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Marantz MM7055 Amplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Power For Your System
The MM7055 power amplifier produces 140 watts of high current output from each of its five channels. This is "real world" power, too, measured across the full audio bandwidth (20 Hz - 20 kHz) at 8 ohms with 0.08% Total Harmonic Distortion. Among other attributes, this means the MM7055 is capable of long-term power delivery into low impedance speakers.
The Many Faces of Excellence
In practical terms, the MM7055 is ideal for a "5.1" home theater system, whether based on a moderately powered receiver or a surround sound processor. You can use it to power speakers in different areas of your home; stereo reproduction in two rooms plus a mono channel for secondary areas such as a den or kitchen. For more complex home theater systems, the MM7055 pairs with one or several MM7025s to help create a totally immersive "7.1" or "9.1" audio experience.
Inside The MM7055
A massive power supply includes a multiple-secondary EI-core transformer and over 65,000 µF of custom-designed energy storage capacity. Critical circuit components from many world-class suppliers were chosen only after extensive listening tests. Among these, the LAPT Hyper Power output devices were first used in Reference Series components. Current feedback topology insures astounding accuracy and control under high-drive conditions.
A Temperature-Controlled Environment
Physically, the MM7055's output stages mount on an extruded aluminum "thermal tunnel" for efficient heat dissipation. With temperature-sensing forced air cooling, this configuration assures cool operating temperatures for long-term reliability, even when making full use of the amplifier's substantial output capabilities.
Balanced inputs and single-ended RCA inputs are both supported, and you can choose either type of input for each channel, individually, for easy and flexible connectivity. Audiophile grade, gold-plated four-way binding post speaker terminals insure tight connections to your choice of speaker wire.
The MM7055 includes input and output jacks for DC "trigger" pulses as well as RC-5 jacks for total remote control convenience, even with legacy Marantz products.
The chassis itself is heavy gauge steel for maximum isolation from external vibration as well as electromagnetic and radio frequency interference. And chassis depth is less than 14½" so the MM7055 will fit quite nicely on a shelf, in a cabinet, or in a conventional system rack with the optional rack mount kit RMK8003MM.
Power. Functionality. Dependability. And classic looks. The MM7055 is, simply speaking, a Marantz.$1,199.00Power Amplifier Buy Now
Get BackIt's doubtful that Stephen McBean set out to make The Great Rock 'N' Roll Primer when he started conjuring the
songs that would come to be Pink Mountaintops' Get Back.
The record's beginnings were reasonably straightforward: McBean had moved to Los Angeles, taken a long hiatus
from Black Mountain and an even longer one from Pink Mountaintops when he met producer Joe Cardamone, lead
singer of Icarus Line at Valley Recording Company in Burbank,CA.The two bonded quickly over Flying Nun bands,
Television Personalities, Roxy Music, Johnny Thunders, and Born Against. Joe was excited to meet someone he
actually liked. Stephen was excited to work with someone who said Sing it like you would've sung it when you were
21. Simple enough,right?
But ask him to set the scene and you'll hear about a motorcycle shop owned by Michael Barragan, former member
of Los Angeles noise rock band Plexi. You'll hear about an endless supply of rock 'n' roll video documentation for
last minute inspiration or de-evolution in the living room.Ask who's on the record and you'll get a constellation of
greats:J Mascis(DinosaurJr &Witch),Rob Barbato (Darker My Love,The Fall & Cass McCombs), Steve Kille (Dead
Meadow), Daniel Allaire (Brian Jonestown Massacre, Cass McCombs & Darker My Love), Annie Hardy (Giant
Drag), Jon Wahl(Clawhammer), and Gregg Foreman (Cat Power & Delta 72).Randal Dunn (Sunn O))),Earth, Sun
City Girls, Boris) mixed Get Back at Avast! Studios (Bikini Kill, Mudhoney, Christ On A Crutch, Soundgarden) in
Seattle. Howie Weinburg (Nirvana, Beastie Boys, Danzig, Ramones, Slayer) mastered it in Laurel Canyon.
Ask about the record itself and McBean will tell you about Alleys, curbs, walls, and cigarette stained gig flyers.An
island on the Pacific coast. Fake British towns. Slayer posters.The beauty of youth.It's about listening to Driver's Seat
and 'Guns of Brixton' and hotboxing The Duster. And suddenly it becomes clear: when the aliens do touch down
and they don't know rock 'n'roll, you can play them Get Back start to finish, and that'll be all they need.
