ampli mcintosh ma 6900

McIntosh MA 6900 for sale. McIntosh MA 6900 amplifier. A beautiful centerpiece. Very light use and well cared for. Moving, selling my entire system, including Contour 1.8 MK II speakers, Bel Canto Dac 3 Pre, Squeezebox, VTI Average. Research Pricing. McIntosh MA-6900 Integrated Amplifier in excellent physical and functional condition with original boxes, packing and accessories. Unit sold as new for $4,500.00 and current replacement model is $9,000.00 (MA-8950). Unit is gently used by original owner, purchased new in 2005 and comes from a smoke-free, pet-free home. NOW IN STOCKCALL US @ (302) 478-6050. Only available for in-store purchase. Please contact us for pricing at 1-800-838-1812 or email us. The McIntosh MC275 VI Stereo Amplifier is. Vay Tiền Trả Góp Theo Tháng Chỉ Cần Cmnd. Data[edit] General Manufacturer McIntosh Model MA 6900 Final Edition Type Integrated amplifier Years of manufacture 2018 - 2019 Dimensions WxHxD 430 x 180 x 480 mm Weight 34 kg Original price approx. 7'499 Euro Technical data Power 200 W per channel into 2, 4, 8 ohms tone control 30 Hz/150 Hz/500 Hz/1,500 Hz/10 kHz Power band 20 Hz - 20,000 Hz Maximum Total Harmonic Distortion at 250 mW to maximum output power % for 2, 4, 8 ohms Dynamic Headphone dB Frequency Response + dB from 20 Hz - 20,000 Hz, + dB from 10 Hz - 100,000 Hz Input sensitivity Phono mV to V mV IHF. High level 250 mV to V 50 mV IHF Amplifier input V Noise margin A weighted 90 dB 84 dB IHF below 10 mV Input, phono 100 dB 90 dB IHF High level 110 dB Power amplifier intermodulation distortion 20 Hz - 20,000 Hz % at 2, 4, 8 ohms Input impedance Phono 47 kOhm, 65 pF High level 22 kOhm Maximum input signal Phono 90 mV High level 8 V Preamplifier output maximum Phono 8 V at tape output High level 8 V at tape output Main Out 8 V at preamp output. Gain Tape 0 dB Main 20 dB Attenuation factor > 40 Number of L/R RCA inputs 6 [edit] Other models in the same series Preamplifier McIntosh C 49 McIntosh C 53 McIntosh C 70 McIntosh C 1100 C McIntosh C 1100 T McIntosh C 2700 McIntosh D 1100 Digital Preamplifier McIntosh D 150 Phono preamplifier McIntosh MP 100 McIntosh MP 1100 AV processors McIntosh MX 123 McIntosh MX 170 Power amplifiers McIntosh MC KW McIntosh MC 2 KW McIntosh MC 75 McIntosh MC 152 McIntosh MC 255 McIntosh MC 257 McIntosh MC 275 VI McIntosh MC 301 McIntosh MC 303 McIntosh MC 312 McIntosh MC 462 McIntosh MC 611 McIntosh MC 2152 McIntosh MC 2301 McIntosh MC 8207 McIntosh MI 128 McIntosh MI 254 Integrated Amplifier McIntosh MA 252 McIntosh MA 352 McIntosh MA 5300 McIntosh MA 6900 Final Edition McIntosh MA 7200 McIntosh MA 8900 McIntosh MA 9000 Headphone Amplifier McIntosh MHA 50 McIntosh MHA 150 Headphones McIntosh MHP 1000 Tuner McIntosh MR 87 Receiver McIntosh MAC 7200 SACD player McIntosh MCT 80 McIntosh MCD 350 McIntosh MCT 500 McIntosh MCD 600 McIntosh MCD 1100 McIntosh MVP 901 Turntables McIntosh MT 2 McIntosh MT 5 McIntosh MT 10 Equalizer McIntosh MEN 220 Active speakers McIntosh RS 100 McIntosh RS 200 All-in-one center McIntosh MTI 100 McIntosh MXA 80 Power Conditioner McIntosh MPC 500 McIntosh MPC 1500 Pictures[edit] Reports[edit] Links[edit] ¥ 680,000 around 2001 Commentary Integrated amplifier with 5-band 5-band equalizer circuit can enhance or reduce five frequency bands to 12 the knob is in the center position, it is completely removed from the signal circuit and the sound of the input source can be confirmed as it is equipped with a phono equalizer amplifier suitable for MM type input, output and data ports are equipped with logic operated electromagnetic magnet switches, and signal switching is realized by digital logic the relay used in this process, contacts plated with gold, rhodium and ruthenium are enclosed in glass tubes filled with inert and oxygen-free gas to increase with a motor drive volume control compatible with a remote control, the resistor is laser trimmed to achieve highly accurate with an output auto-former, the amplifier and speaker are always in an ideal matching state, and a long life is realized without losing sound is equipped with various protection circuits as a risk management measures to protect the amplifier itself and to prevent damage to the speakers in the event of an abnormal Guard consists of a waveform comparator that monitors the waveform of the amplifier input and output signal. Normally, it does not output