZajPhOcrMpjyHV.99 Musical Fidelity 750K Supercharger monoblock power amplifier Page 2 Looking back at what I've written, I seem to have concentrated on the 750K's abilities to play loudly and cleanly—which they indeed did. But for all their ability to kick loudspeaker butt, the Musical Fidelity could still do delicacy with aplomb. Robert Plant and Alison Krauss's Raising Sand (CD, Rounder 11661-9075-2) has been in heavy rotation chez Atkinson since I picked it up while killing time at a Starbucks a year ago. The double bass on this disc can be problematic with some amplifier-loudspeaker combinations, as its considerable midbass energy demands an amplifier capable of retaining control of the woofers if the sound is not to degenerate into mud, while at the same time allowing this recording's wealth of midrange detail to emerge unscathed. The bass in Gene Clark's "Polly Come Home" had the appropriate combination of weight and definition, without obscuring Plant and Krauss's mysterious-sounding harmonies as they soared over Marc Ribot's contemplative guitar figurings, all against a richly ambient backdrop. Again looking back, I see I have avoided mentioning how the Musical Fidelitys coped with complex classical music. They did very well with naturally miked recordings. They allowed, for example, the sense of space Tony Faulkner had captured with Antony Michaelson's performance of the Mozart Clarinet Concerto, with conductor Robert Bailey and the Michaelangelo Chamber Orchestra (SACD, Musical Fidelity MFSACD017), to emerge from the speakers unscathed. And with a hi-rez, 24-bit/96kHz FLAC download of Britten's Simple Symphony, performed by the Trondheimsolistene (originally released on the SACD Divertimenti, 2L 2L50SABD), the joyous sound of the violins never became steely or hard, or too soft or mellow, while the double bass and cellos neither boomed nor sounded too lean. Only once did the amplifiers' cooling fans turn on. I was playing organist Michael Murray's thunderous performance of Bach's Prelude and Fugue in D (Telarc CD-80088) and reveling in the Revel Salon2s' apparently limitless dynamic range when driven by the Musical Fidelitys. At the end of the track, after the blower noise from the organ on the disc had faded away, I could just hear the much quieter sound of the 750Ks' fans. They never came on at normal listening levels. Comparisons While it shared many of the merits of Musical Fidelity's own 750K at half the price, the 550K Supercharger sounded lean in direct comparison with the 750K. Whereas the 750K worked well with every speaker I hooked it up to, the 550K needs to be matched with speakers balanced a little on the fuller-figured side. Significantly, after Cantus producer Erick Lichte had turned in his Follow-Up on the 550K, we spent a weekend together working on the mixes for the next Cantus CD, using the 750Ks to drive Revel Salon2s. "That," he said, pointing to a 750K, "is a very different amplifier from the 550K." Yes it is! Against my long-term reference amplifier, the Mark Levinson No.33H(150W, $19,900/pair when last available), the Musical Fidelity surprised me by having better-defined, more extended low frequencies. The Levinson sounded somewhat "puddingy" in direct comparison—not at all what I had expected. The Levinson had slightly sweeter mids and highs, but it was a close-run thing. Next up was the Parasound Halo JC 1 (450W, $7000/pair), a long-term favorite of this magazine's review team and of mine. The Parasound had low-frequency slam and definition to match the Musical Fidelity's but was cooler-balanced overall, sounding similar to the 550K, though its highs were smoother. My auditioning of the Musical Fidelity 750K was interrupted by two weeks spent with the Ayre KX-R preamplifier, reviewed last month by Wes Phillips, along with the Ayre MX-R monoblocks (300Wpc, $18,500/pair) he had used to prepare the review. In direct comparison, the Ayre matched the 750K's slam, bass definition, and soundstaging depth, and offered a slightly sweeter high end. I mean no disrespect to the 750K when I say that the MX-R could be my ultimate amplifier. But the price difference is significant, and I could happily live with the Musical Fidelitys. Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. While I still prefer the Mark Levinson No.33H for ultimate midrange sweetness, the Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000/pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet. Edited February 23 by Eagleeyes
