McIntosh System -

Quick post — my main system from 1991 until about 2003: McIntosh MC-2300 powering the mains, MC-2105 on the family-room speakers, C-29 preamp, MR-78 tuner, Linn Sondek LP-12, ReVox B-77 half-track, Nakamichi 600 cassette and a Rotel 955 AX CD player. It sounded wonderful. The MC-2300 had more power than any sane person needs and remains my favorite Mac amp — more on that in another post. This was the rig you were supposed to have: well made, reliable, and sonically pleasing.

Yet none of it survived my music journey. I convinced myself I’d bought the best system I could afford and was content — until a move changed things. My wife asked, “Can we have music tonight?” Everything was boxed, so we pulled out the small stuff from the basement: my first receiver, a Sansui 551, my first speakers, EPI 100Ws, and an old Dual 1219 turntable. We put on a record, poured wine and packed boxes.

Two hours later we were on the living-room floor, mesmerized. The little Sansui delivered nuance, texture, depth, space, sparkle and emotion in a way I hadn’t heard in years. We played records all night. That night marked the beginning of the end for the McIntosh stack. Mac gear is exceptional — built to last and great sounding — but there’s more to the story. Yes, that's the same stereo stand.. Stay tuned.

 

Phase Linear 4000 Preamplifier -

Anyone who grew up in the 1970’s and was into Hi-Fi wanted a Phase Linear system.  Bob Carver was flexing his genius and making high power the DeFacto standard for the day.  

His preference to drive his amps, were of course his own preamps, which likewise rocked audio and turned things upside down.  The Phase Linear 4000 preamp, was his master piece.  Nothing came close to sounding like this preamp.  I know, I had a few.  Incredible specs to be sure, but it was the processing features that set it apart.  The downward expander, once calibrated you could be sure that your system was delivering the lowest tightest bass possible from any program material.  It could find bass when none seem to exist previously.  The Auto Correlation, dial this in to remove up to 10db of noise from any program source. The Peak Un-limiter which worked in conjunction with the Downward Expander, ensured that the clipping point of program material was expanded.  Sensational tone controls, with useful turnover frequencies, and separate adjustments for left and right channels independently.  

The bottom line with this preamp, is that if there is music in your program material, you are going to hear it with dynamics that you never dreamed possible.  Every album, or tape was new experience no matter how familiar you were with the source.  You would hear things you never knew were in the mix.  Total excitement all the time. 

And that was the problem for me.  Listening fatigue.  After listening to this for an evening, especially when coupled with the Phase 400 or 700 amplifiers you were exhausted.  Mentally drained from information overload.  

Music that I loved, such as listening to a Bill Evans trio, or Michael Hedges solo guitar became irritating.  Not the effect one looks for after a hard day and wanting to unwind.

I can only describe this preamp as the most “IN YOUR FACE” music experience you will ever have.  Hard rock fans loved it, Classical music buffs loved it.  But if you are like me, and listen to a little of everything, then well not so much.  One glaring omission on this feature ladened preamp is there in no head phone jack.  Are you kidding me?  I send mine out to be modified and had the two 1/4” accessory output jacks converted to a headphone jacks. I love phones and use them often for late night listening when I don’t want to wake the household up.

I think everyone should experience a Phase 4000 preamp, at least once.  It is best when paired with a Phase Linear 400 or 700 amp.  That will give you the intended experience. I will cover the Phase amps in another post and ask forgiveness over the incredible crummy iPhone shots that I have.  My Phase Linear 4000 and 400 now live with an audiophile in south east Kentucky.  I miss them sometimes, but only sometimes.  

Marantz 7T Preamp -

This is easily one of my favorite preamps of all time: the Marantz 7T.

Many people dismiss the 7T in favor of the original tube-based Model 7, often because of the romance surrounding tubes. Saul Marantz himself, however, preferred the 7T and used it in his personal system — and that alone was a reason I went looking for one.

Both the Model 7 and the 7T were designed by Sidney Smith, and in direct comparison they sound remarkably similar — nearly indistinguishable in overall character. Where the 7T pulls ahead for me is in clarity and control: it’s quieter, delivers tighter and deeper bass, and maintains the same broad, immersive soundstage you get from the Model 7. The build quality on the 7T is, to my surprise, a touch higher than the seven, and you avoid the ongoing maintenance headaches of aging tubes and sockets that I’ve often found frustrating with my Model 7.