anything. However, when the amplifier is driven to output beyond its maximum power capability and a difference occurs between the input and output waveforms, the comparator controls the amplifier gain to suppress distortion of the with a sentry monitor, it senses the dynamic operating time, voltage and current of the output stage and controls the current within non-destructive built-in features include a DC hoar to ground the DC, temperature protection that does not degrade SN by natural air cooling, turn-on delay that delays the operation of the amplifier by approximately two seconds when the power is turned on, and in-rush protection that eliminates stress on the power transformer when the power is turned is equipped with a gold plated input / output steel chassis is used for the data output port is with a large blue eyes output display meter with remote control is included. Model Rating Type Integrated amplifier Rated Output Both Channels Operating 200W + 200W 2 , 4 , 8 , sine wave continuous output Load impedance 2 , 4 , 8 Independent Terminal Output frequency bandwidth 20 Hz to 20 kHz Total harmonic distortion factor or Less 20 Hz to 20 kHz, 250 mW to 150W, Both Channel Operation Intermodulation distortion factor when both channels are operated Up to 250 mW to 200W at any combination of 20 Hz to 20 kHz* When the instantaneous peak output does not exceed the rated output of 400W Frequency characteristic 20 Hz ~ 20 kHz + 0 dB Maximum output voltage of preamplifier section 8 v 20 Hz ~ 20 kHz Input sensitivity Phono mv v rated output, mv IHFHigh Level 250 mv v rated output, 50 mv IHFPower amp in V rated output Signal-to-noise ratio IHF-A network Phono 90 dB 84 dB IHF at input of 10 mV or lessHigh Level 100 dB 90 dB IHF below rated outputPower amp 110 dB below rated output IHF dynamic headroom dB 2 , 4 , 8 Damping factor 100 or More 8 Maximum input signal Phono90mVHigh Level8V Voltage gain High Level → tape 0 dBHigh Level → main 20 dB Equalizer control 50 Hz, 150 Hz, 500 Hz, kHz, 10 kHz± 12 dB Pwer 100 VAC, 50Hz/60Hz, External dimensions Width Height Depth mm Weight Never let it be said that variety is in short supply amongst hi-fi designers. In direct contrast to nearly every other integrated amplifier in this series, the McIntosh MA6900 stands out like an off-roader amongst grocery carts. Indeed, two specifications make it immediately apparent that the McIntosh arrived from a completely different direction than especially the slim-line Krell and Pink Triangle or the diminutive Red Rose Rosette this device measures a massive 17 1/2x7 1/16x18 1/8in WHD including connectors and it weighs a serious 41lb. Additional Resources• Read a Ken Kessler review of the Pink Triangle Inergral Integrated Amp Reviewed.• Check out this review of Krell's FBI top-of-the-line Integrated amp reviewed. Because McIntosh is as much a tradition as it is a hi-fi manufacturer, and because its current owners haven't dumped all over its legacy as has happened with other luxury products I can name car and watch companies which have been whored to death, there is no identity crisis. The MA6900 unashamedly reeks of retro, of Mac-ism, with its real glass front panel, its gilded knobs, its massive 'Peak Responding Output Meters' - blue-lit analogue dials being as important to McIntosh as the round cream-coloured modulometers are to Nagra. Mac's meters are calibrated in 'watts output', and they 'respond 95% full scale to a single cycle tone burst at 2kHz - almost 10 times faster than a professional VU meter.' They look so cool when the room is dimply lit that you're forgiven for shutting off the lights just to bask in their glow. It's genuine time-warp stuff, despite the modernism imparted by its suitability for custom installation and home theatre integration. There's a shopping list here which is true to the Binghampton Creed, just as Jaguars X-type aside... should boast wood and leather interiors a stainless steel chassis; the massive, proprietary 'Output Autoformers' which provide amplifier matching for 2, 4 and 8 ohm speaker loads; controls - fashion be damned! - for loudness compensation, mono selection and five-band equalization via rotaries operating at 30, 150, 500, 1500 and 10k Hz, +/-12dB, the design being an 'Exclusive McIntosh Equalizer Circuit'. Competition and ComparisonYou can compare the McIntosh MA6900 against other integrated amps by reading our reviews for