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Integrated Amps: An Addicts Guide Part, The Third.

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Well here we are yet again, one more weekend over and one more listening session completed.  My companion for the last week and a half has been the YBA Heritage A100 Integrated Amp and I have many good things to say about it.


First up, the packaging is first rate.



Note the wooden frames on two sides of the box, very stiff and solid.



And the remote is well weighted but slight, it brings to mind a five shot, quick draw revolver.  Built for ease of use and well balanced.



And the obligatory "action shot".



And for those of us who admire the PCBs inside our beloved amps, a topless shot.



Prior to ordering the YBA Heritage A100 I had read that it had been compared favorably to several other amps in a multi-way shootout.  I tried to find the review, and did, but it was a jpg file of the review written in Swedish so I was just forced to make do with personal opinions that were floating around in cyberspace.  The opinions I could find were very positive overall, and so I laid down some of my tax return in order to try one out for myself.


I love the look of the A100, clean and solid with pin-stripe style that is just slightly understated, very nice.  Out back is nothing special, multiple unbalance inputs and a single balanced for the purists.  Also the pre section can be turned off for the TV input so it can act as a power amp (or a "HT bypass" as everyone is calling it these days).  There isn't much more in the way of fancy functionality but there is one more thing that I just have to make mention of, when you change inputs there is no loss of sound in between.  I had best explain that further, I was playing around with the Consonance cd player and the Burson Conductor, running the digital out from the consonance through the Burson but with both hooked into the A100 so that the same song was playing on both inputs and when I switched from one to the other the change was seamless, no half second of silence in between to disrupt your audio memory, and that made comparing DACs 10 times easier than it ever was before.  Talk about a useful extra!


The YBA uses a 320Va Torroidal transformer and has 2 10,000uF caps in use per channel, fairly standard for a decent amp made by a specialist audio company, so how is it that it sounds so strong and capable?  Not only does it have the power to use but it has a very good idea of where and when to use it too, it does just as good a job when called on to play light and delicate pieces.  There's something very 'right' going on here.  


As usual this review was conducted using my Consonance cd120 player, Aurealis R1 interconnects, Redgum "Audio Pipeline" speaker cables and Lenehan S2R stand mount speakers.


Highs: The A100 manages to make much of the top end sound soft and delicate and yet still present it in a way that makes it easy to hear.  Brass sounds a little soft and very easy on the ears, a little ambiently sweeter than usual.  Triangle was a bit disappointing actually as it was all sparkle and no twinkle.  Piano is very nice indeed.  The amp manages a surprisingly high level of detail without sounding analytical or overly precise.  I suspect the triangle didn't have enough harmonics for the amp to work its magic with (I'll explain that more effectively as we work our way further down).  I'm awarding an 8.0 here.


Mids: Given pride of place (as they should be), nicely musical, loves instruments with long decay harmonics like harmonicas, xylophones,  pipes, etc, and even guitar to a certain extent (particularly with Santana's work, really loving that).  It seems to take those harmonics and use them to generate a very enjoyable ambient atmosphere.  The A100 can do "eerie" with the best of them.  It has the ability to make steel strings sound appropriately metallic and yet not have them sound hard or tight, it's a very pleasant effect.  The only minus here is that it can get a little messy with a full band all playing at once.  I'm awarding an 8.0 here as well (it may improve with a little more running in but that's how it sounds at the moment).


Bass:  Strong and well controlled but not crisp or sharp.  A little blunt every now and then but very full and a little rich.  If it was a little less blunt it would be getting an 8.0 here as well but as it is I'm marking it down to a 7.75.


Vocals:  Female:  Clean, clear and melodious, they sound so good (in a realistic way) that I kept getting the urge to hit repeat just to listen to them again.  8.0

Male:  Seems to bring out some harmonies in the guys too, it's just a pleasure to listen to a singer change the pitch in a single word.  I have heard that before but it really seems to stand out here.  7.75


Soundstage:  An interesting result here as when the A100 is playing an ambient/eerie song the stereo and 3D effects are down played.  When you just have a singer and a drummer in the song it displays a very competent control of stereo and 3D imaging.  Again this breaks down just a little when you have several instruments and a singer all active at once.  Overall though, very good, 8.0.