  16. Item: PARASOUND - JC2 BP PRE + JC1 MONOBLOCKS (with power cables) Location: PERTH Price: $SOLD Item Condition: EXCELLENT Reason for selling: UPGRADED Payment Method: PICK UP ONLY AT THIS STAGE Extra Info: Bought last year from first owner and SNA member to compliment my Dynaudio C1 MKii standmount's which they did unbelievably!, but the upgrade bug's got the better of me and I'm now moving up the audio ladder so these bad boys have to go. Pictures:
  17. Item: Weston Acoustics Rare Black Matching Touchstone Pre Amplifier and Time Machine 300b tube mono blocks in gloss black over wood grain Perth WA Price: Price: $7000.00 .Original receipt shows over 12k including extra cables made by Earle, Upgrade to remote and Balanced with added inputs section. This amps hold their value better than almost anything and would be double or more if a European or US brand name was attached, they are stunning in everyway. They are that good and simply stunning to look at. These go or the PS audio BHK pre and power, one or the other as house to small for two systems. Item Condition: `Almost Perfect with spare tubes cannot spot any issues and all running smoothly and sweetly. Spare tubes for almost every tube on pre and mono blocks and no 6 month plus waiting list. Reason for selling: Change of direction. Extra Info: Pickup - Cash, Paypal, COD Only- prefer pick up as 3 very heavy boxes plus box of valves and chords etc. But can box and pack at buyers cost. Extra Info: Hand built to order as are all of Earle's master pieces. Earle's first set in Polished Black finish with heavy duty remote control for volume and has extra balanced inputs, very very rare 6 input Preamp. Have shots of them being built and as below. A Good Selection of spares tubes as well about an extra full set in total and supplied by Earle's own hand made RCA cables. Earle did not ever add remotes unitl i asked if possible and took 3 months to discover one good enough to be used on his beautiful products. Very regretful sale and can demonstrate in Perth. http://www.westonacoustics.com Perfect and as new without the very long wait list, 6 months or so and look awesome in black at night with the rest of the system glowing. Have instruction books and come with standard power cords as supplied by Weston Acoustics. Shipping possible at buyers expense and they would need all the tubes moved and boxed and then padded and packaged into 3 boxes each weighing 20 kilos x3 and tubes on top. `i would recommend a crate from a shipping agent that are not that much and well worth the peace of mind. Pre Amp Specifications.from website. mine are actually below in photo section and they are more powerful . 35 watts not 18. 4 x 300 tubes per mono block. Max Voltage Output ......5 volts rms. 14 volts peak. Frequency response.......6hz to >50khz Separation.......……….... >55db Signal to Noise............. >88db A Weighted Signal to Hum…….…......>68db Distortion.................…..<0.05% at 0.5 volt rms output Hum Level…………….......<0.1 millivolt Gain.............................6db Inputs………..…………......6 Outputs .............................2 Mono Block Power amp see actual SPECIFICATIONS sheets below these were from the website and did not not realise mine were so much higher. Power Output - 35 watts upgraded from 18 per channel pure class A Frequency response -3db - 6hz to >75khz Signal to Noise - >90db A Weighted Signal to Hum - >80db Distortion - <0.05% at 1 watt rms Hum Level - <3.0 millivolt Sensitivity - 500mV Input impedance - 62K Inputs 1 Speaker output 8 ohm (6 to 12 ohm is fine) Damping Factor >5 (20hz to 20khz 8 ohm) Weight ~20kg (~44lb) per monoblock. Dimensions 440mm x 370mm x 220mm (width x depth x height) per monoblock. Preamp very similar plus small box of tubes and cables. Pictures:
  18. Item: BARGAIN One Pair of very rare seriously powerful Musical Fidelity Supercharger 750k mono power amps- matching set with consectutive serial numbers Location: PERTH Price: $5000 reduced by another 500 to $5k firm for the pair were $10,000.00 US new and are in perfect working order. Item Condition: Very very good, very mildly scratched on tops of base plates and more on bottoms for complete transparency from sitting on floor only but not visible as underneath. Can be spiked as well. Reason for selling: Remodelled listening room.Changing to rack mounted system due to lack of space. These are big and weigh 17.2 kilos each. and sit behind or next to speakers. 