Get Back comes out swinging with Ambulance City, a head-trip of a song with a chugging, insistent, oddly timeless
guitar riff sitting front and center.The Second Summer of Love needs almost no explanation; it dives into 80s VHS
saturation and never comes up for air. Sell Your Soul is a deep sigh and a motorcycle ride, a roll in the grass
lamenting summertime blues with a little grit and a little harmony. And North Hollywood Microwaves is
downright obscene. But what better way to start Side B than this? You can listen at hushed volumes so your parents
don't hear, you can crank it in a dorm room, you can smirk to yourself from the safety of rock 'n'roll's old age.You
start to wonder- why don't all Side Bs start with a song like this one
The number of platitudes in music hit critical mass years ago, and among those tropes is that annoying, inescapable
mantra:rock 'n'roll is undefinable.And yeah,sure, that's true. It's different things to different people. It starts with
guitars, maybe, and ends with a stage-dive, or spit, or feedback. Rock 'n'roll is drugs, is rebellion, is youth, is sex, is
cosmic. It's wanting more than you have.Rock 'n'roll is butts and cigarette butts.And Pink Mountaintops might not
be the best-known band ever to make rock 'n' roll, but in Get Back they just might have written its scripture -- an
exploration and celebration of what, exactly,rock 'n'roll can be.1. Ambulance City
2. The Second Summer of Love
3. Through All The Worry
5. Sell Your Soul
6. North Hollywood Microwaves
8. New Teenage Mutilation
10. The Last Dance$17.99Vinyl LP - Sealed Buy Now
Music Is Painting In The Air 1974-1977Music Is Painting In the Air is a collection of new mixes and unheard music from Sensations' Fix's prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, Music Is Painting In the Air offers guide posts to those familiar with Sensations' Fix's amorphous catalog and an approachable primer to those just journeying on the sensational trip.
The story of Sensations' Fix begins - and never quite ends - with Franco Falsini. Born in Florence, Italy in 1948, Falsini became a teenage rock 'n' roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister's footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.
Falsini became smitten by Vinnie Sherman, an American woman working as a waitress at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.
Falsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations' Fix.
The reach for space from a personal place is nowhere more apparent than on Fragments of Light, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations' Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini's emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.
Relocating back to Italy on the heels of Fragments' release, Falsini, alongside drummer Keith Edwards and bassist Richard Ursillo (both American expats), charged through another two Sensations' Fix albums, Portable Madness in 1974 and Finest Finger in 1976, and a stunning solo album Cold Nose (Naso Fredo) in 1975. Without marketing or tour support to expose Sensations' Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations' Fix released Vision's Fugitive on an independent label and fulfilled their major label obligation shortly after with Boxes Paradise.
Falsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (The Antennas) before returning to Florence to launch the Interactive Test dance music label. Meanwhile, the legend of Sensations' Fix grew. On his 2002 album, The Private Press, DJ Shadow sampled from two Sensations' Fix songs. More recently, Sonic Youth curated a career retrospective titled Sensational Fix at Life Gallery in Saint-Nazaire France.
For Music is Painting in the Air, Falsini and his son Jeyon set forth on a year-long voyage to restore and revisit the original Sensations' Fix analog tapes. Honoring Falsini's tradition of autonomy, this collection, as with the majority of the Sensations' Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes' origins and immerse in the body of music as its own universe.
