integrated amp /  tuner  (1976)  32 WPC    $650/set

Fully serviced, in mint cosmetic and operating condition, this stunning set of Luxman components generally needs no introduction to those in the HiFi community that are familiar with the extremely impeccable reputation of Luxman products. 

The L-30 was the least expensive amplifier in Luxman's 1976 range. However, because it has the same luxurious appearance and high quality build from Luxman, it looks nothing like a "budget" model – rather, it had an almost intangible feel of quality and superior finish that in terms of showroom appeal put it above all but the very expensive offerings from the other big Japanese names at the time.

The L-30 is a simple, yet well executed, package. It was originally rated at 32 watts per channel into 8 ohms. (One year later, Luxman came out with the L-31 which was identical except for a few more watts, making it closer to 40 WPC). 
This power niche' represented something of a dividing line between the run-of-the-mill amps and the more specialized units such as the L-30.
All the usual connections one would require for a basic system are present, from a built-in phono stage that suits the bulk of MM cartridges through to switched outputs for two pairs of speakers and a pair of headphones. Just as with every Japanese amplifier of the '70s, the matching T-33 tuner is included.  

During the mid-to-late 70's, HiFi technology was surging forward in leaps and bounds, yet the L-30 was a surprisingly conservative design. Key to the circuit was its simplicity at all stages – this when the number of components being used by the company's rivals were expanding greatly year by year. The amp was built around a DC-coupled output stage running under Class AB conditions. This method, where there are no coupling capacitors or transformers between the output transistors and the loudspeaker load, gave consistent performance and made speaker matching reasonably straightforward.

Basic specs (amp):
Power output: 32 watts per channel into 8Ω (stereo)
Frequency response: 15Hz to 50kHz
Total harmonic distortion: 0.05%
Dimensions: 17.5"W x 6.5"H x 9"D
Weight: 16 lbs

About Luxman...(from Luxman's home page)
The history of the Luxman audio brand began in 1925, at the birth of radio broadcasting.  They paid particular attention to the world of audio and gained a high reputation as a quality brand of high-end audio products both domestically and internationally.

People tend to open their mind to natural things and react negatively to the unnatural. Natural sound, without coloration, develops an intimacy between the music and the listener; naturally and purely reproduced music resonates with the listener’s imagination. 

Luxman reflected this effect in their product development; music that features a performer's true passion and which a recording engineer has worked on precisely benefits from the fine nuances in sound which they aimed to reproduce, conveying the spirit of the artist and the enthusiasm of the performance. They strove to bring to the listener the experience of unlimited, pure music because composers, performers and recording engineers have poured their true feelings into our favorite pieces of music. Luxman would only be satisfied if the listener could experience those same passions through their products. They continue to discover new excitement through wonderful music and to continue to share that pleasure with everyone.

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('75-'77)  20 WPC  $850 firm

In absolutely pristine cosmetic condition and fully operational, this beautiful Marantz 2220B stereo receiver was the replacement for the earlier Marantz 2220.  It was disassembled for servicing that included a partial recap on the phono board.  All pots and switches were checked and deoxit was applied.  All new fuse lamps were installed. Bench tested to assure that every function is now in perfect working order.  Prior to the bench servicing, we removed the original factory protective faceplate cover.

(NOTE: All Marantz units of that era were shipped with plastic faceplate protectors. It's very rare to find a unit with the protective plastic still in place.  Because it still had that cover, the faceplate is in the same new condition as when it was shipped.  We will include the cover to the next owner. )

The factory WC-22 walnut case is also pristine.   Honestly, there's not a mark or scratch to be found anywhere on this receiver.  It's truly one of the best well-kept Marantz units we've seen to date.

From the "best" era of Marantz during the 70's, the 2220B has that very recognizable and popular design: heavy silver aluminum faceplate with blackout dial and the beautiful blue glow of the dial and meter.  Of course the gyro tuning wheel is instantly recognized as one of the best known features about Marantz.   Selling for about $300 in 1974, these receivers are known for having long and productive lives when well taken care of...just like this one!

Of the two similar (but different) Marantz models (2220 vs 2220B) the 2220B sold like hotcakes and is generally more popular as it has a well deserved reputation of being able to put out close to double it's rated watts.  This power difference over the 2220 is most likely due to the direct coupled outputs on the "B" versus the capacitively coupled outputs on the other.  Cosmetically, besides the faceplate, the major difference is the 2220B has a slider control for balance instead of a knob.