2009 Models from memory, have boxes and books to transport safely. Payment Method: Pickup - Cash, Paypal, COD Only- Delivery or pack and send at buyers expense etc, have original boxes and manual etc. 2 nd owner bought from Simply HIFI in Perth Extra Info: Stereophile Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. While I still prefer the Mark Levinson No.33H for ultimate midrange sweetness, the Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000 US/ a pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet. Read more below or at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-page-2#i6r6GAwqwpQxVePD.99 Happy to audition in Perth, super rare and exclusive and hardly ever for sale, if i could turn them horizontally and rackmountI would never sell but due to room reconfiguration they do not fit. Musical Fidelity 750K Supercharger monoblock power amplifier x2. Sidebar 1: Specifications Description: Solid-state, monoblock power amplifier with balanced and unbalanced line-level inputs and 1 pair speaker-level inputs. Maximum power output: 750W into 8 ohms (28.75dBW), 1150W into 4 ohms (24.7dBW). Maximum output voltage: 78V RMS, 20Hz–20kHz; 222V peak–peak. Maximum current: 250 amps peak–peak. Frequency response: 20Hz–30kHz, +0/–0.2dB. THD+noise: <0.01%, 20Hz–20kHz. Damping factor: 220. Input impedance: 50k ohms (line), 50 ohms (speaker). Input sensitivity for full power out into 8 ohms: 2.5V (line), 35V (speaker). Signal/noise (no reference level quoted): >120dB (line), >115dB (speaker), both figures A-weighted.Dimensions: 22" (560mm) H (including feet) by 8.5" (215mm) W by 8.75" (220mm) D (including terminals). Weight: 37.75 lbs (17.2kg)..Price: $10,000/pair. Approximate number of dealers: 70. Warranty: 5 years parts & labor.Manufacturer: Musical Fidelity Ltd., 24-26 Fulton Road, Wembley, Middlesex HA9 0TF, England, UK. Tel: (44) (0)181-900-2866. Fax: (44) (0)181-900-2983. Web: www.musicalfidelity.com. US distributor: KEF America, Inc., 10 Timber Lane, Marlboro, NJ 07746. Tel: (732) 683-2356. Web: www.kefamerica.com. Read more at https://www.stereophile.com/content/musical-fidelity-750k-supercharger-monoblock-power-amplifier-specifications#VQ5rr8YsdQZ4Cqdv.99 https://www.stereophile.com/solidpoweramps/1208mf/index.html Musical Fidelity's "Supercharger" concept is simple, which is perhaps why no one had thought of it before: If you love the sound of your low-powered amplifier but your speakers are insensitive, or you just need more loudness, you insert the high-power Supercharger amplifier between your low-powered amp and speakers. The Supercharger loads the small amplifier with an easy-to-drive 50 ohms, and, in theory, has so little sonic signature itself that it passes on the sonic signature of the small amp unchanged, but louder. image: https://www.stereophile.com/images/archivesart/1208mf.jpg Michael Fremer reviewed Musical Fidelity's first Supercharger amplifier, the 550W 550K ($5000/pair), in September 2007. Using the 550K both as a traditional monoblock power amplifier and as a Supercharger to increase the dynamic range of his beloved Music Reference RM200 tube amp, a 1964-vintage Scott 299D integrated amplifier, and some solid-state designs, Mikey was impressed by what he heard. "Using a variety of very different-sounding amplifiers of various power outputs overwhelmingly demonstrated to me that the 550K Supercharger will retain the sonic attributes of your favorite low- or medium-powered amp (50–200Wpc), whether tubed or solid-state, while increasing its output by 10dB or more....The result will be dynamic realism and, in most cases, better overall performance. You can have your cake and make it rock, too." In my own auditioning of the same pair of 550K Superchargers, used as conventional monoblock amplifiers, I was very impressed by their effortless dynamics and iron-fisted control of the loudspeakers' bass. However, I ultimately felt that the 550Ks did have some character, sounding lean compared with my reference Mark Levinson No.33H monoblocks, and with a less liquid midrange. Overall, the 550Ks sounded very similar to Musical Fidelity's flagship dual-mono kW behemoth, which Michael Fremer reviewed in January 2004, but perhaps with less delicacy (footnote 1). Of Musical Fidelity's high-powered amplifiers, I much preferred the balance of the kW750 (750Wpc into 8 ohms, $10,000). I had first encountered this stereo design when I used it to drive Wilson Sophias 2s, playing some of my high-resolution recordings at a pair of musical evenings promoted by North Carolina dealer Audio Advice in December 2005. The kW750 combined the kW's extraordinary dynamic range and control of the woofers with a warmer lower midrange and sweeter-sounding high frequencies. Mikey found it too mellow compared with his kWs, though that is perhaps a matter of taste. After using it in my system for a while, I seriously considered buying a kW750, but a cooler financial head than mine prevailed. So when MF's Antony