Overall Performance Integration:

Creates a very effective ambience by (just my opinion) utilizing the decay of each note, I'm not sure how it does it (something to do with resonances I suspect) but I'm loving the end result.  If there isn't much to work with in the ambience stakes (ie regular rock music) then it does a great job with just regular stereo and 3D effects and very nice vocals but I have to say that I think the amp is much more in its element with slow and sultry music.


Ability to Emote: 

Has such a good grasp of ambient music that it manages to make those eerie songs feel so very emotional and satisfying.  8.5.


Electric Guitar Test:

Gets the feeling of energy and tone correct (and does a brilliant job with lightly played guitar) but doesn't quite manage the rebelliousness of strongly played pieces.  8.25 


80's Rock Test:

Pretty damn good, 8.5.  Most of my 80's tracks lack that extra fullness that seems to dominate a lot of songs today, that may be part of why it does a little better here than it does with the Electric Guitar test as the test track I use for that is a much later one.


I should add that I really like this amp, it's lack of harshness translates into a very low listening fatigue level so I can listen for hours at a time and I suspect (actually I know, but I'll get to that later) that some of that loss of quality when several instruments are playing at once is due to the Consonance player and not the amp.  I suspected it strongly enough that, a week after I bought the A100 amp I went and bought the Heritage CD100 player as well.  It is still running in but I've given them a run together and they sound noticeably better as a pair than the A100/Consonance pairing sounded.  When they are both ready I'll put up a new Heritage thread just for them.


French Engineering, it's good stuff!


Edit:  Almost forgot, I heard 3 things that I have not noticed previously on a few of my burn in/pre-listening discs and all of them were to do with movement/overlap/changes within the soundstage.  I noticed on one track that one of the ambient sounds was actually a short series of taps that was repeated 3 times but each time they moved further away, on another I noticed that several of the vocal lines were actually sung as a duet (I knew the other verses were but had not noticed this one before) but the woman's voice was in front of the man and he was singing softly enough that it was easy to miss.  I didn't write down the third one, bugger!  I'll have to go back and try again.

Edited by Cafad

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I've had to get my act together this weekend.  I've had a request to borrow (and possibly buy) the Stello AI500 and I had not yet got seriously into my reviewing of this amp so I've switched tracks from whatever it was that I would have done otherwise to swapping the Stello into the system and getting down to business with it.


I'll lead in with a few pics I think.


Topless in action.



Topless from the top.  Check out those caps, six by 15,000uF each.



And check out those little copper pads, each mosfet is clamped to a copper pad that is then in contact via heat strip with the heat sink.  It looks like someone went to a fair bit of trouble to go that extra few steps with this amp.


The Stello's power section is impressive, a 600VA transformer with a capacitance reservoir of 90,000uF.  That's massive, especially for a mosfet amp, and it's power stats back that up.  150wpc into 8 Ohms and 300wpc into 4, both channels driven of course.  It also contains a built in DAC section (with the usual coax, optical and usb inputs) so I'm running this review in the same way that I ran the Job Int and the Halo Integrated, I'm reviewing the entire unit from digital signal in.  If I get the chance to play with the various analog inputs I will but I'm a little pressed for time on this one so it might not happen.


Unfortunately, since I'm slack, I haven't finished the reviewing process just yet so I can only say so much but I just have to comment about the top end of the Stello, it has this really musical treble presentation.  When the girls raise their voices and get a piano to back them up the result is a truly enchanting performance.  The overall character of the amp is fairly light, it sounds a little dry and a little warm but mostly neutral.  As you can probably guess from the power section the Stello can give a fantastic bass performance but it doesn't go real deep as a rule, it can but it seems to have a very large range within the bass, so large that you find that many songs that other amps bottom out on don't sound anywhere near as bassy on the Stello.  When the bass does go seriously low however you really can't miss it, the closing credits to the TV show Supernatural absolutely rock when controlled with the Stello.


