Da tråden ikke ble med i fra den gamle sentralen, så kan vi fortsette her. Forsterkeren jeg sikter til har fortsatt ikke dukket opp. Men jeg skal Google litt ekstra hard, så mulig jeg finner den
Er det en forsterker jeg skulle ønske å ha lyttet til og eigd må det vere
Andy Rappaport AMP1.I min verden har DEN legendestatus.
fra SoundStage:
The only thing the new amplifier lacks is romance. I can't imagine the buyer of a practical, low-cost Starlight amp winning the girl of his dreams, building a real estate empire, making and losing millions of dollars, and then exiting through a ninth-floor window. The high rollers who pioneered the high-end audio hobby sometimes did. Not only the buyers crashed and burned. Some of the early hi-fi designers and manufacturers lived dangerously, as well. Names to mind include John Iverson, Andy Rappaport, Jim Bongiorno, Dave Belles, and of course, Mark Levinson. These fellows all had a common passion, class A power amplifiers--the real kind, the kind that turned on, played music, and blew up in class A, sometimes taking the business with them. After the ML-2s, I owned a dozen solid state amplifiers which ran scaldingly hot and operated (mostly) in class A . I can vouch for the magic of brute force. Paraphrasing Norma Desmond, we didn't need technology; we had class A, then.
Artikkel fra AudioNote:
What then should be put in place of the current system of technology and evaluation?It took me, with the help of many friends and collaborators, (special thanks here goes to Leonard Norwitz, whose musical knowledge and intellectual clarity are immense), the Comparison by Contrast method was born, refined and formulated. (See article, “The Road to Audio Hell” elsewhere on the web site.)
With this “tool” in hand, I went searching for equipment that sounded better when selected by the method. To my initial surprise, I found shockingly little: the Snell loudspeakers (only the early types like the A/II, A/III, E/II, J/II and the Type K), the Spatial Coherence pre-amplifier, the Rappaport Amp-1 to name a few. To my astonishment, the most successful products at coping with “Comparison by Contrast” were more than 15 years old (in 1980, that is!) and the further back I went the better some of the products, especially the amplifiers, turned out to be.
This lead me to a serious study of the earliest audio technologies and the history of recorded music and its reproduction in general. Not being an engineer, I was unable to replicate any of the circuits I found and most of the 1930's amplifiers I acquired could not be made to work, so I had to wait many years to test my evaluation theory on these circuits. During the 1980’s I applied many of the ideas that I had picked up from these studies in the products under the Audio Innovations brand, and when I sold the brand to concentrate on the work with Mr. Kondo on developing Audio Note™.
Og denne
Around 1980, two extraordinary solid-state amplifiers appeared in the high-end audio market. John Iverson offered the Electro Research A-75 and Andy Rappaport offered the Rappaport AMP-1. Both of these were 40-volt (75 watt per channel) amplifiers with temperature tradeoffs in their design. The A-75 had a noisy fan and the AMP-1 ran egg-frying hot. And these amplifiers changed the picture of hifi by presenting a musical signal with more range, more detail, more texture, more space, and more music than the previous generation of top tube amplifiers. These two amplifiers were an interesting contrast in design and measurement. The A-75 was a high-feedback design with something like 0.0005% THD while the AMP-1 was a no-feedback design with 0.5% THD at half-power in the high frequency range. Both amps, however, were articulate in their reproduction of music. Mark Levinson made some superlative solid-state amplifiers, but not in this league. And Jim Bongiorno offered the Sumo amplifiers which were. Russ Sherwood has continued improving John Iverson's designs to make the Eagle 11 amplifiers in my living room.
Strengths: Powerful monoblocks with ample power and extended deep bass, very smooth natural sounding mids and fast articulate high end. A very "analog" sounding solid state amp without many of the negatives associated with solid state designs.
Weaknesses: Captive power cord, 200lbs each make them very heavy and hard to move, not the most beautiful amps for the money with a bit more of an industrial look in a gold finish - some like the look, some don't - I would prefer a different appearance myself.
Bottom Line:
I purchased three of these 200lb monoblock amps in a package deal along with some Wilson Maxx, Wilson XS subs and more. Sold the Wilsons and kept the Denons after extensive side by side comparisions with many other top reference amps including ARC Ref600, Krell FPB 750Mcx, Pass Labs 600, Levinson 20.6 and more - each time I clearly preffered the sound of the big Denons which were smooth, deep and warm - and made the other amps sound lean and sterile by comparison.
Actually, when I got these amps in I did not expect to like them and was surprised each time I compared them so some other well known super amps that they kept winning - my personal bias was never with these but over time I found them to be really wonderful amps with a deep, fast articulate bass, smooth mids and detailed airy high end with lots of oooph. If you get a chance to hear them i think you will find them impressive ... I did.
Similar Products Used: I compared these Denons side by side to the following amps:
(and preferred the Denons much to my surprise)
Da kom jeg på hvilke forsterker som ble sammenlignet med Cyrus 1 og Nad 3020 som legendarisk. Den heter Advent 300. Men dette er en reciver etter hva jeg har forstått. Den er vel muligens i fra 70-tallet?
KSA50 hørte jeg på et sett Quad ELS63 på Akers Mic (tror jeg det var). Ikke for å dra ned stemningen, men det var ikke "my cup of tea".... for å si det mildt
Dette var veeeldig god lyd for penga og en av de kanskje 2-3 viktigste produktene som fikk meg hekta i begynnelsen av min "karriere" (En kompis hadde denne) Jeg selv sparte til en lett brukt Cyrus 2+PSX for ikke å herme for mye (klassiker det og, uten tvil), men jeg bytta ut den komboen noen år senere med en Audiolab 8000c (forforsterker) og en 8000p (effekt)
8000A (integrert) Den var ikke kjempebillig, men det var uhørt mye og bra lyd pr krone. (og bra riaa mener jeg å huske den hadde)
Usikker på legendestatus men historien bak navningen på denne er jo litt artig. Nelson Pass stod for designet av en forsterkerserie fra Adcom som gikk under akronymet GFA som stod for: Great Fucking Amplifier.
AR: Will You Recount The Story of How The Adcom GFA-555 Got its name
NP: I imagine that Alec and Rob had a couple beers and asked, "What shall we call this Great Fucking Amplifier?
Adcom GFA-555 fikk gode anmeldelser internasjonalt men det ble aldri noe stort merke her hjemme, synd.
Dette var veeeldig god lyd for penga og en av de kanskje 2-3 viktigste produktene som fikk meg hekta i begynnelsen av min "karriere" (En kompis hadde denne) Jeg selv sparte til en lett brukt Cyrus 2+PSX for ikke å herme for mye (klassiker det og, uten tvil), men jeg bytta ut den komboen noen år senere med en Audiolab 8000c (forforsterker) og en 8000p (effekt)
8000A (integrert) Den var ikke kjempebillig, men det var uhørt mye og bra lyd pr krone. (og bra riaa mener jeg å huske den hadde)
Må si meg helt enig her. Det var i "gode gamle" dager med Akers mic i Bergen. Jeg hadde integrert, og oppgraderte til for og effekt. Det var mye god lyd for pengene. Han som jeg solgte for og effekt til har det fremdeles sammen med noen ruark høyttalere, og det spiller veldig fint.