Michaelson told me that he was introducing a Supercharger based on the 750K's circuitry, I asked for a pair for review (footnote 2). The 750K At first glance, the 750K Supercharger looks identical to the 550K: a black cylinder topped with an aluminum cap, made in Taiwan. It has the same music-sensing turn-on/off circuit and the same three LEDs at its base: red for standby, blue for operation, orange for thermal overload. However, while the new amplifier shares the 550K's 8.5" diameter, it is just over 6" taller, and its aluminum cap has a mesh-covered vent, through which two temperature-controlled fans exhaust hot air. (There are discreet inlet vents at the sides; the fans run briefly when the amplifier is first switched on, then remain off until the heatsink temperature rises above a preset threshold.) There is now a balanced XLR input jack on the rear panel in addition to the 550K's single-ended RCA. The maximum power is specified as 750W into 8 ohms or 1150W into 4 ohms, an increase of 1.75dB compared with the 550K, though the price is 6dB higher: $10,000/pair compared with $5000/pair. Sound Psychoacousticians tell us that our aural memories are reliable only in the short term (though that doesn't tie in with the fact that we instantly recognize friends' voices on the phone despite the lack of fidelity). But from the instant I powered up the 750K Superchargers in my system, using them as conventional monoblocks from their balanced inputs, I was immediately reminded of the kW750. A warmish midrange, sweet-toned high frequencies, tight, deep low frequencies, and a voluminous, stable, well-defined soundstage—all were exactly what I remembered of the sound of the kW750 in my system, back in the day. The images of the singers in Cantus's luminous performance of Eric Whitacre's Lux Aurumque, from While You Are Alive, the recording I made with them in summer 2007 (CD, Cantus CTS-1208), were precisely positioned in space; it was very easy to perceive when the tenors turned away from the microphones to add spaciousness to their sound. And the character of the voices was as natural-sounding and as unforced as I expected, with no added hardness in the climaxes of the suite, A Sound Like This, by Edie Hill also featured on the CD. (Male voices singing close harmonies at high levels provide the perfect test signal to reveal shortcomings in amplifiers and loudspeakers.) The Musical Fidelity's enormous dynamic range and bass control got the best from Live at Merkin Hall, my recording of Stereophile reviewer Bob Reina's jazz group, Attention Screen (CD, Stereophile STPH018-2). I use as few mikes as possible when I record a drum kit: two cardioids overhead as an ORTF pair, a Shure cardioid clipped just above the snare drum's top skin, and an AKG dynamic mike in front of the kick drum's front skin. I time-align the outputs of the two spot mikes with the outputs of the cardioid pair, my goal being to capture both a natural image of the drums and their natural dynamic range. With an empathetic drummer capable of optimally tuning his kit—eg, Attention Screen's Mark Flynn—almost no equalization or compression is required in postproduction. And Mark hit the heck out of his Gretsch kit that February night in Merkin Hall. There are some snare-drum shots on "Blizzard Limbs"—the three beats at 3:40 that divide the rocking improvisation that begins the piece from the more contemplative second section, for example—that go from –60 to 0dBFS from one sample to the next. Amplifiers that can't swing as many volts as the 750K will clip those peaks, unless you play the music too quietly. With the Musical Fidelitys, I could play this track at live levels without waveform clipping. It being the end of Zeptember as I write these words, I had to get the Led out, specifically How the West Was Won (DVD-Audio, Atlantic 83587-9), recorded live at two L.A. concerts in 1972 by Eddie Kramer. Yes, suck-and-blow compression is obvious at times, but this set features great recorded drum sound, with tangible space around and between the drums. Forget "Stairway to Heaven," "Immigrant Song," "Whole Lotta Love"—the highlight of this album is the blues "Since I've Been Loving You." Even at ear-bleed levels—is there any other way to listen to Led Zeppelin?