Krell's KAV-300i integrated amp and the AMC CVT 3030 integrated amp. You can find more information available in our Amplifier section and on our McIntosh brand page. As is obvious, McIntosh is the antithesis of the still-current-after-25-years School of Minimalism. No doubt due to its primary audience consisting of wealthy professionals, McIntosh doesn't believe its clientele should suffer any inconvenience. Thus, the MA6900 also boasts full remote control over six program sources Phono/Aux, CD1, CD2, Tuner, Tape, and Video, including one XLR balanced input marked CD, with all functions operated by 'Logic Driven Electro Magnetic Switching' for reliability and low distortion. This integrated, by the way, boasts so many layers of protection that one cannot imagine any circumstances under which it would take out your speakers or your home thermal sensors to turn off the output when improper loading or ventilation causes overheating, turn-on delay to prevent thumps, 'Power Guard' circuit - a waveform comparator which monitors the wave shape of the amplifier input and output signals - to prevent clipping while protecting speakers from damage, an electronically-regulated power supply to maintain stable operation 'even during "Brown Outs" or low line voltage', direct-current speaker protection which shorts the MA6900 to ground if for any reason a DC voltage appears at the amplifier output, Sentry Monitor to sense the dynamic operating time, voltage and current of the amplifier output stage to confine it to non-destructive limits and more. Paranoia? Sure - but so-o-o reassuring. Especially if you've ever seen flames from your system. As I have. Although the front panel is crammed with lights, meters, buttons and rotaries, there's a sense of sanity about it because the design is symmetrical and wholly functional. The meters occupy the upper half, flanking the Power Guard tell-tales. Below are two large rotaries for balance and volume, on either side of the five equalizer controls. Below this, from left to right, are the IR sensor, a row of six buttons for source selection, a headphone socket, six more buttons for mono, output selection, mute, loudness and standby, and lastly the primary power on/off. McIntosh recommends leaving the unit in standby when not in use; warm-up takes a good hour by my aural reckoning. Your eyes will pop out when you see the back, wondering if someone slipped in an A/V receiver when you weren't looking. The upper section contains two vertical rows of multi-way binding posts for 2/4/8 ohm speaker selection; XLRs for the balanced CD input sits in-between. Across the bottom are the IEC mains input, followed by a dozen small sockets and a large screw terminal for controlling an external video switcher offering five more A/V inputs, powering up other components, mating the unit to a keypad for a second room, and other functions related to custom installations. The remaining sockets are conventional, gold-plated phonos for all sources and tape in/out, pre/main separation, and a tiny toggle to choose set the phono/aux to either mm phono or line level; there's also an earth post for a turntable. The remote performs all major functions, as well as controlling other McIntosh components such as CD players and tuners. If you accept that the McIntosh experience is to audio what Leica cameras are to film photography, the performance is almost secondary because you assume it will be stellar. The reason you 'buy into' McIntosh is because you want to be part of that culture, of unparalleled back-up, Mercedes-like reliability, faultless build-quality, timeless styling, small 'c' conservatism. But all of that is worth nothing if it doesn't deliver sound quality approaching the best. Fortunately, after a dark era when the company seemed to go out of its way to aggravate subjective listeners, the company returned to performance-related matters and has not had to apologise for anything for nearly a decade. The MA6900 will, then, confound those who refuse to accept that something so sensibly, intelligently designed and manufactured can hold its own against self-immolating, cranky, ugly, over-priced but politically-correct garbage from the cottage industry. In direct contrast to Pink Triangle's Integral, which offered a wide but shallow sound stage, the McIntosh offers a blissfully deep soundstage but one which barely extends beyond the