Essentially, the 2220B punches out more than its very conservative rating of 20 watts per channel.  For those who realize that, in some cases (depending on your REAL needs), you just don't need a ton of power, preferably when driving high quality efficient speakers....especially if the amp section is as good as this one is.  Because this receiver is relatively easy to service, everything about this Marantz 2220B, inside and out,  was put together with simplicity in design and function.

Basic specs:
Power: 20 watts per channel into 4 & 8 ohms 
Frequency response: 10Hz to 50kHz
THD: 0.9%
Dimensions: 18.25"W x 7"H x 15.25"D (including case)
Weight : 35 lbs. (including case)

preamp ('73-'76)   NFS display only
 
Properly cleaned, professionally restored and fully tested, this Marantz 3200 Control Center (preamp) is a rare and lovely example of the available Marantz technology during the early-to-mid 70's.  
The 3200 was given our usual thorough inspection, cleaning, testing, etc but a big part of the bench servicing included a recap of the always important phono stage (the old tantalum capacitors were removed and replaced with modern film caps).

The simple yet unmistakable Marantz 3200 front facia design has just the right amount of knobs and controls.  There are no redundant or obsolete controls; every function is readily usable.  It will mate perfectly with almost any high quality stereo amp as part of a "typical" vintage stereo system. 

Among its features, the 3200 has 2 phono inputs along with the tuner and aux inputs.   Perhaps its best feature is revealed if you look at the 3200 as essentially two totally separate units (a preamp and a speaker selector) on one common chassis.  Simply put, the speaker wire outputs of the amp connect to the speaker wire inputs on the 3200.  This now gives the 3200 complete control of up to two pairs of speakers.

Marantz; a different perspective...
More than any other person, Saul Marantz defined premium home entertainment. Driven by his passion for music and his accomplishments as a classical guitarist – accomplishments that led to a close friendship with Andres Segovia – he was never satisfied with the “hi fi” equipment of his day. So he built better; first in his basement, later in a factory. His talent for industrial design and his ability to infuse talented engineers like Sidney Smith and others with his vision resulted in legendary products: The Model 7 preamplifier. The Model 8 and, soon after, the 8B power amplifier. And insured that his company would remain a premiere name in the industry he helped establish.

In the '60’s. Marantz made multiple significant moves. NASA found the Model 9 stable enough to be used in tracking stations around the world as part of the famous Apollo space program. Marantz also decided to relocate to California within this decade. Most notably, in 1964, Marantz was acquired by SuperScope.

Fueled by financial backing, innovative product development and additional production facilities in Japan, Marantz experienced excessive growth and expansion in the 1970’s. It was also the decade of the famous “2200” receiver, which turned out to become the most successful receiver line in consumer electronics history.

To Marantz, perfect specifications and technical accomplishment count for nothing unless a product can unlock the power, the excitement, and the emotion of music. Their heritage of technical excellence means they can create components with the ability to communicate the scale, timbre, pitch, and dynamics—in fact, the very essence—of a recording. Every Marantz component is technically and cosmetically designed to complement the lifestyle of the listener.

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('79-'80)  125 WPC   $750  (includes vu meters shown)

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 backlit power meters are just a few of the attractions on this massive Kenwood unit. 
(NOTE: As shown above in one of the photos, the unit comes with the original chrome rack handles included at no charge; easy on, easy off)

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.  All functions work perfectly except for the tuner.  A separate (free) tuner is available and can be connected through one of the tape inputs.

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.

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

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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preamp / receiver ('92-'95)  40 WPC  $325

In very good cosmetic condition and fully operational, this NAD 705 (which falls in the middle of their receiver lineup), follows the NAD tradition of high performance and functional design.
The 705 is easily converted to an excellent preamp by simply pulling the jumpers on the back.

The 705, like all NAD amps (whether separate components or part of a receiver) feature their "Power Envelope" design.  This enables them to deliver outputs well beyond their continuous-power ratings during the brief intervals required by music peaks.  Essentially, despite its modest specification of 40 watts per channel (into 8 ohms from 20 Hz to 20 kHz at less than 0.03 percent distortion), the 705 is also rated to deliver from 90 to 160 watts per channel into loads of 8 to 2 ohms during program transients.