—the Superchargers allowed me to hear into the layering of the soundstage, with Bonzo's drums behind Jimmy Page's guitar and "Percy" Plant's wailing. Read more at https://www.stereophile.com/solidpoweramps/1208mf/index.html#V9ZajPhOcrMpjyHV.99 Musical Fidelity 750K Supercharger monoblock power amplifier Page 2 Looking back at what I've written, I seem to have concentrated on the 750K's abilities to play loudly and cleanly—which they indeed did. But for all their ability to kick loudspeaker butt, the Musical Fidelity could still do delicacy with aplomb. Robert Plant and Alison Krauss's Raising Sand (CD, Rounder 11661-9075-2) has been in heavy rotation chez Atkinson since I picked it up while killing time at a Starbucks a year ago. The double bass on this disc can be problematic with some amplifier-loudspeaker combinations, as its considerable midbass energy demands an amplifier capable of retaining control of the woofers if the sound is not to degenerate into mud, while at the same time allowing this recording's wealth of midrange detail to emerge unscathed. The bass in Gene Clark's "Polly Come Home" had the appropriate combination of weight and definition, without obscuring Plant and Krauss's mysterious-sounding harmonies as they soared over Marc Ribot's contemplative guitar figurings, all against a richly ambient backdrop. Again looking back, I see I have avoided mentioning how the Musical Fidelitys coped with complex classical music. They did very well with naturally miked recordings. They allowed, for example, the sense of space Tony Faulkner had captured with Antony Michaelson's performance of the Mozart Clarinet Concerto, with conductor Robert Bailey and the Michaelangelo Chamber Orchestra (SACD, Musical Fidelity MFSACD017), to emerge from the speakers unscathed. And with a hi-rez, 24-bit/96kHz FLAC download of Britten's Simple Symphony, performed by the Trondheimsolistene (originally released on the SACD Divertimenti, 2L 2L50SABD), the joyous sound of the violins never became steely or hard, or too soft or mellow, while the double bass and cellos neither boomed nor sounded too lean. Only once did the amplifiers' cooling fans turn on. I was playing organist Michael Murray's thunderous performance of Bach's Prelude and Fugue in D (Telarc CD-80088) and reveling in the Revel Salon2s' apparently limitless dynamic range when driven by the Musical Fidelitys. At the end of the track, after the blower noise from the organ on the disc had faded away, I could just hear the much quieter sound of the 750Ks' fans. They never came on at normal listening levels. Comparisons While it shared many of the merits of Musical Fidelity's own 750K at half the price, the 550K Supercharger sounded lean in direct comparison with the 750K. Whereas the 750K worked well with every speaker I hooked it up to, the 550K needs to be matched with speakers balanced a little on the fuller-figured side. Significantly, after Cantus producer Erick Lichte had turned in his Follow-Up on the 550K, we spent a weekend together working on the mixes for the next Cantus CD, using the 750Ks to drive Revel Salon2s. "That," he said, pointing to a 750K, "is a very different amplifier from the 550K." Yes it is! Against my long-term reference amplifier, the Mark Levinson No.33H(150W, $19,900/pair when last available), the Musical Fidelity surprised me by having better-defined, more extended low frequencies. The Levinson sounded somewhat "puddingy" in direct comparison—not at all what I had expected. The Levinson had slightly sweeter mids and highs, but it was a close-run thing. Next up was the Parasound Halo JC 1 (450W, $7000/pair), a long-term favorite of this magazine's review team and of mine. The Parasound had low-frequency slam and definition to match the Musical Fidelity's but was cooler-balanced overall, sounding similar to the 550K, though its highs were smoother. My auditioning of the Musical Fidelity 750K was interrupted by two weeks spent with the Ayre KX-R preamplifier, reviewed last month by Wes Phillips, along with the Ayre MX-R monoblocks (300Wpc, $18,500/pair) he had used to prepare the review. In direct comparison, the Ayre matched the 750K's slam, bass definition, and soundstaging depth, and offered a slightly sweeter high end. I mean no disrespect to the 750K when I say that the MX-R could be my ultimate amplifier. But the price difference is significant, and I could happily live with the Musical Fidelitys. Summing Up Sounding significantly less lean than both the kW and the 550K, the 750K Supercharger is, without a doubt, the best-sounding amplifier I have heard from Musical Fidelity. While I still prefer the Mark Levinson No.33H for ultimate midrange sweetness, the Levinson is outclassed by the 750K in bass solidity, control, and overall dynamics. At $10,000/pair, it is undoubtedly expensive, but its immediate competition is more expensive or less powerful, or both (eg, Ayre's MX-R). Forget the Supercharger nomenclature—this is a power amplifier that can stand on its own feet.
