Beautiful piece of history. Tested by a colleague with the necessary extra components – this beauty has been serviced – a handmade circuit drawn and comes with beautiful 01A tubes. The Caswell-Runyan Company in Huntington was formed 1907 for manufacturing cedar chests as a commercial article. The one story building from 1907 measured 150 x 200 with thermally insulated chambers (dry kilns) of 36 x 75. There were between 30 and 40 employees. In 1918 this was transformed into a three story building of the same size. At last, the Caswell-Runyan Company had 275,000 feet of floor space and was said to be the second largest wood working plant in Indiana. From huntingtoncounty: Caswell-Runyan Company, Inc. Is located at 1025 E. On the site of the original Caswell-Runyun Co. Which was established in Huntington in 1907 by J. Caswell and Winifred Runyan. Cedar chests were the principal product manufactured until the advent of radio cabinets and later television cabinets were added to the product line along with cedar chests. In 1929 Caswell-Runyan merged with Utah Radio Products Co. At the close of World War II a further merger was accomplished in 1946 when Utah Radio Products together with wholly owned Caswell Runyan Division merged with International Detrola Corp. (later name changed to Newport Steel) of which Utah and Caswell-Runyan was a part, was acquired by Merritt, Chapman and Scott Corp. This company liquidated the machinery and inventory of Caswell-Runyan in April, 1956 at which time Adolph H. Schenkel acquired the Articles of Incorporation of Caswell-Runyan Co. From Merritt, Chapman and Scott Corp. And reactivated Caswell-Runyan as a manufacturing operation. The company manufactures wood cabinets for Hi-Fi and Stereo music systems and employs 50 to 60 people.
Up for sale is a pair of vintage Quad II tube amplifiers along with the Quad 22 preamp. I got these from a friend on a trade and he had them recently gone thru by his tech and the Russian Gold Lions are new. I briefly tested them and they sound fine but I was only able to get output from one channel on the phono input of the preamp but both worked fine when I tried the radio inputs. Included is adapters for each amp to use a different preamp and not go thru the 22. There are two ac cords with adapters also included. One of the Quad badges is missing off one amp but overall a nice vintage setup. Thanks for your interest.
This vintage Knight tube amplifier from 1956 is a true gem for any guitar enthusiast. With a mono integrated amp and 3 Stackpole 1 meg pots, this amp is the perfect addition to any musician’s PROJECT. The amplifier features one channel, ideal for a straightforward and clean sound. This has no bottom cover or top cover/cage. Uses 5Y3GT rectifier, two 6V6 output tubes, two 6SN7 tubes, and one 6SL7 tube (far left). NO Tubes are INCLUDED are included. Schematic copy will be included. This has wires underneath that is not connected, so I did not test this. This amp seems to be started a conversion but unfinished. This piece has NORMAL rust in the exterior of the chassis, please check pictures. Don’t let this opportunity pass you by, add this classic amplifier to your gear. I have more amplifiers and other vintage electronics listed–feel free to take a.
Shows age, wear, patina, staining, scratches and dings. For parts or repair. Approximately 17 by 14.5 by 9. Please view all photos. The pictures usually best describe the item.
This a Great estate sale find, it is an EICO HF20 Monoblock Audio Amplifier. It is in Excellent working condition, with two 12AX7 preamp tubes. This amplifier has been in storage for fourteen years. It belonged to the owner of a high end audio transformer company. It is a kit build, very cleanly done, but the storage had taken its toll. All of the tubes were gone and I’ve replaced them. I have not cleaned the rust or corrosion off of the amplifier, that’s up to you to do and you can do as much or as little as you desire. What we’re talking about there is cosmetics, this amp it sounds great; all of the pots and switches have been cleaned, and the voltages checked. The amplifier is an Ultra-Linear Williamson type, with a 20 watt output. The preamplifier/equalization section uses inverse feedback allowing it to match the low distortion of the power amplifier. Bass and Treble EQ is ±15db. It has outputs for 4, 8, and 16? , plus a Tape Recorder output. There are seven inputs, two Phono with Equalization, Tuner and four high level jacks. The amp weighs 24 lbs. A copy of the manual and assembly instructions is included. I played it for six hours; it had no glitches, no smoke and a wonderful sound. If you need more pictures or information please let me know.
Here’s a vintage set of RCA 7591a tubes. The tubes look to be in great condition. I don’t have an official tube tester but I tested them in an amp and they seem to work and sound as a good set would should.