Cost is another advantage. The 7T is much more affordable than an original Model 7. I bought mine from the estate of world-class recording engineer Stanley Johnston; it’s completely original and still measures to its written specifications despite being roughly 60 years old. I love imagining Johnston using this exact preamp at home to listen to the records he engineered — Crosby, Stills, Nash & Young, Joni Mitchell, Boz Scaggs, The Eagles, Jackson Browne and more. That provenance makes it feel like a piece of musical history.

Physically the 7T is superb: stellar solder joints, carefully chosen capacitors and resistors, robust switching gear. Mine has never been serviced and all the pots remain dead-silent — a rare find. I’ve included photos of the unit in my system over the years.

A couple of years back I made the mistake of selling it to an audio friend with a massive collection. He now pairs the 7T with a Marantz 8B stereo power amp and pristine JBL L-200s. It might be the best sounding system I’ve ever encountered.

If you’re looking for a preamp that combines musicality, build integrity, low maintenance and historical pedigree — and you’re not married to the tube aesthetic — the Marantz 7T is worth serious consideration.

Marantz 1030 Integrated Amplifier:

This is my 1971 Marantz 1030.

A quick internet search says these were produced from 1973 through 1978, but mine is factory stamped “Feb 71,” and I think I have a 1971 issue of High Fidelity advertising this amp as well. This was Marantz’s lowest-powered integrated amp, rated at 15 WPC into 4 or 8 ohms. I can attest that it is certainly low powered — if you want to use it as a power amp, aim for speakers with 90+ dB sensitivity. My 1974 Sansui 551, rated at a humble 16 WPC, will blow this little Marantz into the weeds. Still, that usually isn’t the way I use it.

I bought this many years ago used and had it recapped (that should be a story in itself — what a nightmare). I’ve really mostly used this as a preamp. It’s an early version, serial number 1471 (the 471st produced), and it has the rare preamp/amp out along with the lovely engraved face. The cabinet is an early one as well — especially well made and heavy.

As a preamp the 1030 shines. It’s exceptionally smooth with no fatigue whatsoever. If you love classical, solo instruments, or a jazz trio, this could be for you. Calling it “laid back” is an understatement; it soothes rather than pushes. I still use it, and when it isn’t doing office duties as an integrated amp, I’ll put it into my main system when the mood calls for its particular character.

I’ve paired the 1030 with a variety of power amps over the years: a Phase Linear 400, a SUMO Andromeda, a Nikko Beta ONE, and a Crown XLI 1500. The Marantz was happiest with the SUMO — a fabulous amplifier by any measure.

One of the things that attracted me to this little Marantz was its size and its just-right set of basic controls. I’ve always thought it looked better than the busier, more powerful Marantz 1060. For those seeking a compact, elegant preamp with a warm, relaxed presentation — especially for acoustic, classical, and small-ensemble jazz — the 1030 remains a excellent choice.

Welcome:

For years my friends have encouraged me to write about hifi and music.  I have loved music since forever and have been a hifi nut since I first saw my 2nd cousins hifi when I was 11 years old.

One of the things that have held me back from doing this, is that I really don’t have any quality images of my hifi through the years.  Crummy camera and iPhone grab shots.  So you will have to endure those, but I promise if I keep this up to actually shoot some good images in my studio.

My first post will be of a 1971 Marantz 1030 with an engraved face plate and main and pre amp outputs.  Both of which were later discontinued throughout the 1030’s production run.

One thing you will notice as I talk about music and gear, it my stereo stand.  It’s will be the most consistent thing you see.  I purchased it back in 1995, as my wife insisted that if the hifi is staying in the living room, that it has to look nice.  

I also want to say that I am not an audiophile.  I am a music lover.  I am also a musician and at one time early in my life worked as a studio musician.  So, I know how music should sound, how it is recored and have extensive knowledge of working in recording studios.  This has really benefited me when it comes to selecting components.  I don’t particularly care about the way something looks, I care about the way it sounds.  I don’t look at it, I listen to it.  

Feel fee to comment, but please be kind.  We already know the images are substandard, but hey, I wasn’t planning on doing this.  Let me know if you have owned the same thing, I am am hoping to incite some nostalgia and memories as we visit music and gear.  Mostly, thanks for stopping by.

Norman a.k.a.  oldhifinut