  19. Item: Weston Acoustics Rare Black Matching Touchstone Pre Amplifier and Time Machine 300b tube mono blocks in gloss black over wood grain Perth WA Price: Price: $8000.00 or very sensible close offers.Original receipt shows over 12k including extra cables made by Earle, Upgrade to remote and Balanced with added inputs section. This amps hold their value better than almost anything and would be double or more if a European or US brand name was attached, they are stunning in everyway. They are that good and simply stunning to look at. Item Condition: `Almost Perfect with spare tubes cannot spot any issues and all running smoothly and sweetly. Spare tubes for almost every tube on pre and mono blocks and no 6 month plus waiting list. Reason for selling: Change of direction. Extra Info: Pickup - Cash, Paypal, COD Only- prefer pick up as 3 very heavy boxes plus box of valves and chords etc. But can box and pack at buyers cost. Extra Info: Hand built to order as are all of Earle's master pieces. Earle's first set in Polished Black finish with heavy duty remote control for volume and has extra balanced inputs, very very rare 6 input Preamp. Have shots of them being built and as below. A Good Selection of spares tubes as well about an extra full set in total and supplied by Earle's own hand made RCA cables. Earle did not ever add remotes unitl i asked if possible and took 3 months to discover one good enough to be used on his beautiful products. Very regretful sale and can demonstrate in Perth. http://www.westonacoustics.com Perfect and as new without the very long wait list, 6 months or so and look awesome in black at night with the rest of the system glowing. Have instruction books and come with standard power cords as supplied by Weston Acoustics. Shipping possible at buyers expense and they would need all the tubes moved and boxed and then padded and packaged into 3 boxes each weighing 20 kilos x3 and tubes on top. `i would recommend a crate from a shipping agent that are not that much and well worth the peace of mind. Pre Amp Specifications.from website. mine are actually below in photo section and they are more powerful . 35 watts not 18. 4 x 300 tubes per mono block. Max Voltage Output ......5 volts rms. 14 volts peak. Frequency response.......6hz to >50khz Separation.......……….... >55db Signal to Noise............. >88db A Weighted Signal to Hum…….…......>68db Distortion.................…..<0.05% at 0.5 volt rms output Hum Level…………….......<0.1 millivolt Gain.............................6db Inputs………..…………......6 Outputs .............................2 Mono Block Power amp see actual SPECIFICATIONS sheets below these were from the website and did not not realise mine were so much higher. Power Output - 35 watts upgraded from 18 per channel pure class A Frequency response -3db - 6hz to >75khz Signal to Noise - >90db A Weighted Signal to Hum - >80db Distortion - <0.05% at 1 watt rms Hum Level - <3.0 millivolt Sensitivity - 500mV Input impedance - 62K Inputs 1 Speaker output 8 ohm (6 to 12 ohm is fine) Damping Factor >5 (20hz to 20khz 8 ohm) Weight ~20kg (~44lb) per monoblock. Dimensions 440mm x 370mm x 220mm (width x depth x height) per monoblock. Preamp very similar plus small box of tubes and cables. Pictures:
  20. Item: Mingda MC300845AB (2 x mono-block) Location: Morley W.A Price: $2500. firm ( Will donate to SNA $50 once sold with transaction competed. ) Item Condition: Used but in great working condition. Reason for selling: NLR, upgraded to Gryphon AS Payment Method: Pickup - Cash, Paypal. Extra Info: I have these amps lying around for about three years now, not using since upgraded to Gryphon AS. These are beautiful amps but taking too much space hence good to see they go to good home and someone can appreciate them. Happy to demo to local member. Note - Actual amps come with standard tubes. Black Treasure tubes were on loan at the time. Hours on the vales are very low and happy for you to test them prior commitment.