Marantz Model 9 Vintage Tube Monoblock Amplifier (Single) – THE Holy Grail. General: This is a unique opportunity to own one of the most coveted pieces of audio history. The Model 9 was the top of the line for Marantz in the late 1960′s, and while they do come up for sale on occasion, they are fairly rare. We’ve only had the pleasure of having one or two sets here at SkyFi. This listing is for a single unit, perfect for someone looking for a matching sock :- or setting up a mono system that’s so popular these days. While we have a second Marantz Model 9, they were too far apart in production dates to sell as a pair. Most shops would do just that and it’s likely the new owner would never notice much of a difference other than a slight gain variation. But that’s not how we roll. Physical condition is above average. No signs of heavy use or abuse anywhere to be found. All paintwork and writing is intact and original! Incredible when you realize this is nearly 60 years “young” in age. This amplifier also includes a very desirable set of vintage tubes GE/Amperex. The Model 9 clocks in at 63 lbs, offers 70 W, and can push up to 40 W in a user selectable Triode output mode. Please see our photos for a copy of the original Marantz 1960′s advertisement with full specifications. Note this Model 9 is not the re-issue amplifier, but rather an original vintage unit from the 1960′s. This amplifier is missing its front connection cover which is very common. It also had the top cover screws replaced at some point in the past. Light cosmetic blemishes to the chassis and faceplate. This unit appears to be all original per our research and inspection. We fitted it with a period correct set of tubes consisting of a pair of GE branded Mullard gold pin 6922, Amperex branded GE 6CG7, and two matched date code pairs of strong testing Mullard Blackburn XF3 El34. The amp biased up as expected intended and passed our bench and listening tests with flying colors. The serial number of this unit is 2925 placing it towards the end of Model 9 production. Using EL34 tubes, this ultra-linear parallel push-pull design produced 70 watts of power, a significant accomplishment for its time. The increased power resulted, in part, from the strong rivalry with McIntosh, whose power amplifiers (at the time) were generally more muscular than comparable Marantz models. It’s worth noting that the MODEL 9 can also be set in triode operation for even better sound at lower wattage. In addition to its high power, the MODEL 9 reached new cosmetic horizons thanks to a bias meter centered on the front panel and a drop-down front panel door that concealed adjustments and connections. Until then, Marantz products had been more industrial-looking devices designed to be hidden away, but Saul was coming to realise that the audiophile was as equally as concerned about interior design, and that highend audio equipment was something that should be put on display. Mid-century design and architecture is one of the most significant design movements to date. It was during this period that folks began to care more about how their homes looked, and indeed about how their music sounded. Bauhaus had infiltrated New York, while designers like Eames, Bertoia, Saarinen, Wright, and Le Corbusier were creating aspirational products and places. The MODEL 9 was designed to align with, and perhaps accentuate, such sought-after statement pieces, and the certain lifestyle they represented. Built on Heroes of the Past In 1960, Paul Simon, Neil Diamond and Lou Reed were New York’s most exciting young artists. The computer mouse, etch a sketch, countertop microwave oven and the audio cassette had just been invented. Thanks to the efforts of guitar hero Les Paul, multitrack recording had become standard for both consumption and recording. His company, Ampex, had created the eight-track studio recorder, enabling people to record instruments separately and mix them into one cohesive composition, and so music lovers were looking for technologies that could accurately reproduce those recordings. Since 1953, Saul Marantz had been developing a series of amplifiers from his home in Kew Gardens, Queens. Having found success with his audio consolette, Saul evolved the product into the MODEL 1, which, with a great deal of tinkering became the MODEL 2, and so on, until in 1960 he released the MODEL 9, a groundbreaking new amplifier. Yet the MODEL 9 was more than just a looker. It was one of the first amplifiers to use a meter and knob to perform different test functions (at gain zero). It is equipped with trimmers to adjust the bias of every output tube, but also to set AC and DC balance, which was of course incredibly convenient for the user at that time as it meant that no scope or other testing equipment was needed. And such was the amplifier’s smooth control and stability of power, NASA famously customized the MODEL 9 for use in the Apollo Space Program. Again, it is Saul’s understanding of mid-century design that has meant the porthole has stood the test of time. It is iconic today, as it was 60 years ago. Like many products at the time, self assembly was required, partly in the interest of keeping the price down. Each unit came with a manual, test card, and schematic diagram, as well as an accessory kit containing an assortment of screws and an Allen key. The instruction manual goes on to say, The MODEL 9 is remarkably cool in its normal operation. Admittedly it does then warn that any amplifier will become hot if not allowed to freely dissipate itself into the surrounding air.. But still, it is remarkably cool. Ownership: Unknown Connections: RCA inputs and speaker terminals. General Sound: Smooth, uncolored, undistorted natural and clean Cosmetic Condition: 8/10 = Very Good. Excellent front faceplate, one minor flaw on chassis side or top. Working Condition: Working perfectly and tested in our lab and listening room. Included: Just the unit and power cord. Packing: Will be packed using our highly developed in-house process and custom packing materials. Testing Process: We start with a visual inspection of all internal components to make sure that there are no signs of heat stress or damage. Capacitors are checked for telltale signs of predictive failure including bulging, shrunken wrappers, or physical leakage. We also