The Stello's soundstage varies greatly with volume, much more so than most, in my room I really need to get above 20 on the volume before I can really hear the full sound stage open up, below that it just doesn't have the same effect.


I'd better go and see what I can do to move things along this evening.  

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Well so much for my self imposed time frame (but I was more than willing to stop listening for two days in order to allow an electrician to install a new air con, that just has to happen) but I have managed to get there in the end.


Stello AI500

I had some delays (other than the air con)  with the Stello as it took me quite some time to figure out that the sound stage size and quality are directly related to the volume level, you really need to push the volume over 65db to access the magic that the Stello is capable of, below that the sound stage sounds compressed and you lose 80% of any crisp and/or metallic sounds (obviously this will be speaker dependent).  The solution, of course, was to turn it up, and so I did, and I am very glad I did.  I had to cross out several lines of notes afterwards but that was a small price to pay.  A very, small price!

I previously stated that about 20 on the volume dial is where things start to happen and that is true in that below 20 it isn't really impressive, however 25 is far better than 20, and 30 is about 10 times better again.  Any volume setting under 25 is not doing the music justice, not on my S2Rs anyway.


So, using my usual Lenehan S2R speakers, Redgum speaker wire and a YBA Heritage CD100 as a transport this is what I think of the Stello AI500 (At a volume setting over 25, don't go forgetting that, unless you have nice, high efficiency speakers).


Highs:  Piano is simply enchanting I could drift off into it all day, triangle rings out so amazingly realistically it just makes you wonder where every other amp has gone wrong, trumpets are completely lacking in harshness but still quite raspy.  I'm going to go with an 8.5 but if you throw in some high pitched vocals I'd be sorely tempted to give it a nine.  At lower volume, say 15 on the dial, this magic just doesn't happen, triangles sound like damped little bells and trumpets sound completely different, remember, keep the volume up.


Mids: Ever so slightly dry and just a tad lean but otherwise very much neutral.  Almost matter-of-factual in some cases.  This lack of personality (many would call it colouration in the audio world) actually leads to you being able to hear so much more variation within songs that you thought you already knew.  You will probably find, as I did, that two songs that you thought contained very similar sounding guitar will suddenly sound distinctly different because there is nothing in the amp's personality to hide those tiny differences.  At lower volumes those differences are actually quite annoying but if you up the volume a little then not only can you hear those differences but you can hear them so clearly that you actually enjoy them.  I think the extra volume gives the Stello the power it needs to display that extra resolution.  Otherwise, very musical and very expressive and resolving.  8.5


Bass:  Large sense of scale and breadth, fast and focused, vigorous and agile and gives plenty of bass presence.  Generally prioritizes speed and agility over depth but it has a very large range of resolution within the bass region that it sometimes feels a little light because other amps don't have that large a range.  When it needs to go deep it most certainly can, and it can stay there too.  Some people may become confused by this large bass range and I have to admit it did take me a little while to get used to it but once I did I found that it was worth every second of effort.  One slightly odd thing, the bass is usually just slightly warm, which is a characteristic that does not carry over into the mids or highs.  At the risk of repeating myself, another 8.5.


Vocals:  Female:  Absolutely enchanting (but also negatively affected by insufficient volume) As I said in an earlier post, combine some nice high pitched vocals and a lightly played piano and I'll sit for hours with a stupid smile plastered on my face.  It might be a 9.0 but I'm docking a half for the volume effects so I'll call it another 8.5.

Male:  Pretty damn good but you have to have the volume turned up enough to get the gravelly warmth of Mark Knoffler to come out as they should or Freddie Mercury's vocal cords to really hit their prime.  Once you do though it really is worth it.  8.0


2D and 3D Sound Stage:  The Stello has an interesting sound stage, it feels like a broad crescent moon (with smooth tips) with a center directly between the speakers and the tips out about half way between the speakers and the listener, it really give the effect of wrapping the front half of the room in sound.  It's a very relaxed sound stage in that sounds come at you from a distinct direction but often seem to come from slightly different distances without definite edges, they don't feel locked in at all.  It's a great effect, very enjoyable, if a little surreal.  I can't say for sure that it's one of the best I've ever heard but it is distinctly different and very, very nice to listen to, so it's another 8.5.