  21. Item: Xindak XA8800MN Mono Blocks Location: Perth Price: $1100 Pick up only Item Condition: 8/10 Reason for selling: upgraded Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: These monoblocks probably don't get the respect they deserve given the price. Purchased of an SNA member about a year ago and didn't have any problems at all. I did buy some nice speaker cables and found out the terminals couldn't accommodate spades Since that time I have modified the terminal posts so they could take spades, was just a matter of removing the clear plastic at the base of the terminal. Anyhow they run like a dream, just remember like all class a amps they do run quite warm. Pictures:
  22. Item: NuForce Reference 9 Version 2 Special Edition black monoblocks Location: Perth Price: $1200 + postage if required Item Condition: Very good Reason for selling: Feel like a change Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: These were upgraded from Version 1 by Pat from W.A.R. Audio. 190W into 8 ohm and 300W into 4 ohm. There is some damage to the plastic surrounds of the speaker cable connections and screw holes on the underside from the conversion. Otherwise the case work is in excellent condition. No issues with the amps. Pictures:
  23. Item: Image by Nelson Audio EL34 Power Amps (Mono blocks) Location: Melbourne City Price: $1300 Item Condition: Great working order Reason for selling: Space constraints /Simplifying system Payment Method: Pickup only - Cash, Paypal Extra Info: These mono-blocks made a substantial difference to my system in terms of texture, resolution, speed, attack and the general warmth (EL34) tubes are renowned for. Punching well above their weight, Image by Nelson Audio are based on the Marantz 9 power amps. 75 watts output based on 4 x EL34 tubes and each unit weighs in at about 35kg each. Since purchasing this, I have had the switches replaced and bias adjusted and although the units have some minor cosmetic blemishes, functionally they work exceptionally well. A reluctant sale, there is simply not enough space in my lounge to accommodate these heavy beasts due to some new hardware taking up limited space in my rack. These amps would be difficult to pack and post so I'm just open to local pick-up only. Any questions welcome. Thanks for looking
  24. Item: Weston Acoustics Rare Black Matching Touchstone Pre Amplifier and Time Machine 300b tube mono blocks in gloss black over wood grain Location: Perth WA Price: $8500.00 Original receipt shows j 12k including extra cables made by Earle, Upgrade remote and Balanced with added inputs section. This amps hold their value better than almost anything an would be double or more if a European or US brand name was attached, they are stunning, if they don't sell at this reduced price i will keep forever. They are that good. Item Condition: MINT with spare tubes for almost every tube on pre and mono blocks and no 6 month plus waiting list. Reason for selling: Changing to children friendly system and change of listening room. So a few listings all at once. Payment Method: Pickup - Cash, Paypal, COD Only- prefer pick up as 3 very heavy boxes plus box of valves and chords etc. But can box and pack at buyers cost. Extra Info: Hand built to order as are all of Earle's master pieces. Earle's first set in Polished Black finish with heavy duty remote control for volume and has extra balanced inputs, very very rare 6 input Preamp. Have shots of them being built and as below. A Good Selection of spares tubes as well about an extra full set in total and supplied by Earle's own hand made RCA cables. Earle did not ever add remotes unitl i asked if possible and took 3 months to discover one good enough to be used on his beautiful products. Very regretful sale and can demonstrate in Perth. http://www.westonacoustics.com Perfect and as new without the very long wait list, 6 months or so and look awesome in black at night with the rest of the system glowing. Have instruction books and come with standard power cords as supplied by Weston Acoustics. Shipping possible at buyers expense and they would need all the tubes moved and boxed and then padded and packaged into 3 boxes each weighing 20 kilos x3 and tubes on top. Pre Amp Specifications.from website mine are actually below in photo section and they are more powerful . 35 watts not 18. 4 x300 tubes per mono block. Max Voltage Output ......5 volts rms. 14 volts peak. Frequency response.......6hz to >50khz Separation.......……….... >55db Signal to Noise............. >88db A Weighted Signal to Hum…….…......>68db Distortion.................…..<0.05% at 0.5 volt rms output Hum Level…………….......<0.1 millivolt Gain.............................6db Inputs………..…………......6 Outputs .............................2 Mono Block Power amp see actual SPECIFICATIONS sheets below these were from the website and did not not realize they were so much higher. Power Output - 35 watts upgraded from 18 per channel pure class A Frequency response -3db - 6hz to >75khz Signal to Noise - >90db A Weighted Signal to Hum - >80db Distortion - <0.05% at 1 watt rms Hum Level - <3.0 millivolt Sensitivity - 500mV Input impedance - 62K Inputs 1 Speaker output 8 ohm (6 to 12 ohm is fine) Damping Factor >5 (20hz to 20khz 8 ohm) Weight ~20kg (~44lb) per monoblock. Dimensions 440mm x 370mm x 220mm (width x depth x height) per monoblock. Preamp very similar plus small box of tubes and cables. Pictures:
  25. Item: Audio Research Reference 210 monoblocks Location: Currently in Brisbane Price: $12,000 Item Condition: Very good with 1102 tube hours on the clock Payment Method: Cash, direct deposit Extra Info: Trade- in, currently still with original owner in Brisbane. Pictures:
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