inspect resistors and other passive components for signs of overheating. If tube arcing has occurred in the past we can usually spot discoloration on the output tube sockets. On vintage units we often spot check select capacitors for value and ESR. If the amplifier passes visual inspection, we move on to a full test of all of the tubes. We use a modern Amplitrex AT-1000 Professional Tube Tester which is capable of testing both emission and Gm with a high degree of accuracy. We document the results of each tube and replace any weak or suspect tubes before proceeding. When we power on tube amplifiers for the first time we usually use a variac and current limited AC supply and slowly raise the voltage up to nominal mains level while monitoring plate, screen, filament, and negative bias supply voltages where applicable. If everything is in order we feed a low level test signal into the amplifier’s input and monitor its output on an oscilloscope across an 8 ohm dummy load. At this point we are just looking to verify basic function and confirm that the output transformers are not damaged. Once we have verified that the amplifier is safe to operate, we connected it to full mains power. For cathode biased amps we monitor the plate to cathode voltage to determine if the output tubes are operating in a safe range. Once the output section is verified we move onto bench evaluation. We start by feeding the input of the amplifier with a low level 1 KHz test signal, slowly increasing its amplitude while monitoring the amplifier’s output on an oscilloscope for signs of noise, clipping, distortion, or improper channel balance. We continue increasing the signal level until the amplifier reaches clipping. At this point we take an output power measurement and compare it to the spec sheet of the amplifier to verify proper performance. We finish off the bench evaluation with a 1 KHz square wave check and a 20 Hz to 20 KHz sine sweep to assess the amplifier’s frequency response characteristics. This battery of tests will usually reveal if the amplifier has any issues that need further attention. Before the device leaves the bench we perform a listening test with actual music using a variety of preferred test tracks. Our benches are outfitted with familiar monitor speakers which help us identify inconsistencies that will not always show up on our test gear. The main things that we are listening for are hum or noise with no signal present, proper center image, clicks, pops, or any other obvious undesirable audio characteristics. If the unit passes all of these tests it is moved to our long term testing rig where we simulate real word operating conditions for 6-8 hours minimum. For tube amps we like to run this test at least twice. This allows us to monitor the unit for signs of thermal runaway or intermittent issues that only crop up when it has fully come up to temperature. We find this step to be essential, especially for vintage units. SkyFi Audio – Curators of Vintage Audio Gear. No mid-fi, no gimmicks, no junk. Each piece of equipment is cosmetically restored and fully tested in our well-equipped lab by an engineer with 30+ years of experience in the HiFi world. Please note we are not a repair shop and only restore what we own. If we don’t have the original packaging, we use heavy-duty double-ply corrugated boxes with custom made to your item SealedAir Instapak expanding foam custom inserts. In many cases this has proven to be better than the original packaging! We also use high quality fiber reinforced tape to seal our packages. We have too many items for sale and it’s nearly impossible to keep track of offers outside of the official system. Our items are available for pick-up. No additional information at this time. You might also like. Dynavector 10×3 High-Output MC Phono Cartridge. Music Reference RM-5 MK II Tube Preamplifier with Phono. Music Reference RM-9 Tube Amplifier With EL34′s.
This vintage WICO (USA) TWENTY EIGHT 6BM8 Single Tube Amplifier is a true gem for any vintage audio enthusiast. With its classic design and sturdy build quality, this tube amplifier is sure to bring a touch of nostalgia to your listening experience.
Dynaco Stereo 80 ST-80 Amplifier. Has All 4 Original Feet. Cord Has No Cracks. No Signs Of Corrosion. Lamp On Power Switch Works. Outstanding Condition And Sonics. Please Examine Photos Closely For Cosmetic Condition. Other items From My Collection May Be Viewed In My Listings. A rare piece greatly appreciated by audiophiles and not often seen. A Fantastic Addition To Any Vintage Collection. Power output: 40 watts per channel into 8? (stereo). Frequency response: 10Hz to 50kHz. Total harmonic distortion: 0.5%. Input sensitivity: 1.3V. Signal to noise ratio: 90dB. Speaker load impedance: 4? To 16? Semiconductors: 12 x transistors, 10 x diodes. Dimensions: 14 x 8 x 4 inches. The Dynaco Stereo 80 is an all silicon transistor basic power amplifier for use with separate preamplifiers such as the Dynaco PAT-4 or PAT-5 or for use with tape recorders or tuners such as the Dynaco FM-5 which have their own volume controls. The unit contains two 40 watt amplifiers on one chassis with a common power supply. It has been designed to be used under normal conditions without special safety precautions, just as if it were a high grade tube amplifier. There are no circuit breakers, speaker fuses, or other resettable devices to impede the use of the Stereo 80 under any reasonable conditions of use or abuse. This is achieved by using novel circuits (on which patents are pending) which automatically and instantly protect the amplifier. The components are of the highest quality to protect against failure, both now and for many years in the future. All parts are used conservatively with close tolerances to assure proper operation, and etched circuit modules are pretested under actual use conditions to ensure that every unit, after assembly, will meet the specifications normally associated with laboratory prototypes. The specifications of the Stereo 80 speak for themselves. The distortion at low levels is comparable to that of the finest tube designs, while the high power distortion remains inaudible. See my other auctions for a matching Dynaco PAT-4 Stereo Preamplifier to mate with this. Please check my other auctions for more vintage electronics.
