Take a look at them inside, and you'll see what I mean.
What i see is that the models are all pretty much the same.
For instance, the bridge rectifier used is a metal case block 5VB-20.
Or an odd looking plastic variety, 5B-2, which is mounted on it's side, with 2 holes on the corners for a screw.
Both are 200V, 6A bridge rectifiers.
Those may be sufficient for a single 2x12.000uF electrolytic capacitor that supplies both channels, but not exactly what i'd call oversized.
Increasing the powersupply capacitance in those amps better be combined with a bridge rectifier swap.
Output stage of the 170dc & 1152dc is a 2-pair B557/D427, TO3's that handle 80W and 8A each.
An output stage that has a max dissipation figure of 320W, for a +100W/8 amp, is undersized.
Again, doubling the capacitance of 6.000uF per rail better be combined with an exchange to a beefier output stage.
A €3500 SM11-S1 outbeats the '70s Marantz amps in every way, from the covered toroidal transformer to the much stronger output stage.
(a new SC11-S1 + SM11-S1 pre/power amp duo now does less than €4500 in these parts, ~5 years after introduction)
As for cost cutting :
a Quad ESL63 set cost 7000 Dutch guilders here in 1985, the equivalent of ~€3200.
27 years of inflation would have bumped up the price tag to €6500 minimum
Last list price of the successor ESL988 was €3500.
(i was born in the '50s too, Mr Veselinovic)
In the early '70s, i had a 20W Superscope receiver, "by Marantz", could only gloat at real and fancy Marantz gear in the homes of family members and acquaintances.
Nowadays, a €6k integrated is closer to pocket change, what is agreeable to me now is still unthinkable for 99% of the folks here.
In 10 weeks time, i'm flying to the carribean for a 2-day concert, i have yet to give thought to what the total will amount to.
In the late '70s, a 1-day local concert meant saving up for months.
www.diyaudio.com/forums/attachments...pub-high-end-off-topic-thread-curacao-nsj.jpg
It's all relative, good thing is to keep that in mind.
1% of the local population which can spare something to save up.
Likely a similar number as those who could afford your Marantz numbers back when they were manufactured. Therefore it has no significant meaning.
A valid arguement would be that '70s Marantz gear is worth the care, and/or a renovation job, so folks in low income regions can have a decent audio set for a small investment.
The Marantz numbers i see are 51V rails, a little over 100W at 1kHz, but barely 85W over the audible range.
Rigid enough for easy budget grade loudspeakers, the load of my electrostats would turn it into scrap yard grade.
(Mr Wayne, in the late '70s, my youngest sister shacked with Erik Sunshine, a small-time coke & pills dealing junkie who used more than he sold. In those days, i had frequent Sunfests, on the house)
Gracias .... 🙂
For Wavebourn: The typical transformers used by Parasound in my designs, over the last 20 years has been: 1KVA-2KVA for the range of 100W-400W (8 ohm) per channel/ or sometimes shared 2 channels. Caps don't usually get shared, but transformers often are. (with separate windings per channel)
For Wavebourn: The typical transformers used by Parasound in my designs, over the last 20 years has been: 1KVA-2KVA for the range of 100W-400W (8 ohm) per channel/ or sometimes shared 2 channels. Caps don't usually get shared, but transformers often are. (with separate windings per channel)