Overall Performance Integration:

Musical highs that blend into fairly neutral, but musical, mids with fast, very well resolved bass and a sound stage that wraps around the speakers as it does makes for a very 'orchestral' presentation.


Ability to Emote:

A minimum of 8.0, 8.5 if female vocals or a piano is involved and it might just make a 9.0 if you combine the two (I'm still mulling that one over).  Stello's version of eerie sound strikes me as a bit on the mournful side, it's very effective and I like it, but it's not quite what I'm used to.


Electric Guitar Test:

At low volumes it is really, really bad for expressing a hard played electric guitar, I mean like a 5.0 bad, not inspiring at all.  Once the volume gets things moving it climbs up to maybe a 7.0, which is OK but not great.  It just doesn't seem able to give that appropriate level of raucous energy needed to get me to love it.  It's a real pity but I guess you can't have everything.


80's Rock Test:

If I ramp the volume up even more then it really does a great job, good enough that I searched out my greatest hits disc for Twisted Sister and gave it a spin, but you really need that volume readout at 30 or above to get that to happen.  At 25 it would only rate about a 6.5.  That would go up to an 8.0 at 30 and probably an 8.5 at 35. (which is about 80db in my lounge... which is arguably the level at which 80's rock should be played at but not the volume that I usually listen or review at)




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Awesome write up Jeffro and if memory serves me correctly, the Twisted Sister CD's had 'turn it up load Mutha' written inside their sleeves anyhow. :D

Or some such comment. :D

Sounds like a great little integrated amp/dac.

Edited by Darren69

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They do indeed Dazza, although the full version is a little more articulate (apparently Dee can be quite articulate when he wants to be).  The final paragraph on the fold out in my Stay Hungry cd states:


In order to obtain maximum sensory enjoyment from the auditory representations contained herein, it is necessary to minimize load resistance through the potentiometer in ones preamplification section.  In other words,



Hard to argue with logic like that.

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He spoke well in the Lemmy movie and looks good too for his vintage.

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Time for a bit of an in-depth, pondering review of the littlest Sugden I think.


One Sugden Mystro, 50wpc of the only class A/B amp that Sugden make.




And I have to say that it does not really work for me.  It has it's good points don't get me wrong (and I'll get to them shortly) but it really feels like Sugden have very deliberately built an A/B amp that sounds very stereo-typically A/B.  In some ways it makes me think that they set out to make an amp that would sound very similar to a Rotel, if that is indeed the case then they succeeded.


I have quite mixed feelings about this amp, its mid range is very nice and it has quite a rythmic feel to it, not as much of a head-swaying, toe-tapping effect as the NAKSA 80 but enough to be quite enjoyable.  And then there's the instrumentals, very nice, very crisp and precise, loved Wagner's "Ride of the Valkyries", all that brass sounded great.  But the bass... it also has that crisp and precise nature and its fast with great leading edge impact, and while that sounds very good in the short term I found it produced listening fatigue very quickly, about 3 songs was all it took for me.  Obviously your mileage may vary there.  The top end is rather nice too, good definition and clarity but just enough glare to make that listening fatigue an issue again.


I have the distinct feeling that the little Sugden was meant to be used with English speakers, pair it with series 600 B&Ws and I doubt you'd even notice that glare that I mention but on the Lenehans it is a bit hard to take (and I fear it may peel paint off the walls on a pair of Focals).  I did toy with the idea that maybe there was just too much gain in the system, the volume knob on the Mystro gets to normal listening levels before 7:30 (with 6 o'clock being zero) so I pulled my Rothwell attenuators out of storage and gave them a try.  They did a great job with the glare but unfortunately they gave the bass a bit of a I-have-hung-a-wet-blanket-in-front-of-my-speakers effect so they are really only half a solution.