The 705 also has NAD's proprietary "Soft Clipping" circuit, which causes the signal waveform to round off smoothly near the maximum power level, minimizing the harshness associated with peak clipping. This feature can be selected or defeated by a small slide switch on the rear.

Lastly, the 705 is everything NAD claimed and a lot more receiver than its modest size and appearance would suggest. It's another worthy member of a long line of distinguished products.

Basic specs:
Power output: 40 watts per channel into 8 ohms
Frequency response: 20Hz to 20kHz
THD: 0.03%
Speaker load impedance: minimum 4 ohms
Dimensions: 16.5"W x 4"H x 12.5"D
Weight: 14.5 lbs

receiver / preamp (mid 80's)  50 WPC  $350
In perfect cosmetic condition, fully serviced and fully operational, this NAD 7250PE redefines "available and usable power".  Conservatively rated at 50 watts per channel into 8 ohms, the 7250PE is a later-generation unit in the NAD line (one generation or two after the legendary 3020 series.)

PE stands for Power Envelope, which was the marketing moniker of the time for NAD’s high-current amp system. The 7250 was rated at a 50 watts per channel of steady power, but its +6 dB of dynamic headroom can provide up to 180 watts per channel into 8 ohms and up to a whopping 200 watts per channel at 2 or 4 ohms for short bursts.  In other words, this 7250PE is deceptively powerful;  there are buckets of reserve waiting to be used. Sound quality is exceptional which reflects its transitional place in the plethora of vintage receivers out there.  Bottom line: the 7250 is clear and can be clinical in a digital era sort of way but it doesn’t lose the emotion and warmth of the vintage mindset in the process.
The 7250 is a receiver, preamp, amp, and radio tuner included in one sleek case. 
NOTE: The reference to "preamp" is because NAD was smart enough to include pre-out/amp jumpers enabling the 7250 to be either a full service receiver or an excellent preamp. 
There’s a small red LCD display which notes the radio station, even when you’re switched to CD, Phono, or Video. There’s an integrated volume and balance dial on the right (which has a great damped turning feel), as well as bass (bass EQ) and treble knobs, plus loudness and sound contour controls.  On the rear are the usual RCA inputs, 5-way binding posts, as well as a handy switch to move amplifier impedance from 8 ohms to 2, 4 or 6 ohms, based on your choice of speakers. 

Basic specs:
Power output: 50 watts per channel into 8Ω (stereo)
Frequency response: 20Hz to 20kHz
Total harmonic distortion: 0.03%
Speaker load impedance: 4Ω (minimum)
Dimensions: 16.5" x 5"H x 15"D
Weight: 21 lbs

About NAD (New Acoustic Dimension)...
NAD was founded in England in the early '70s by Dr. Martin L. Borish, an electrical engineer with a PhD in physics. Its most famous product is the late-1970s NAD 3020, an integrated amp designed by Bjørn Erik Edvardsen, which was highly regarded by various magazines in Britain.

NAD gear was designed with a philosophy of focusing on the sound first. They purposely intended to include only genuinely useful features for aesthetically understated designs when compared to other competitors' products. They were there to perform, not to shine. Their vision allowed for a high-end sound and lower-end prices that resulted in a no-nonsense industrial design – amps and components were uniformly dark grey with small buttons popping out here and there. The aesthetic was definitely in contrast to the bombastic shiny metallic space-race instruments on display from Japanese brands of the time. But then again NAD was free to devote all of their development dollars to the sound quality of the amp, and not to machining gorgeous tuning knobs from pure ingots of aircraft-grade aluminum.

From early on, NAD focused on ensuring high levels of dynamic headroom in their amps; meaning that a lower-rated, sustained power amp could spike to much higher wattages to handle musical transients, ensuring clean playback at top volume. It also means that when you have a NAD, you’re likely getting more power than the specs offered.  They were one of the first audio manufacturers to outsource the manufacturing of its products to electronics factories in east Asia.  NAD was acquired by the Danish firm AudioNord in 1991 and subsequently sold in 1999 to the Lenbrook Group of Pickering, Ontario, Canada