Once this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations' Fix's music is still finding the universal audience for which its intended. Falsini's disregard for time and insistence on reinvention provides an infinite reach for his music. The end-goal was seemingly unmarketable by the industry then, but perfectly harmonious with a culture constantly evolving now.LP1
1. Barnhause Effect
2. Cold Nose Part 3, 4th Movement
3. Leave My Chemistry
5. Grow On You
6. Scraping Delay
7. Warped Notions Of A Practical Joke (Instrumental)
8. Dark Side of Religion
9. Cosmic Saudade
10. Cold Nose Part 3, Movement 2
11. Fragments of Light
12. Into The Memory
1. Cold Nose Part 3, Movement 5
2. C'e Nessuno
4. Moving Particles
5. Cold Nose Part 3, Movement 3
6. Music Is Painting
7. Left Side Of Green
8. Chelsea Hotel (Room 625)
9. Fix A Water Fountain (Instrumental)
10. Leave My Chemistry
11. Overflowing Ashtrays
13. Cold Nose Story
14. Slow Motion Movie
15. Fortune Teller
16. Fortune Teller Coda$34.99Vinyl LP - 2 LPs Sealed Buy Now
Go Down UnderInstead of taking on a specific genre of music, as they typically do, this time Me First And The Gimme Gimmes take on the music of an entire continent! Australia is the lucky recipient of the Gimmes musical makeover on Go Down Under with tracks from famous Aussies INXS, Olivia Newton-John and Air Supply, to name a few.1. Never Tear Us Apart
2. All Out of Love
3. Friday on My Mind
4. Have You Never Been Mellow
5. Ive Done Everything For You$9.997 Vinyl LP - 2 LPs Sealed Buy Now
Marantz MM7025 Amplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
If you're impressed by elegantly restrained industrial design, the MM7025 is guaranteed to make a lasting - and very positive - impression. The subtly curved aluminum/glass resin front panel adds a sophisticated touch that complements any dÉcor. The central porthole display reflects iconic Marantz designs of the past while it brings you an "at a glace" view of the amplifier's operating status.
Both single-ended RCA and balanced XLR inputs assure system compatibility regardless of your preamplifier or processor. For maximum flexibility, you can choose inputs independently for each channel.
The MM7025's heavy duty, gold-plated, four-way binding posts accept virtually any choice of loudspeaker cable
Your System, Your Way
The MM7025 encourages various system configurations. Use one for dedicated two-channel listening, or use two to as zone amplifiers to power speakers in different rooms. Adding a new pair of loudspeakers to an existing home theater? - Get the most from your investment by adding an MM7025 as well. The exact configuration is up to you. Sound quality isn't - it's Marantz regardless of how you use this power amplifier.
Marantz Sound Quality
The MM7025's advanced technology serves all your listening needs. Current feedback circuits, also used in Marantz's Reference Series amps, insure the purest sonic reproduction regardless of source. Another MM7025 virtue, and one directly traceable to its substantial current capability, is the control it establishes over difficult speakers to reproduce both dynamic musical peaks and whispered dialog without blemish.
The Power Supply
As befits a Marantz amplifier, the high-capacity power supply begins with an oversized EI-core transformer feeding carefully chosen capacitors capable of storing 30,000 µF of energy. This combination instantaneously delivers peak power to all amplifier stages for distortion-free reproduction of the most complex sources.
In the final amplification stage, specially selected LAPT Hyper-Power output transistors, originally selected for Reference Series use, deliver fortissimo and pianissimo passages with equal aplomb. To make sure they're always operating at ideal temperatures, these transistors are mounted on a forced-air "thermal tunnel."
Where Do I Put It?
The MM7025 is less than 14" deep from front panel to rear speaker terminals. This lets you place the amplifier almost anywhere - in a cabinet or on a shelf. A detachable AC cord makes placement easy, even when there's little room and you can even rack mount it with the optional rack mount kit RMK8754MSP.
Remote Control, Too
You'll find rear panel connections for a "flasher" input that conveys On/Off commands from an infrared (IR) remote controller. There's a DC trigger input (and output) that lets you "daisy chain" one or several MM7025s to turn on and off in synchronization with your preamplifer or surround processor. If you're going to use the MM7025 with legacy Marantz products, there are RC-5 connectors to give you a level of operating convenience you might not have thought possible.
Refined looks. Flexible connectivity. Superb sound quality. Convenient operation. Yes, these Marantz attributes come together in the MM7025 Stereo Power Amplifier.
It is, as are all Marantz products, devoted to one goal - satisfying your desire for an exceptional listening experience.$799.00Power Amplifier Buy Now
E.S.P.Numbered, Limited Edition
Pressed At RTI
A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.
Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.
For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.
As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.
Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
This title is not eligible for discount.1. E.S.P.
3. Little One
7. Mood$49.99180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
KAB Super Record Grip - Push On Record Clamp (On Sale)The newly redesigned KAB super record grip was designed to replace and improve upon the PIG clamp originally supplied with the Revolver brand turntables. This new design features a 2 piece precision molded frame, spring rubber insert and UHMW polyethylene non marring contact surface. This is especially useful on Rega brand turntables and others where there is very little spindle to grab on to.