I'd like to go into depth about each particular part of the frequency range but I really didn't enjoy the whole experience with the Mystro so I would only be constantly mentioning the listening fatigue factor and the fact that the bass seems impact heavy and slightly depth light.  Vocals are good but nothing special.  Instrumentals are very good if they stay away from the bass region.  In the end all I can really say is that the Mystro is not an amp I would pair with either KEF LS-50s or Lenehan speakers, or any speakers considered to be on the bright side of neutral.  It shows great promise but I just can't afford the time and money to go looking for the speakers that would let all that promise be heard.


It's a real pity I can't manage to like every amp I hear, when I get a "bad" one like this (or the CEC I wasn't too fond of late last year) I feel robbed, like I've wasted time and effort and only received bad news in return.  But when I get a good one, well, that's what makes the whole process worthwhile.  Here's hoping that the next one is a good one, fingers crossed!

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And now for something a little bit different, a little bit interesting and a little bit meh.  I present to you the Opoint OP-150 the amp that doesn't really sound like anything at all.  There is no warmth there but it also can't be called cool, there is no feeling of smoothness but I couldn't call it rough or suffering from any form of harshness or breakup.  The only way I have come up with describing the character of the amp is to say it is the lighter shade of pale and the bland side of neutral, it is a bowl of unsweetened, unsalted porridge, or, if you prefer, a packet of 2 minute noodles that is missing its flavour satchel.  It doesn't really lack in anything but it has so little character it just doesn't give you much to talk about.



In my preliminary listening I had sort of noticed this and had idly thought that it might take a bit of work to get my head around it when it finally came time to get serious with the review but I had no real idea just how badly it would rate when (and this is important) I really didn't mind the way it sounded.  It was only this evening that I realized that it really is only a mid-fi piece of gear.  And even after this realization I would still rather listen to the Opoint than I would the Job or the Sugden Mystro because unlike those other two amps the Opoint doesn't do anything that seriously annoys me.



I've stuck with the 10AWG ugly cable speaker cables from the Job review but in all other respects my gear remains the same.  



Highs: No break up in evidence, brass is fairly good, triangles a bit sparkly but not distractingly so, piano is listenable but nothing special, no real musicality to speak of.  6.0



Mids:  Present and capable but not really able to grab my attention.  I suspect they got themselves marked off on the roll and then skipped out during lunch so they didn't have to attend the last 2 lessons of the day.  Not bad as such but missing a little something.  5.5



Bass:  nice and deep and expansive but not really fast or tight, adequate but not exciting.  Capable of serious depth (as I discovered while using it as my TV watching amp) but doesn’t use it often.  6.0



Vocals:  Female: generally a bit lacklustre but sometimes can surprise, this inconsistency can be rather annoying and it definitely is part of the reason for seriously marking the vocals down.  5.5


Male:  very bland, straight yoghurt style bland.  4.5



2D Soundstage:  Yes, it is there but it is shaped like a rectangle and about as exciting as remembering what a rhombus is.  4.0


3D Soundstage:  Well… OK… yes… the third dimension is there but it might as well not be, let’s call it present by default shall we?  It’s sort of like a piece of paper, technically it’s a 3D object but there’s only 2 dimensions that are really noticeable.  4.0



Overall Performance Integration:


Let me get back to you on this one, first I have to find some things to integrate. There is almost no foot tapping factor to speak of.  If I had to describe it in one word I’d call it bland.


Actually… it isn’t even really bland, even that would be assigning too much character to it, let’s call it bland-ish. 


OH, and I must say it is a very strange thing to hear a 2 dimensional drum solo that is firmly centred in the middle of the soundstage, very, very strange indeed.



Ability to Emote: 


Yeah, not really.  Doesn’t carry emotion particularly well.  Although, if an album has plenty of warm character to it the Opoint will deliver a decent performance, if the album doesn’t have any warm character to it however it is like listening in black and white.  Inconsistency is not a good thing in audio.  5.5



Electric Guitar Test:


Technically OK, but lacking in any trace of the awesomeness that electric guitar is capable of. 5.5



80’s Rock Test: 


Bland multiplied by washed out to the power of sun bleached.  5.0



So… here we are, at the end of the review of the Opoint OP-150 and you’re probably wondering why I’m still writing, yes?


