integrated amp ('85-'86)  100 WPC  $500 (perfect)

In mint cosmetic condition and fully operational, this beautiful Pioneer A-77X integrated amp features the factory installed rosewood laminated side panels and satin black faceplate.

This isn't just another pretty face...a peek inside the case reveals separate power supplies for one power amp and the preamp each...a true double mono setup.  There are also separate electronically switched relays for each channel.  This particular amp is one of the later models that had a few slight upgrades compared to the earlier versions.

The A-77X was part of Pioneer's Elite series of hi-fi components. Among its many features are fully shielded moving magnet and moving coil phono stages, low impedance driving capability, 3 power transformers and 7 power supplies

Back story:
The models A-77X and A-88X were the elite amplifiers of the Pioneer series at that time, with the A-88X leading the series both in terms of equipment and performance.  Chatter claims the units probably evolved from their predecessors, the A-60 through A-80, which had fairly similar specs.  All models (starting with the A-66X) "naturally" have metal fronts and knobs.  The volume knob of the A-88X and A-77X is completely made of metal and is fixed to the potentiometer axis with a grub screw.  However, on the later A-77X (like this one) the knob is just plugged onto the corrugated axis of the potentiometer.

Stereo Review magazine:
"Essentially, the A-77X is an incredibly powerful amplifier of the iconic Pioneer Elite series. It is distinguished by its built-in, high-quality phono preamp and the ability to drive speakers with both low and high impedance. The technical construction is based on 3 large transformers and as many as 7 power supplies. The amplifier sounds very natural. It is characterized by a wide and extremely rich music scene, that is why it is highly recommended to enthusiasts of jazz, classical or instrumental music."

Basic Specs:
Power Output: 100 Watts Per Channel Into 8Ω (Stereo)
Frequency Response: 10Hz To 100kHz
THD: 0.003%
Speaker Load Impedance: 4Ω To 16Ω
Dimensions: 18'W X 6"H X 17"D
Weight: 34 Lbs

About Pioneer...
In 1937 Nozomu Matsumoto created the first magnetoelectric speaker in Japan, and a year later, in Tokyo, he registered the company under the name Fukuin Shokai Denki Seisakusho. In 1961, the company’s name was changed to Pioneer Electronic Corporation. However, the breakthrough came in 1962, when the company entered the Tokyo Stock Exchange and created the world’s first stereo system with speakers in separate housings.

Four years later, Pioneer opened branches in the USA and in Europe. In 1978, the company created one of the best-known and most powerful receivers in its history SX-1980. Pioneer can also be proud of great successes in the world of auto-moto, as it introduced in 1975 the world’s first automotive stereo subassembly, then in 1984 a CD player and GPS navigation in 1990. The company also played a major role in the development of DVDs, plasma TVs and technologies Organic LED display (OLED). The company is currently part of Pioneer & Onkyo Corporation.

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integrated amp ('78-'80)  65 WPC  $400

This MCS 3865 integrated amp (from the late 70's) was best described as a "mighty little beast."   Designed and built by *NEC, the MCS-3865 was sold by Penney's under their **MCS label ("Modular Component Series"). 

The 3865 amp is an exact rebranded NEC AUA-8000E.The design is pure dual mono with an intelligent interior and exterior design.  Lots of high quality parts; switches and pots are high grade, neat wiring and those massive transformers account for its hefty 38 lbs of weight.
We have to admit this amp is one of the best we've come across in that power range, regardless of whatever competition it had.

After a complete teardown on the bench (thorough cleaning, boards and circuits check, meters calibrated, deoxit applied to all contacts and lamps upgraded), it's now fully functional and (after a bit of cosmetic upgrading) in excellent exterior condition.

Conservatively rated at 65 watts per channel, the MCS-3865 is an easily capable anchor for just about any mid-fi system.  There are outputs for two turntables, AUX, two tape and two pairs of speakers.The exterior case features real oak veneer with matching veneer on the meters.
A pair of the very rare factory rack handles are included.

Basic specs:
Power output: 65 watts per channel into 8Ω (stereo)
Frequency response: 5Hz to 100kHz
THD: 0.1%
Speaker load impedance: 4Ω to 16Ω
Dimensions: 18"W (including rack handles) x 7.5"H (including meters) x 13.4"D
Weight: 38 lbs

*About NEC...
Nippon Electric Company, Ltd was established on July 17, 1899.  It wasn't until 1950 when they started research and development of transistors. By 1960 they had expanded into development of integrated circuits (ICs). From that point on, NEC found its niche in a crowded field already dominated by Pioneer, Marantz, Sansui, etc.  As an OEM supplier they built many highly respected HiFi components under their own label as well as professional and consumer HiFi products for many other companies.

