There are two identical tube amplifiers per channel and they are connected in a balanced configuration which significantly reduces even-order harmonic distortions. Finally, come the equalization profiles which are located in the feedback network of the tube amplifiers. Next is an adjustable attenuator which selects the overall gain, then the vacuum tubes which provide the main amplification. It is then followed by ultra-low noise, discrete solid-state, complementary balanced amplifiers. As the signal engages any one of the three inputs, it is first met with the programmable resistance and capacitance loading components, all of which can be adjusted on-the-fly via the front panel or the remote control. The MP1100 is a hybrid tube/solid state unit with some serious engineering under its hood.
The P1100 even comes with a scratch and rumble filter which can be activated on-the-fly to reduce noise on warped or scratchy records.
Review my vinyl for mac mac#
This is why the current blue colour on the famous Mac VU meters differs from the slightly greenish-blue of old days when tiny light bulbs were used.
Gone are the days of filament bulb lighting: all modern-day McIntosh products are fitted with fiberoptic LED lighting. A titanium top cover displays a circuit diagram and a glass window reveals four 12AX7A tubes which glow green when powered on. When the 26 lbs phono stage is taken out of its protective box, it looks as classy and sexy as every Mc product. Like all McIntosh products, the MP1100 arrived in a double box carton, factory tested to withstand a six-foot drop so you can be sure it will survive any type of shipping abuse. 12 years later, I consider it my honour to converse with Evans once again, to interview him about the MP1100 following hi retirement from McIntosh. Despite his status, I found him to be a friendly, soft spoken and humble man of few words.
Evans is a giant in the audio world, whom I had the pleasure of meeting in person for the first time in 2005. Other famous designs by Evans include the MC1000 amplifier (his favourite amp), the C1000 Preamp, MC2301 Tube Amp, the six-chassis 2,000 watt MC2KW and all the built-in phono stages since the C1000. Ron Evans designed the first separate solid-state power amplifier fitted with the Power Guard – the MC2205 – which came out in 1975. Richard Mak (Left), and Ron Evans in 2005.
Review my vinyl for mac serial number#
When I heard McIntosh was coming out with their first full chassis high end phono preamplifier, I immediately visited Mike Sastra at Audioclassics and told him “Please, I want one regardless of the price, and please find me a good serial number if you can.” That he did, and a few days later I was the proud owner of serial number 1001, so this article has not been written about a factory review sample, but about a McIntosh lover’s own unit which has been purchased before any demo listening. Words and Photos by Richard Mak A storied heritage. When it was my time to get serious with high end audio, I acquired almost every one of the vintage McIntosh tube amps, including the elusive MC3500 “Woodstock” amplifier, which I proudly own it to this day. After the MC-60s, we acquired the MC-75s, followed by the MC275. Grandpa eventually passed the MC-60s onto my father, who later passed them on to my first cousin. The post war period in Asia was a very difficult time economically, so high-end systems were rare birds in most households.
Review my vinyl for mac movie#
It all began with my grandfather who purchased a pair of MC-60s from a movie theatre and became one of the earliest McIntosh owners in Hong Kong. I admit, I am a McIntosh fan boy, perhaps not blindly starry -eyed enough to buy the $1,800 USD McIntosh wall clock, but I have a long enough family history with McIntosh to prove my street cred. When the McIntosh MP1100 phono preamplifier arrived at my doorstep, I was as excited as when I saw the first McIntosh product at 12 years old.
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