The KAB Super Record Grip reduces resonance and acoustic vibration of the record itself, freeing the stylus to do its intended job of tracing the groove. The result is better focus and detail to the soundstage.
The Super record grip attaches quickly; by turning with slight pressure, it walks down the spindle and meets the record surface.
Note: For easier use, the center hole can be lubricated with a diluted solution of 5% Armor All® and alcohol, swabbed with Qtip®.
The built-in bubble level shows turntable level at a glance to within 1 degree of accuracy.
Spring reinforced rubber insert holds onto the turntable spindle firmly.
The built in bubble level allows a quick check of turntable level. A level turntable balances the forces of the needle in the groove.
When the needle is resting in the record groove, the entire record surface behaves as a microphone picking up vibrations from the air and the turntable below. Damping the record surface reduces the affect of these added vibrations to the needle's already difficult job of reading the groove.
The really great features to take note of with the KAB super record grip is the ease of use and cost effectiveness.
The super record grip represents great value. Yet it is quite good at what it does and even has the added benefit of showing level at a glance, each time you use it. Keeping with the KAB philosophy that more is better, but it needn't cost more!
One issue to be sensitive to is turntables with light floating spring suspensions. You will have to push down some while applying the super record grip. It does not rely on weight. (It only weighs 2 Oz) Be sure your turntable can Bottom Out safely. If this is a concern, consult your turntable maker first.
[In our opinion, if you can bottom out safely, the super grip is a better solution still over clamps that rely on weight, since they will change the operating height of your platter.]$38.00Record Clamp Buy Now
An Evolutionary Music (Original Recordings: 1972 - 1979)An Evolutionary Music (Original Recordings: 1972 - 1979) compiles
unreleased recordings from the archives of multiversal artist Ariel Kalma.
Concerned as much with musicality as spiritual facility, Kalma's work
vibrates aside fellow travelers along the great rainbow in curved air of
the 1970s avant-garde.
Ariel Kalma's boundary-blurring electronic music is heard here in
radiant detail across a selection of work spanning his early free-jazz
and spoken word trips to his infinite modular synthesizer and primitive
drum machine meditations. Kalma's story is one of world travel, musical
discovery and ego-abandonment. Yet for an artist who often discarded
public recognition in favor of the ascetic truths in music making, An
Evolutionary Music offers the imprint of an outright auteur.
Born in France, but rarely in one place for long, Ariel Kalma's 1970s
migrations took flight through the decade's furthest spaces of musical
and spiritual invention. As a hired horn for well-known French groups,
the young musician toured as far as India, a place where Kalma would
learn circular breathing techniques enabling him to sustain notes without
pause against tape-looping harmonies configured through his homemade
Those effects evolved from Kalma's loyalty to a beloved dual ReVox
set-up- two tape machines "chained" together to form a primitive delay
unit. Over looped saxophone melodies, Kalma would mix in all shades of
polyphonic color, synthesizing fragments of poetry with ambient space or
setting modal flute melodies to rippling drum machine patterns and starlit
In France during the mid-1970s, Kalma was staffed as a technician at
Pierre Henry's legendary Institut National Audiovisuel, Groupe de Recherches
Musicales (INA GRM) studios - the same music concrÉte laboratory that
spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard
Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma's
relationship to sound was both formal and non-hierarchical. To Kalma, all
music existed as related universal patterns, in perfect harmony with the
people, places and environments it was created.
Kalma's recorded output of the 1970s culminated in the now scarcely-available Les Temps des Moissons (trans. The Time of Harvest) in 1975,
and a masterpiece of birdsong exploration with Osmose in 1978. Osmose
is double album featuring sculptor Richard Tinti, who had supplied Kalma
with hours of field recordings from the rainforests of Borneo.