**About MCS (Modular Component Systems)...
MCS was the house brand for JC Penney back in the 70's and was often passed over by audiophiles simply because it was sold by Penney's.  However, in our opinion, whoever worked for JC Penney's electronics acquisition department at the time certainly had discerning taste which resulted in some very good products being offered. 
Also, during the era, Sears and JC Penney were bitter rivals and constantly trying to outdo each other when it came to HiFi gear.  While Sears relied heavily on either Fisher or Sanyo-built components, Penney's had a few more suppliers than Sears.  Possibly, the biggest decisions made by consumers was based on which credit card they had in their wallet because Penney's was a bit more strict on credit ratings than Sears.
There is some debate over who actually manufactured the MCS series for JC Penney. Most seem to agree that it was either NEC and/or Technics.  In most cases, certain turntable models were obviously made by Technics because there were clearly labeled parts and identical construction.  
Probably, the different types of components in the MCS line were made by different manufacturers, all of whom designed great products for Penney's.  By the late 70's, it was near the end of the receiver power wars and despite the fact that most of the mid to high range MCS units had actually incorporated some of the latest technology at the time, digital was looming on the horizon and was about to change the face of HiFi.

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('79-'80)  125 WPC   $850  (vu meters shown optional)

In excellent cosmetic condition, this Kenwood KR-8010 is typical of the technical and aesthetic works of art coming out of Japan in the late 70's.

The brushed extruded aluminum front panels, diamond-machined knobs, analog meters, nice "slide-rule" dials and the factory installed chrome rack handles are just a few of the attractions on this massive Kenwood unit.

At the time of its release in early 1979, this Kenwood KR-8010 was second only to the top of the line KR-9600.  The KR-8010 pushes out a conservative 125 watts per channel (8 Ohms) and 135 watts per channel into 4 ohms.

It has five analog inputs (including two phono) and three-band tone controls.
Besides its massive transformer and overall excellent build quality, it should be noted that the KR-8010 uses the exact same output transistors as the Pioneer SX-1250 receiver and the "holy grail" Concept 16.5 receiver.

The radio section in the 8010 was its weak point.  We bypassed the tuner by connecting a beautiful, high end *Kenwood KR-7300 stereo tuner (running through the tape 1 input).  The sensitivity of the 7300 is light years better and sounds fantastic.  The tuner is included at no extra charge.

Basic specs (KR-8010):
Frequency response: 5Hz to 100kHz
Total harmonic distortion: 0.03%
Speaker load impedance: 4Ω (minimum)
Dimensions: 22.5:W x 6.6"H x 18"D
Weight: 41 lbs

*The Kenwood KT-7300 stereo tuner was second in the lineup to Kenwood's KT-8300 upon its release in 1976.  In terms of secs and build quality, it was a very close second indeed.

Specs:
Tuning Scale: Analog
Sensitivity: 1.6uV (FM), 18uV (MW)
Signal to Noise Ratio: 75dB (FM), 50dB (MW)
Distortion: 0.4% (FM)
Selectivity: 110dB (FM), 35dB (MW)
Frequency response: 20Hz to 15kHz (FM)
Dimensions: 17"W x 6"H x 14.8"D
Weight: 19 lbs

integrated amp  90 WPC @ 4 / 60 WPC @ 8  $500
with free stereo tuner (1976) 

In excellent cosmetic and working condition, this Kenwood KA-601 integrated amplifier is rated at a minimum 60 watts per channel (8-ohms) and close to 90 WPC (4 ohms)  @ 20 to 20,000 Hz, with less than 0.02% THD.  Many bench tests of the 601 prove the THD was indeed, even lower than claimed by Kenwood. 

The included free Kenwood KT-7300 tuner is in excellent cosmetic condition and working perfectly.  This excellent stereo tuner was second in the lineup to the TOTL Kenwood KT-8300 upon its release in 1976.  In terms of secs and build quality, it was a very close second indeed.

With separate (dual) power supplies in the KA-601 for its two channels, they are fed by a common power transformer and the power-amp sections are *direct-coupled.  It's a big beefy unit with a great build quality.

The KA-601 made a big splash in the late 70's because it was so affordable which made it easier to buy a world class unit with extremely low THD usually found on much more expensive amps.  The well laid out front silver faceplate is dominated by the large, beefy volume-control knob near its center with a 32 position step attenuator whose detents are so light that you're hardly aware of their presence. 

In order to keep the cost down on the KA-601, Kenwood decided there would be no vu-meters meters and no chrome knobs or switches. (NOTE: the separate vu-meters shown in the photos are not included-for demo only)
The bass and treble tone controls are each 11 position step controls, and the balance control is lightly detented at its center. Curiously, there's a mysterious switch labeled "DC Coupled on/off" which, in reality, is a fancy name for a "rumble" filter.  Finally, there are also level switches for tone defeat, subsonic and high filters, and a 20-dB audio attenuator.  On the back are outputs for 2 pairs of speakers, inputs for two turntables, two tape loops, tuner and AUX.