speakers. I used the Mac with Wilson WATT Puppy System 6, Wharfedale Diamond and Apogee Scintilla speakers, and the effect varied not one bit. When you consider that this amplifier is sized like a monster stand-alone power amp rather than a convenience-and-compactness-to-the-fore integrated, this aspect does make it sound 'small'. I say that only because the consensus seems to suggest that stage width is more important to most listeners than stage depth which explains how certain fifth-rate British amplifiers have managed to survive for so long. It's not that the Mac is a poor stereo performer - the stage depth will dazzle you - but it does confuse listeners who have grown used to sound way beyond the speakers' edges. Yes, it can be remedied in part by repositioning your loudspeakers, but at the expense of stage depth. Then again, you have a lot of the latter which you can sacrifice. Like the Gryphon, the MA6900 was easy to listen to for hours due to its delicacy and refinement, while at the same time offering seemingly limitless power and an ability to behave like a wild animal when required. But I noticed another curious phenomenon, one which will amuse reviewer Jimmy Hughes, who - I believe - was one of the first to postulate that every piece of music has an optimum playback level. This, of course, is logical if you were sitting at a specific position at a given concert, there would be a 'true' sound level. Whatever, it was a rare observation of Jimmy's with which I actually agreed. The McIntosh made this concept an even more vivid concern, and setting the volume reminded me of focussing a manual camera. It provided a narrow band where the level was nigh on perfect. A dB or two either way and it lost precision, grew a shade shouty, or became nasal. And rather than seem a hindrance, this quality merely reinforced the notion that the McIntosh was a true high performance device, much more than a universal player for soft-arsed dentists or lawyers who buy gear according to the range of facilities. Read more on Page 2 Although I'm loath to describe ANY amp as best suited for a specific kind of music - if a product excels on one genre at the cost of another, then it's seriously flawed - the MA6900 was so convincing with vocals that I found myself gravitating toward unplugged performances, lean country or folk recordings, gospel and a capella. The sheer power allowed the Mac to deliver the goods with ease when it came to orchestral, heavy metal , bass-heavy dance mixes and the like, but there was an eerie sensation that the actual amplifier seemed to be enjoying itself when I fed it the O Brother Where Art Thou? soundtrack, Dolly Parton's or Alison Krauss' bluegrass ventures, or Sarah Vaughan on Classic vinyl. When the editor and I first realised that there was a new wave of high-end integrated amplifiers and that we had undertaken the reviewing of a number of them almost unconsciously, I had hoped that there would be an easily-determined pecking order. But they are proving to be more dissimilar than similar, and I fear that I will end the survey in a state of confusion. The McIntosh MA6900 emulates the Krell for sheer grunt, the Gryphon for finish and finesse and the Pink for user-friendliness and build quality. Conversely, it adds its own characteristics of retro appeal, limitless flexibility, and a distinctive but always pleasing sound. But it has one other trait which I know will make the bile rise amongst the more left-wing readers Sorry, but at 3990, I have to declare the Mac a bargain. It offers incomparable perceived value, a reputation for dependability and factory support second to in the entire audio industry, and an ability to impart the same sort of user confidence which will prevent me from buying the Alfa Romeo I covet in favour of something from the Fatherland. Maybe it's the easy option if you're looking for a huge integrated amp at this price point, while your audiophile tendency is screaming 'No!'...just as some photographers are still resisting digital cameras because of similar prejudices. Forget that, please listen to your brain this time, and I promise you that your heart will not complain. This amp is a dream. Additional Resources• Read a Ken Kessler review of the Pink Triangle Inergral Integrated Amp Reviewed.• Check out this review of Krell's FBI top-of-the-line Integrated amp reviewed.

ampli mcintosh ma 6900