An Evolutionary Music harvests uncatalogued music made between
Kalma's private press records and onward through the many small-batch
cassette releases Kalma would tender. With this collection of musical
hybridity and distinct genre-corrosion, Ariel Kalma's righteous bucking of
both popular music trends and the academic tenets of the avant-garde
falls squarely in the spirit of other renegades of sacred new-music such as
Terry Riley, La Monte Young, and Charlemagne Palestine.1. Almora Sunrise
2. Ecstasy Musical Mind Yoga
4. Sunset Inside
5. Chase Me Now
6. Enuej Elleiv
7. Sister Echo
8. Les Mots de Tous Les Jours (Rêves Etranges)
9. Rainy Day
10. What Would You Say
11. Les Etoiles Sont AllumÉes
12. Voltage Controlled Wave
13. Montparnasse Morocco
14. Head Noises
15. Asalam Yamarek
16. Love and Dream
17. Yogini Breath$30.99Vinyl LP - 2 LPs Sealed Buy Now
Four Foot Shack (Awaiting Repress)How "deconstructed" can a group get? How about just one vocal, one bass, one guitar, and a basic beat supplied by stomping on a mini-tambourine-doohickey? That's exactly what everyone's favorite storyteller/narrator, Les Claypool, is incorporating in his new band, Duo de Twang. While Les is still pulling double duty with the Primus lads, he has also found the time to unite with his old buddy, Bryan Kehoe, who fans will recognize from several past Claypool projects, and also as one of the main actors from Les' hilarious jam band mockumentary, 'Electric Apricot: Quest for Festeroo.' But unlike Primus, DDT focuses more on the Americana/rootsy side of things - as heard throughout the band's debut recording Four Foot Shack, to be released via ATO Records.
And as evidenced by DDT's live shows and debut, Les and Bryan mostly mix traditional tunes, popular covers, and readings of Primus classics (all of which are usually barely recognizable when compared to the original versions). Case in point, the inclusion of "Battle of New Orleans," "Stayin' Alive," "Man in the Box," "Wynona's Big Brown Beaver," and "Jerry Was A Race Car Driver" on DDT's debut disc. "A lot of it is just stumbling across it," explains Les about how a tune is selected to be twang-ified. "You're twanging away, and then all of a sudden, something just comes out. And then you laugh about it or you don't. And then you move on. There are tons of songs that we've stumbled across, and these ones just happened to be the ones that stuck."
Upon hearing Four Foot Shack you'll quickly discover that Les and Bryan made it a point to keep things as live-sounding as humanly possible. "It was very live," admits Les. "In fact, it was a little difficult, with all the bleed of the stomping and the bass and the vocals. Every now and again you can hear the studio refrigerator come on or the dog barking at something outside in the background. Once it was there, you had to kind of leave it."
Les added, "The Twang project is me exploring a lot of stuff that I personally listen to; Johnny Horton, Vernon Dalhart, Jerry Reed, Bob Wills, Eddy Cochran stuff like that - it's another door for me to open. I'm doing this sort of Luther Perkins, Johnny Cash guitar-ish type part on my bass, by doing the old ding-dinka-ding, dinka-ding-dinka-ding on a lot of the stuff. It took me a little bit to get that. Now that I've gotten it, I can pull songs out of the air and it's surprising how many songs easily succumb to the twang, and can be complimented by the twang. When all is said and done, it's just a hell of a fun project for me right now. I'll do it 'til it's not fun anymore."1. Four Foot Shack" (Les Claypool's Duo de Twang)
2. Wynona's Big Brown Beaver" (Primus)
3. Amos Moses" (Jerry Reed)
4. Red State Girl" (Les Claypool)
5. The Bridge Came Tumblin' Down" (Stompin' Tom Connors)
6. Boonville Stomp" (Les Claypool)
7. Stayin' Alive" (Bee Gees)
8. Rumble of the Diesel" (Les Claypool)
9. Pipe Line" (The Chantays)
10. Buzzards of Green Hill" (Les Claypool's Fearless Flying Frog Brigade)
11. Hendershot" (Les Claypool's Fearless Flying Frog Brigade)
12. Man in the Box" (Alice in Chains)
13. D's Diner" (Les Claypool's Fearless Flying Frog Brigade)
14. Battle of New Orleans" (Johnny Horton)
15. Jerry Was a Race Car Driver" (Primus)$21.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Manley Headphone Amplifier (Pre-Order)
Manley Laboratories have been designing and manufacturing professional and hi-fidelity audio equipment for the last twenty five years. Headphone listening has become more and more popular in recent years. To meet this new demand Manley have combined its professional and domestic engineering skills to develop a new and exciting groundbreaking product, The Manley Headphone Amplifier.
