Vintage Stereo Receivers ~ Tuners ~ Amps

exposed back showing NOS 12" Olson coaxial drivers
Example: topside Realistic Lab 270 semi-auto turntable and Reference 085R stereo receiver
NOS 12" Olson SS-311 coaxial drivers
GE stereo console

GE stereo console restored/upgraded (1966) $600

Photos absolutely do not do justice to the beauty of this this stunning console...it must be seen to be truly appreciated.  

Originally made for General Electric in the 60's, it has now been fully re-purposed, refinished and upgraded with a combination of both brand new and more modern "vintage" electronic components. 

The console was originally built and constructed in 1966 for General Electric by William Tell Woodcrafters (Tell City, Indiana) using high grade, imported German walnut material and veneers.  

After construction, it was then handed over to GE for component installation which usually meant a record changer (or tape deck), stereo receiver and, of course...speakers.  

In the 60's, the quality of these consoles varied from cheap to very expensive.  Generally speaking, the better the console construction, the higher the price.  Most were made of low grade veneers (made of vinyl) with minimal design, while others (such as this one) were made of high quality, real imported timberwood veneers and excellent design..
The interior has been completely "gutted", all the old electronics were removed.


What's inside:

We were fortunate to find a brand new pair of 8 ohm 12" Olson SS-311 coaxial drivers from 1974, new in the box, never opened!  At 16 ohms, these beauties are extremely efficient and capable of producing an excellent full range of sound thanks to their coaxial design.  The 3" tweeters are centered in the middle of the 12" woofers and along with the built-in crossovers are able handle the transition from 35 Hz - 15,000 Hz.

The photos above show a sample setup using a 1980 Realistic Lab 270 semi-automatic turntable and a 1978 vintage Reference 085R stereo receiver.  However, there are other different options available that will match up well with the Olsons.


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Yamaha CA-1000

Yamaha CA-1000 integrated amp (1974)  SOLD


Quite literally in mint condition, this Yamaha CA-1000 was the first of a very long line of very successful, very reliable and very heavy amplifiers from Yamaha in the early 70's.  Its more notable features include: 

two-sided circuit boards, low-noise MC preamp, variable loudness control and switchable Class A / Class AB modes (these were the rarities which very few other Japanese makers had put in their top amplifiers in 1973.)
The chassis construction and general layout set standards that pushed the competition into higher grade integrated units in order to keep up with Yamaha.
The CA-1000 has a huge 270VA transformer, big 18.000µF / 80V capacitors (two), 1% tolerance metal film and styrol resistors, 3-stage DC shelving tone controls, and fully differential with current-mirror power stage driver.
In Class AB mode the CA-1000 pumps out a clean 70 watts per channel and in Class A mode, a pure 15 watts per channel.
The phono stage is very rich with two inputs, one of which has a (back) selector for MC / MM 50KOhm / MM 100kOhm and a front selector for phono 1 / phono 2 and phono MC.
There's more info out there for those that wish to do deeper research.  

All we can add is that this beauty is a beast!


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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Glossary of receiver terminology
Kenwood Super Eleven nudie (everything except the kitchen sink)
Kenwood Super Eleven
Kenwood Super Eleven nudie (maybe this is where Circuit City got their name from...board freakout)
Kenwood Super Eleven

Kenwood Super Eleven ('81-'85) 125 WPC​  $700 FIRM

(local pickup only)

​(edited copy)

One of the​ most rare and coveted ​monster receivers from Japan, the ​Kenwood​ Super Eleven high speed DC, stereo​​ receiver is one of the last of the truly big and well built receivers made during the end of the golden age of HiFi​.  

At a conservatively rated 125 watts per channel (some bench tests have shown over 141 watts per channel), it has ​absolutely ​all the bells and whistles anyone could ever want.  Suggested to use speakers with at least an 8 ohm rating at full power handling, with at least 90dB's efficiency @ 1w/1m.  Suffice to say, there are very few speakers systems out there that the Super Eleven cannot drive.

All built into one​ super-sized (two feet wide) with black satin faceplate, and walnut veneer case, it demands your attention...it's that impressive.

The Super Eleven easily handles 3 pairs of speakers, two turntables, two tape decks, aux, and so much more.

The digital meters include both left and right power/ line level, FM signal and center tuning.  These meters glow a beautiful blue when lit. The FM analog dial glass also has gorgeous blue backlighting.  

All of this is part of the analog/digital tuner combo that works flawlessly.  The blue LED frequency numbers are in correct alignment with the analog dial pointer.

In the photos, notice the M.A.C. switch next to the EQ which stands for" Multiple Acoustic Compensator". Basically the switch just enables or disables the EQ and filters. If the EQ is set flat then the MAC switch will not have any effect. If the EQ is set to something other than flat then the MAC switch will toggle between that setting and flat or neutral. So, think of it as an EQ bypass switch.  

