('75-'77)  *75 WPC    $2100  (fully restored & recapped)

*NOTE:  The Marantz 2275 is one of the legendary company's highly regarded vintage receivers from the mid 70's.   However, it only becomes a truly great unit after it has been properly serviced, recapped and updated with new parts such as this one has.  Although the Marantz 2275 is rated at 75 watts per channel into both 8 and 4 ohms, one of the more interesting final test results on this particular recapped unit shows the rated power output is now actually 87.8 watts per channel into 8 ohms and 123 watts per channel into 4 ohms before clipping. 

The extensive majority of the labor intensive service work was performed in October 2024 by one of our associate techs who, just prior to his recent retirement, was a long-time Marantz senior factory technician in Chatsworth California.   

The very recent professional restoration included all new Nichicon electrolytic capacitors on the PE-01 tone board, P-400 phono board, P-800 power supply and main power amp.  Specifically, the main filter caps were upgraded using 15,000 uF 80v Nippon (the originals were 13,000 uF 55v).  Reaching levels beyond which the human ear can barely detect (if at all) the actual THD (after recap) is an astonishing 0.122% (left channel) and 0.135% (right channel).

Additional services include all new custom "frosted white" LEDs.  Unlike typical LEDs, these lamps are specially designed to cast a smooth backlight to accentuate the stunning blue glow across the front glass that also includes the meters.  All of the other function lamps are in perfect working order. The factory walnut vinyl-on-metal case, faceplate, knobs and switches of this unit are in absolutely excellent condition.

This service includes detailed testing and performance hard copy reports, updated parts list, updated specs (comparing the original specs vs the updated specs) along with a few before and after photos. The DC offset and idle current are also in perfect spec.  A copy of these reports are included.

Additional upgrades:
~new reflector and new **vellum
~new dial lamps with cool white frosted LEDs
~new indicator lamps with warm white frosted LEDs

**NOTE:  It should be noted that, strictly for research and future repair purposes, our tech associate spent a considerable amount of time devoted to the properties of different vellum characteristics and various styles/colors of LED lamps in regards to vintage Marantz receivers.  Over time, the vellum backing (behind the dial and meter lamps) generally tends to degrade considerably which affects the overall appearance of the faceplate lighting.  Whereas some folks prefer to use LEDs while others stay with the factory-style incandescent bulbs, it's a fact that some LEDs just don't look right on some of the Marantz units.  Standard bulbs look good enough but they do have a tendency to get hot; eventually they burn out and sometimes ruin the vellum as well.  LEDs solve the heat problem but, depending on the thickness of the vellum and the type and color of the LEDs, some will have "direct points of light" that resemble "bright spots" across the dial.  Not good.  In the vast majority of cases, the final evaluation led to the use of heavier vellum and specific "frosted" LEDs for optimum appearance.

After completion of the recap/restoration, it was then on the bench for final testing.  This Marantz 2275, for all practical purposes, is right up there (specs-wise) and even surpasses its rated power output compared to what it was when first released from the factory about 50 years ago...amazing!

There is plenty of chatter online about the Marantz 2275 for those who wish to do a deeper dive into more detail.  It's generally regarded by serious collectors (along with experienced techs) that the Marantz 2270 and 2275 are some of the very best vintage units ever built by Marantz.  These two models sold exceptionally well and most are still going strong all these years later.

Test/bench essential specs:
Power output:  87.8 watts per channel into 8 ohms
                        123 watts per channel into 4 ohms
THD (after service):  Left channel 0.122% / right channel 0.135%
Frequency response:  20Hz -20 kHz
Dimensions: 17"W x 16"D x 6.25"H 
Weight: 40 lbs

stereo pre-amp ('65-'69)  $1600  (recapped, restored)

This Marantz 7T stereo preamp is a legitimate classic piece of vintage history. It has been partially recapped using premium components like Vishay caps, etc.  The most important part of the recap included the power supply and coupling.  While most of the originals were still within spec, some of the resistors and capacitors on the rotary switches have been replaced with better quality parts.  The pilot lamp has been replaced with a white LED. 

The unit is in excellent working order and the cosmetic condition is excellent. Finally, this beauty comes with the original Marantz WC-2 walnut case which is also in pristine cosmetic condition.

Main features:
Low-level outputs for 2 power amps
Center channel low-level output with a separate level control on the rear panel.
Inputs for two turntables
Two auxiliary inputs
Phono EQ switch
Separate bass & treble controls for each L/R channel 

Tech notes: 
The 7T was first released in late 1965 and was produced through 1969. Many have claimed it was the best solid state preamplifier of that era. Mcintosh introduced their C24 solid state preamplifier one year earlier, Dynaco released their PAT 4 in 1967 and Harman released the Citation 11 in 1973.  It's been claimed that none of these came close to the performance of the Marantz 7T.

One thing all these preamplifiers have in common is the quality of the electronic and mechanical parts. The Marantz and McIntosh are the only two to utilize simple series pass regulators in their power supplies and the Dynaco PAT5 used one but only for the phono preamplifier. All had quite high output impedance and so low capacitance cable and a short run to the power amplifiers was mandatory. However the Marantz's output stage uses a CFP design so it's output impedance is an order of magnitude lower than the others. In terms of measured specifications the Marantz was far ahead especially in the noise department where the noise in phono mode was 10dB better than the McIntosh, it's closest rival. Build quality goes to the McIntosh which is really way beyond the pack. All run in pure class A in all their various amplifying blocks. 

Inside the 7T are five hand-assembled "boards" which are not PCBs in the traditional sense. They are aluminium panels with turret lugs inserted at various locations to suit the hand assembly process. The transistors are plugged into small 3 pin bases which greatly simplifies the exchange of the transistors.

