- Jul 31, 2019
- Northampton, UK
You were in the trade so will know far more than I, but didn't the whole "US Super Amp" thing take off over here in the UK when Ricardo Franassovici started up Absolute Sounds as importers/distributers? We'd heard about a lot of the US "High End" but it suddenly started being reviewed in Hi-Fi News, and being sold by specialists usually outside the Linn-Naim cabal/cartel. IIRC this was around 1983-4.Oh there were, it's just that they came from the US mostly. I remember the Threshold Stasis amps around 1980 which drove 'briks to high power levels, the DC300A having gone back to pro use by this time. What about the Ampzilla, Dunlap Clarke and early Brystons - we had all of those before our gaze became more attuned to Salisbury (the bolt-up NAP250 was very sweet toned and nothing like the aggressive and harder toned CB cased version - all measurable I believe as the distortions weren't that low in level compared to today).
My GAWD we were brainwashed and sold aspirational expensive stereo's based around a then, highly flawed vinyl source which warmed up and balanced out the speaker-screamers we liked with that source. Someone I knew called these systems 'domesticated PA systems' and in the 80's he was right (digital sounded horrid with these systems I remember - and it wasn't the CD players!).
Krell introduced the KSA50 and 100 to the UK and although these weren't right either, they started a trend which Linn finished when they introduced their amp system, which was as flawed as a Naim but in the opposite direction (band limited again but safer tone which was far better on strings for example)