Well it’s because the little Opoint is actually a very important amp to me.  Way back when I started this reviewing hobby (and a few times since) I did wonder just how good/bad/indifferent an amp had to be before it would “fail†a review.  This can be pretty complicated because while there have been amps that I really didn’t like in the past they still managed to be pretty capable in most areas (and in more than one case, rather popular too).  I think I have found the amp that will forever more represent the bottom of the range of capability that I would consider for an audio component to be (IMO) worthy of being called Hi-Fi gear.  This is the line in the sand, everything on one side is mid-fi (and thus capable of making the ears of audiophiles across the planet bleed at a range of 20 paces) and everything on the other side is Hi-Fi and thus probably safe to consider purchasing.



I’ve said a few times now that I don’t give awards but in this case I’m sorely tempted to give the little Opoint some sort of Barely Adequate Award, just for the hell of it.  




Edited by Cafad

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Careful Jeff, you'll lose all of your advertising revenue if you keep this trend of honest reviews up

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That's a good point Steve, I would have a hard time attracting advertisers after the last two reviews wouldn't I.  Oh well, day job to the rescue.



Maybe I could change my sig to offset the honesty impact something like "Willing to lie for cash" might work but I'd be worried it would make me sound too much like a politician.  Hang on, what about "I have yet to lie for cash but am open to the concept"  it clearly states that honesty has been the policy up to now and sort of infers that any payment would have to be substantial in order to affect that policy.  I like it, now I wonder which font looks the most extortionistic.

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The YBA stuff always catches my eye. It looks nice.

It sounds good too, so good in fact that there is another piece of YBA gear on its way to me right now.  

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Did you put your hand up for a gig reviewing for Marcus?

Looking forward to your thoughts on the new stuff Jeffro.

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Did you put your hand up for a gig reviewing for Marcus?

Looking forward to your thoughts on the new stuff Jeffro.

I did indeed Dazza but I think every man and his dog volunteered for that gig.  

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I had not really thought of that until now but, yeah, it is possible.  I've been working on this hobby for a few years now so the reviews are starting to add up.  


Personally I blame non-review writing people, if they would write more reviews then maybe I wouldn't feel compelled to make up the difference.  Yeah... maybe.

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I don't think that's likely to happen any time soon.

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Threads gone quiet? Any new amps in the pipeline Jeff?

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Actually yes there are a few amps currently "in the pipeline".  Thanks for the wake up post Simon.


I've got new (to me anyway) products from Leema, YBA, Densen and Gryphon waiting for me to get some spare time to seriously listen to and write up.  I've just been a bit lazy lately.  I might manage to get one sorted this weekend but I can't guarantee it. 


Next weekend I'm going speaker shopping with a cousin of mine, one of the bonuses of this hobby is the bit where you get to spend other people's money (well, OK, influence the spending of it anyway).  So another one may manage to show up the weekend after that.


I've slowed down a bit, I guess I'm just not as fanatical as I used to be.  I'm not done yet though, not by a long shot.

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I love this thread, good on ya, excellente!!!!

Cheers moonstone

Thanks mate, you'd be interested in the review of the Leema Pulse I believe?


It's coming, slowly but surely.

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      Weight: 10.1kg

      2. Speakers: Ascension Woodfox Ribbon 822SRTL Bookshelf Speakers. $890
      Dimentions: 500 H, 270mm W and 315mm Depth. Weight is approximately 18kg each. High quality woofer using an Papyrus cone, ribbon tweeter, Rose Mahogany Veneer.
      Two years old.
      Power 120W
      8 ohms
      Sensitivity 91db
      3.  Sold.  Subwoofer: Infinity Primus PS-8 $170
      See spec attached
      Photos: Advertisements without photos of the actual item will not be approved.