Basic specs KA-601:
Power output: 60 watts per channel into 8Ω
                         90 watts per channel into 4Ω
Total harmonic distortion: 0.02%
Dimensions: 17.3"W x 6"H x 16"D
Weight: 26 lbs

Specs KT-7300:
Sensitivity: 1.6uV (FM), 18uV (MW)
Signal to Noise Ratio: 75dB (FM), 50dB (MW)
Distortion: 0.4% (FM)
Selectivity: 110dB (FM), 35dB (MW)
Frequency response: 20Hz to 15kHz (FM)
Dimensions: 17"W x 6"H x 14.8"D
Weight: 19 lbs

*About "direct-coupled"...
The development of the direct-coupled output stage first appeared around 1971 when a new series of Panasonic-branded receivers (about a year before they came up with their “Technics” brand marketing angle for their high-fidelity division) were advertised as having direct-coupled amplifier sections, resulting in flatter frequency response into the lowest bass range, at full power and lower distortion than had previously been possible with traditional capacitor-coupled designs. Pioneer, Kenwood and many others soon followed suit and the availability of truly full-range, low distortion amplifiers made really satisfying audio reproduction a new twist in the world of HiFi.

Marantz, in particular, stressed that DC coupling was used between the amplifier's output transistors and the loudspeaker load with no transformers or capacitors to get in the way. This was common in the better classes of equipment of the day, but still not universal. DC coupling helps maintain the amp's damping factor (eg, its ability to control and position a woofer cone accurately) at low frequencies. This is not the case with transformer or capacitor coupling and, provided the amp is correctly designed and its power supply can cope, DC coupling will typically result in tighter and cleaner bass, especially at high listening levels.

About Kenwood (Trio)...
Established in 1946 as the Kasuga Radio Co. Ltd. in Komagane City, Japan, in 1960 the company was renamed Trio Corporation. In 1963 the first overseas office was founded in Los Angeles.

In the early 1960s, Trio's products were rebranded by the Lafayette Radio Co with a focus on CB radio.

An importer of Japanese-made electronics Radio Shack (Realistic, Tandy Corp) was A&A Trading Co., and a bilingual Japanese-speaking manager from there established a company that would be the exclusive importer of Trio products.

The name Kenwood was invented by Kasuga as being the combination of "Ken", a name common to Japan and North America that had been tested and proven acceptable to American consumers in the name of Kenmore appliance (Sears) \, and "Wood", referring to the durable substance as well as suggesting a relation to Hollywood.  The brand recognition of Kenwood eventually surpassed that of Trio's, and in 1986 Trio bought Kenwood and renamed itself Kenwood.  Eventually, Kenwood merged with JVC in 2008 as JVC/Kenwood.

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('77-'79) 35 WPC  $400 (perfect)

In absolutely perfect cosmetic and operating condition (like new actually), this Yamaha CR-620 "Natural Sound" receiver is at (or near) the top of the list when it comes to stunning exterior receiver designs in the 70's.  It has that recognizable classic Yamaha styling and the very cool "Envoy" veneer case.

Like all the "Natural Sound" units, the CR-620 was well respected back then (and now).  It was one of Yamaha's best selling mid-range units from 1977-1979. 

Because of its design, it appears larger than most of the competition in this class size.  It puts out a conservative minimum of 35 watts per channel into 8 ohms and 45 WPC into 4 ohms with a very low 0.015% total harmonic distortion.

NOTE:  During the 70's, the "average" buyer of stereo receivers was in the 35-40 watt per channel range.  Because that was enough power needed to anchor a good system, most of the competition was focused in that area.  It wasn't until Pioneer broke open that "magical" 100 watt per channel threshold with their SX-1010 that everything changed.

The overall interior build enables the CR-620 to use that power cleanly and effectively with an absolute minimum of distortion.  It's also "tech friendly" with its neat layout, easy to reach boards, pots and adjustments.

This receiver also has all new LEDs for the dial glass and the signal / tuning meters.  In low light conditions, the front panel casts a pleasing blue-green glow.

Unique to the CR series was Yamaha's "Continuously-Adjustable Loudness" control.   Simply explained, once you set your comfortable volume level (with the volume knob) you just use the loudness control thereafter.  It continuously adjusts the correct amount of bass no matter what the level of sound.

Basic specs:
Power output: 35 watts per channel into 8Ω (stereo)
Frequency response: 20Hz to 20kHz
THD: 0.05%
Speaker load impedance: 4Ω (minimum)
Dimensions: 20"W x 6.5"H x 15.5"D
Weight: 28 lbs

About Yamaha...1972 and later
From the CA-1000 that whipped up a whirlwind and brought Yamaha recognition in the audio world, to the AX-2000A that, after groping around with digital technology, managed a comeback to pure analog.  The very successful "Natural Sound" marketing in the 70's brought Yamaha into direct competition with Pioneer, Marantz and almost all the other great companies of the era.

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