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The biggest and baddest Pre Amplifiers of all time?

Sony TA 2000

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To me, how I interpret "biggest and baddest" would be via it's flexibility and usefulness. I started buying vintage gear in 1990. In that time, I've had a few hundred preamps. The two that stand out to me here are the McIntosh C100 and McIntosh C200. Admittedly, I've never owned a Yamaha C1, but my buddy Mike does and I do also really admire it.

Presently, my C200 is the vehicle that permits the most flexibility I've ever had in an audio system, and then some! I have the following sources connected directly to it:

Pioneer PD-TO7 CDP (fully balanced via XLRs)
Oppo UDP-205 (fully balanced via XLRs)
Pioneer RT-909 RTR (record and play)
Nakamichi RX-505 Cassette (record and play)
Technics SL1300 Mk2 Turntable with DV10x5 (MM input)
McIntosh MR75 tuner

Not being used at present is the MC phono input (which has the TOTL Ortofon SUT with silver mu windings) - at least until I upgrade cartridges.

The unit also has THREE independent amplifier outputs, offered in RCA or XLR:

MAIN - always on
1 - Front panel / remote switchable - Connected to my MC2600s via XLRs
2 - Front panel / remote switchable - Connected to my MC7300 in the adjoining room (powers my Altecs) via XLRs

In addition, the unit has DATA outputs to simplify remote control to a host of McIntosh units. Finally, it has separate processor loops for Record and Playback. Presently, I don't use any of these features.

As if that wasn't enough,I can turn my HT AVP on (Integra DHC-80.6) the C200 automatically switches into PASSTHRU mode where it simply passes the L&R outputs of the AVP at fixed unity to the amplifiers. Then, I have all of my video sources:

Oppo UDP-205 (via HDMI)
Cable Box (via HDMI)
Smart TV

And, it just so happens to be tied with the C100 I sold to get it as the best sounding preamp that I've yet owned. Finally, the C200 really appeals to my eye. The later C500, C1000, and C1100s all lack the tape facilities of the C100 and C200 so none of them would work in my system.
 

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damacman said:
To me, how I interpret "biggest and baddest" would be via it's flexibility and usefulness. I started buying vintage gear in 1990. In that time, I've had a few hundred preamps. The two that stand out to me here are the McIntosh C100 and McIntosh C200. Admittedly, I've never owned a Yamaha C1, but my buddy Mike does and I do also really admire it.

Presently, my C200 is the vehicle that permits the most flexibility I've ever had in an audio system, and then some! I have the following sources connected directly to it:

Pioneer PD-TO7 CDP (fully balanced via XLRs)
Oppo UDP-205 (fully balanced via XLRs)
Pioneer RT-909 RTR (record and play)
Nakamichi RX-505 Cassette (record and play)
Technics SL1300 Mk2 Turntable with DV10x5 (MM input)
McIntosh MR75 tuner

Not being used at present is the MC phono input (which has the TOTL Ortofon SUT with silver mu windings) - at least until I upgrade cartridges.

The unit also has THREE independent amplifier outputs, offered in RCA or XLR:

MAIN - always on
1 - Front panel / remote switchable - Connected to my MC2600s via XLRs
2 - Front panel / remote switchable - Connected to my MC7300 in the adjoining room (powers my Altecs) via XLRs

In addition, the unit has DATA outputs to simplify remote control to a host of McIntosh units. Finally, it has separate processor loops for Record and Playback. Presently, I don't use any of these features.

As if that wasn't enough,I can turn my HT AVP on (Integra DHC-80.6) the C200 automatically switches into PASSTHRU mode where it simply passes the L&R outputs of the AVP at fixed unity to the amplifiers. Then, I have all of my video sources:

Oppo UDP-205 (via HDMI)
Cable Box (via HDMI)
Smart TV

And, it just so happens to be tied with the C100 I sold to get it as the best sounding preamp that I've yet owned. Finally, the C200 really appeals to my eye. The later C500, C1000, and C1100s all lack the tape facilities of the C100 and C200 so none of them would work in my system.
Click to expand...
That's a beautiful preamp!
 
Yeah the C100 & C200 are very hard to beat in SQ, because it totally stays out of the way, more like a passive pre. However with more input/outputs one could ever need and fully balanced.

damacman said:
The unit also has THREE independent amplifier outputs, offered in RCA or XLR:
Click to expand...
Thats actually 6 as you can use the XLR & RCAs at the same time...:thumbsup:

Then the fact that they also have three phono inputs 2 MM & 1 MC
 
4-2-7 said:
Yeah the C100 & C200 are very hard to beat in SQ, because it totally stays out of the way, more like a passive pre. However with more input/outputs one could ever need and fully balanced.


Thats actually 6 as you can use the XLR & RCAs at the same time...:thumbsup:

Then the fact that they also have three phono inputs 2 MM & 1 MC
Click to expand...
Could not agree more with both you and damacman. The extra box of those 2 piece preamps may be tough to find room for but it's well worth the effort for the sonic benefit.
 
I don't know about biggest, but I would consider the Kenwood L-07Cll to be among the baddest. But then again, I'm no expert.:)
 
..though I do not own either any more...it is hard to beat the looks of the Marantz 7t or the sonics of a Adcom GFP-750.
 
Dazaa said:
Everyone raves on about huge power amps and massive meters but there isn't much mention of the monster pre amplifiers that often matched such power amps. Interested to see what statement pieces were made by the Japanese giants in the 70's and 80's and also if any US companies made anything similar. I'll start with one I own, currently being repaired. JVC JP-V1000, supposedly class A, 3 phono inputs each with variable cartridge loading, quad compatible hence the 4 vu's and an interesting SEA equalisation system with 7 individual tone controls (individually controlled for the front and back speakers)
Click to expand...
Very Nice!
 
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