All resistors, capacitors and diodes are hand wired between the turret lugs and the transistor bases. Every part has it's leads twisted around turret lugs and transistor base pins for added mechanical stability. 

Essential specs:
Frequency Response:  20 Hz to 20kHz, ±1 dB 
THD: 0.05% at 1 volt RMS  
Dimensions: "W x 7"H x 10.5"D (including case)
Weight: 10 Lbs (including case)

preamp ('73-'76) and  tuner  $800 

Properly cleaned, professionally restored and fully tested, this Marantz 3200 Control Center (preamp) is a fairly rare and lovely example of the available Marantz technology during the early-to-mid 70's.  

Besides our usual thorough inspection, cleaning, testing, etc a major 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.

The Marantz 112 tuner was also cleaned, inspected, realigned and fully tested. The 112 tuner inherits the basic performance of the Model 125 and has a compact front panel size to match the 3200 and 140 listed above.

The FM front-end uses MOS-FET, and the IF circuit consists of one IC, three transistors, and three 2-element ceramic filters.
PLL is used in the MPX section, and in addition, mono / stereo automatic switching is provided.
The front end, IF stage and MPX circuit are each laid out on a separate board and covered by a completely shielded case.

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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(1981)  $250 (includes speakers)

In good condition, this Realistic STA-530 was first released by Radio Shack in 1981 at a list price of $200.  Frankly speaking, this system is more intended for either a starter system or garage use.  The faceplate is not mint but it's not bad either.  The receiver itself works perfectly and don't let those 16 watts per channel fool you; it kicks butt (with the right speakers).

Speaking of the right speakers, it matches up perfectly with the included pair of Minimus 7 (with the desirable walnut cabinets.)

The STA-530 has all the inputs and outputs found on most receivers, it lacks for nothing in that category.  Because the speaker wires require RCA leads, we'll throw in a pair of those too.

The Minimus 7 speakers are in very good cosmetic condition and excellent working condition, this pair has the most desirable walnut cabinets, spring clip terminals and Jyoto magnet yokes (the same that ADS used later on). 

From the catalog: The Minimus 7 is little only in size, not in performance - it's a real giant in concert hall sound.  The high compliance woofer element gives astounding bass and the dome tweeter produces crisp, clean highs.  Careful acoustic design matches the two dynamic elements with the enclosure and damping materials - resulting in amazingly smooth, broad frequency response.

Specs:
Type: 2 way, 2 driver loudspeaker system
Frequency Response: 50Hz to 22kHz
Power Handling: 40W
Impedance: 8 ohms
Bass: 4" high compliance
Tweeter: 1" dome
Finish: walnut cabinet
Dimensions: 7"H x 4.4"W x 4.3"D
Weight: 4.5 lbs each

About Minimus 7...
If you're aware of just how important Radio Shack was in the history of vintage HiFi, you probably remember the world renowned, very cool and
incredible Minimus 7 bookshelf speakers.  They were a perennial favorite at Radio Shack for over 30 years. Rated at 8 ohms with a max power range of about 40 watts, they were an incredible value back in the day...still are today!

The basic model folks remember is probably the steel cased version, but the all-time favorite version were the ones with the walnut cabinets.  They added a sheilded "AV" variety when they started to carry the "Optimus" house brand. The Minimus 7 are surprisingly good speakers, especially considering the size. Sadly Radio Shack is gone. There were other labels attached to the Minimus 7, some were sold under the RCA brand.  But, regardless, they've been gone for some years. 

Today, the world is full of small, cheap speakers but the problem is simply that they often don't sound very good. There are all those little devices that people hook phones and laptops up to, but most of those speakers don't really move much air.  Despite their tiny size, Minimus 7 speakers always pack a surprising punch.  Add a small subwoofer and they are hard to beat at their low price point. 

Finally, we assume (by now) that anybody involved with vintage HiFi knows the value and build quality of "The Shack's" gear during the 70's and 80's.  You get more bang for the buck with most of their receivers and turntables.

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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

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('73-'78)  12 WPC  $150

An amazing find, not exactly rare nor that powerful but...this particular Panasonic RA-6500 was obtained from the original owner and is in pristine condition.  Upon its release in the late 70's it retailed for a hefty $390.

Slightly bigger than the "average" receiver with a gorgeous design, its bronze faceplate (with white silkscreen lettering), walnut veneer case, cassette deck player/ recorder, FM, phono, Aux, etc are all neatly packaged...the RA-6500 has a nice place in vintage HiFi history from Japan.

The rated power of "only" 12 watts per channel is misleading.  The RA-6500 can drive two pairs of efficient speakers.All meters, knobs, switches, inputs and outputs are working as intended.  The twin meters have a dual purpose:  one meter will indicate tuning station strength in FM mode then, when in recording mode they show L/R recording levels.

The cassette deck within this unit is sketchy at best.  However, the phono, FM and AUX (for streaming) are all working great.  This would make an excellent beginner setup or workshop unit.
There is a front input for a separate microphone for mixing in any function (you can "sing along" in FM, Aux or Phono modes)

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('79-'80)  125 WPC   SOLD

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.
It has been fully serviced as per our usual procedures. 
*NOTE: The AM/FM does not function.  Instead we have included a very high quality Fisher FM-M300 mini-stereo tuner running through the tape loop.
However, absolutely everything else is functioning perfectly.  All inputs, outputs, switches, lamps and meters are fully functional.

The brushed extruded aluminum front panels, chrome rack handles, diamond-machined knobs, analog meters, nice "slide-rule" dial 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.

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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