    • By aris
      Item: Yamaha A-S1000 Integrated Amplifier (Black)
      Location: Melbourne (Local pickup only, I don't have the box).
      Price: $700 (was $850).
      Item Condition: Good
      Reason for selling: Clearing out the 2nd system
      Payment Method: Pickup - Cash, Paypal, COD Only
      Extra Info:
      Specifications are available on Yamaha's site - https://au.yamaha.com/en/products/audio_visual/hifi/a-s1000/index.html
      At 105W in to 8Ohm (220W into 2Ohm) this has no trouble driving Harbeths and PMC's.
      Note, I'm not the first owner (I purchased through a local (Melb) seller on SNA about 12-18 months ago).
      I'm currently running Harbeth Compact 7ES-3 with this amplifier, and it really is a great match.
      The amplifier has MM and MC phono stage, currently using a Rega Planar 3 (MM) very nicely.
      I don't have the original remote, but use a universal Logitec to good effect, which I'll include in the bundle if the buyer wants it (nothing fancy, does the job - volume, input selection etc).
      There is one minor dint along the top faceplate (see 1st photo, above the Balance knob).
      One of the great features is the Direct Input, which allows you to run a pre-amp into it (I'm using a RME DAC to good effect).


    • By Karel
      Item: Cambridge Audio Azur 540A
      Location: Sydney, Chatswood area
      Price: $100
      Item Condition: Very good
      Reason for selling:  No longer used
      Payment Method: Pickup only
      Extra Info:
      Old favourite, great sound for little money.  No remote. Very good condition.
      Manual & specs:  https://techsupport.cambridgeaudio.com/hc/en-us/article_attachments/205263809/Azur_540A-640A_User_Manual_-_English.pdf
      Photos: Advertisements without photos of the actual item will not be approved.

    • By DubbyMcDubs
      Item: Cayin CS-88A Integrated Valve Amplifier
      Location: Central Coast NSW
      Price: $2,750 ono
      Item Condition: Mint, As New
      Reason for selling: Upgrading/Change of direction
      Payment Method: Pickup - Cash, EFT, Paypal + 2.6%, COD Only
      Extra Info:
      I have owned this amp since July this year. Originally purchased in preparation for a setup with Klipsch Cornwall III speakers, however I went a different route and ultimately purchased Revel M106’s. While this is an exceptional sounding valve amplifier it is not really matched well with the Revel’s and I will be upgrading to a Benchmark system. The build quality is exceptional, regardless of price. Selling to help fund the upgrade.
      This amp is in mint as-new condition, with no more that 5 hours use on it total. I have all of the original packaging and accessories. 19 months warranty remaining.
      Retails for $3,499. Selling $2,750 ono
      Happy to post if buyer pays postage, but realize its a very heavy item.
      Power Output: 25 Watts per channel (Triode) 45 Watts per channel (Ultra-Linear) Frequency Response: 10Hz - 42kHz (-3dB) Total Harmonic Distortion (THD): 1% (1kHz) Signal to Noise (S/N) Ratio: 93dB Line-Level Inputs: Two Phono Input (MM) Pre-Amp Input: One stereo preamp input – allows the CS-88A to be used as a power amp only Construction: Hand-made construction with silver point-to-point wiring Power Supply: Specially designed toroid transformer for the power supply Pre-Amplifier: Two 6SL7 and two 6SN7 valves are used in the preamp stage Four KT88 valves are used in Class AB1 push-pull output stage Triode and Ultra-linear selection via remote Bias Adjustment: Easy valve bias adjustment using the top mounted bias meter Rear Panel Switch: Switch easily between the supplied KT88 output valves or optional EL34 valves via a convenient rear panel switch Remote Control Soft Start Function: 30 second soft start function - extends the life of internal components and valves Memory: CS-88A stores last usage settings once turned off Volume Control: High-quality Japanese ALPS motorised potentiometer (volume control) Silver Plating: Heavily silver-plated signal cables are used throughout Cover: An easily removed cover is provided for protection from hot valves Speaker Binding Posts: Accepts Banana plugs or spade terminals Output Impedance: 4 Ohms and 8 Ohms Power Cord: Standard IEC that can be easily upgraded. Dimension (WxHxD): 420 × 195 x 382 mm Net Weight: 28kg

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