This built in 5-band equalizer (which also has both low and high filters) is much better for controlling accurate sound reproduction because, generally speaking, incorporating slider controls for tailoring the frequency boost/cut makes good sense rather than the usual basic bass and treble controls.

More of its many fine features include fully adjustable reverberation and time-sound-delay control to simulate live concert hall sound.  For instance, the "snap" of a drumstick on the rim of a snare drum will have a few millisecond delay...just a hint of delay. 

The reverb and time delay controls were something Kenwood added that most of the other Eleven series did not have.  The effects, when applied, give the music a "concert hall" feel.  For added visual effect, there is a window on the right side of the power meters, on the faceplate, that has digital bars that flow "bands" of soft blue light in two directions (left/right) depending on how much reverb and delay you dial in.  

The timer function is working as of this writing.  However, it seems that most users prefer to disable the timer, or at the very least, not use it.

(Note: rack handles are not meant for lifting the unit, meant for effect only)


Specs:

Minimum 125 watts per channel 20 Hz -20,000 Hz rated power > 8 ohms 0.02% THD 

Peak (meter) power rated @ 141 watts per channel 8 ohms

Power consumption: 710 watts @ full power, 80 watts at idle

Reverberating time: 0-3 seconds @ 400 Hz

Delay time: 100 msec

Dimensions: 25" W x 8.1" H x 18.1" D

Weight: 54 lbs

Kenwood KR-6600
Kenwood KR-6600 ('76-'77) 60 WPC  $295


This Kenwood KR-6600 is in excellent cosmetic and working condition...

In 1976, it was second from the TOTL in power...the KR-6600 is a jewel of vintage history.
Capable of handling 2 turntables, 3 pairs of speakers and, by removing the jumpers, it makes a fantastic preamp.
The 6600 has a double protection system which offers complete output stage protection as well as loudspeaker isolation; Acoustic controls provide +6dB at 50 Hz and 800 Hz. 

As with all our gear, all the switches and pots have also been cleaned.  

All thirteen lamps are working and the main dial glass lamps have been upgraded with LEDs.

Bias and DC offset have been set.  

With its many lights of different colors, it is very cool to just simply look at as well as listen to its excellent sound stage.  

The KR-6600 is one of those receivers that has nothing but glowing reviews from those who have been lucky enough to own one. 

(Note:  rack handles are not made for lifting of the unit, display effect only)


Specs:

Tuning range: FM, MW, Power output: 60 watts per channel into 8Ω (stereo), Frequency response: 20Hz to 50kHz

Total harmonic distortion: 0.3%...Damping factor: 45...Input sensitivity: 1.5mV (mic), 2.5mV (MM), 150mV (line)

Signal to noise ratio: 65dB (mic)...70dB (MM), 90dB (line)...Output: 150mV (line), 30mV (DIN)

Speaker load impedance: 4Ω to 16Ω...Dimensions: 20.3" x 6" x 14.3"...Weight: 36 lbs


Kenwood KR-5150

Kenwood KR-5150 ('71-'75)  50 WPC  $165


This Kenwood classic came out around 1971 and lasted until 1975 and was rated at 50 watts per channel...sure seems like more.
This one has the optional walnut case which you don't actually see too often with this receiver. The styling was definitely the design transition from the late 60's into the mid 70's.
No slouch, it has inputs for two turntables, three pairs of speakers, two aux channels plus two tape inputs.
In fine cosmetic condition, all the lamps are working.  
The exception is the FM reception is sketchy.
The case and faceplate have no damage.

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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Realistic/Optimus MPA-250 stereo amp (Radio Shack)

Realistic/Optimus MPA-250 stereo amp (Radio Shack, 1997)  $200


Not to be confused with the "PA" amps from Radio Shack, the MPA-250 dedicated stereo amplifier pumps out a minimum 125 watts per channel (8 ohms) with less than .09% THD with an incredible rated frequency range of 10-50,000 Hz.
It features two huge back-lit (blue lamps) vue meters, four nylon banana plug speaker posts for A/B (two pairs), rotary volume knobs for L/R, clipping/range LEDs, factory rack handles and auto-start fan cooling.
More features include mono/stereo switch, 1/4" headphone jack and twin 1/4" phono inputs.
It's a heavy beast at nearly 40 lbs...

About Realistic, Optimus (Radio Shack, Tandy Corp)...
Realistic branded vintage stereo gear is all over the place.  Some of it is right up there in quality with the best of Pioneer, Sansui, etc.  Also, some of it is just...ok.   Their best era was during the 70's when they successfully competed head-to-head with all the big names in high fidelity.  They sourced practically all their products from Japan and sometimes had the exact same components inside their gear as the competition but at a much lower price.  


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