Headphone listening is not new to us, we have developed headphone mixers for the professional industry and our Neo-Classic 300B preamplifier was designed with the serious headphone listener in-mind, which now has quite a cult following. The new Manley Headphone Amplifier addresses absolutely every possible feature the headphone user could desire.
This feature rich product has no less than twelve independent controls designed for maximum performance and maximum control. We design and manufacture our own output transformers and this is where this product excels. The Manley Headphone Amplifier utilizes hand-wound air gapped dual mode output transformers. The user can configure the unit for all triode Push-Pull mode or Single-Ended mode. The transformer can be configured to drive three types of headphone loads, covering a range from 12 to 600 ohms.
The enthusiast can also vary the Feedback from 0dB to 10dB, maintaining a ruler-flat frequency response across the audio band, demonstrating how stable the design is. For increased transparency and accuracy we have incorporated a Precision Stepped Relay Volume control with perfect channel balance. A balance control is also available for extra sensitivity. The Manley Headphone Amplifier operates fully symmetrical, enabling it to drive balanced headphones through its XLR output. Also available is the standard non-balanced "Jack" plug or TRS connection. Another very useful feature is a preamplifier output, which routes your first input through the system when not in use, no need for unplugging sources! The Manley Headphone amplifier can also be used as a stand-alone transformer coupled preamplifier, so it can be partnered with any power amplifier if so desired.
With the advent of expensive and high technology headphones it was important for the Manley design team to think about protection. So the Manley Headphone Amplifier features a user defined headphone overload protection system. The user dials this in so precious headphones are never overdriven. For maximum performance and the lowest noise floor, The Manley Headphone Amplifier incorporates a very high-tech switching audiophile power supply. The high-tension and low-tension rails are all fully regulated offering super low impedance for a fast and dynamic response.
The Manley Headphone Amplifier also incorporates a tone control circuit what? for an audiophile product!! Yes! With the expertise gleaned from building professional studio equipment, we have incorporated the best possible solution for a tone control. It is completely switchable, so for the real purist it is completely out of the circuit, but if you need that slight adjustment for a hard digital recording the feature is there.
The Manley Headphone Amplifier is a very unusual design. Zia Faruqi, who is responsible for running the engineering team and industrial design at Manley Laboratories, developed its concept. "I wanted a design that would reflect the use of this piece of equipment. Its shape was inspired by a head, a piece that you could rest your headphones on, a piece that you want to indulge yourself in" Mitch Margolis who worked on the Steelhead and our 300B amplifiers worked with our head engineer Humberto Rodriguez to finalize its design. Available in three different colors for today's lifestyle choices. Champagne & White, Titanium & Bronze and Copper & Black.$2,950.00Headphone Amplifier PRE-ORDER Buy Now
Chord TTOBY Amplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
THE MATCHING POWER AMP FOR HUGO TT
The TToby range may be ideally suited to compact living environments, but don't let that fool you. With similar legendary amplification derived from our SPM range, TToby doesn't compromise on power or providing you with the purest audio experience possible.
The TToby has been designed to complement our desktop DAC/headphone amplifier, the Hugo TT and shares the same compact form factor as its stablemate. The combination of Hugo TT and TToby provides a high-quality hi-fi system, with desktop dimensions and a space-saving footprint. Despite its size, the TToby sets new standards for small amplifiers and takes full advantage of Chord Electronics' proprietary amplification technology and design know-how.
The addition of TToby, enables owners of the Hugo TT to fully exploit the device as a 'digital preamp', effortlessly driving a wide variety of loudspeakers, large or small, in addition to the Hugo TT's headphone prowess. The TToby is a Class AB design that delivers 60 watts into an 8 ohm load and 120 watts into 4. It includes both an unbalanced and balanced input, to take advantage of the Hugo TT's XLR output.
TToby features two of our famous high-frequency power supplies and benefits from forced air-cooling through the aluminium casework by means of a sonically closed anechoic miniature multi-speed quadruple-fan plenum chamber, enabling the external design to be free of sharp heatsinks and, therefore, carry a stunning aesthetic. The Hugo TT/TToby combination offers both class-leading DAC and amplification technology via headphones and loudspeakers, giving complete flexibility within the demands of busy households.
NOTE: TToby is shown in main photo below matching Hugo TT.$3,695.00Power Amplifier Buy Now