Barry's system

[Jimbo]

I do have a pair of ML-2 monoblock power amplifiers, but being pure Class A they run hot, so not good in the summer.

They have now been retired and replaced with a pair of Quad 510 amplifiers, which sound just as good to my ears and are physically smaller. I also have a pair of Quad 405-2 amplifiers which have been 'monoblocked', upgraded to Keith Snook level 3, modified for a balanced input and with improved power supplies and speaker protection circuits.

I used to run 405-2 amps after finding them being used at the BBC Pebble Mill studies back in the 80s. I thought if they are good enough for the BBC they would be good enough for me!

[Macca]

I do have a pair of ML-2 monoblock power amplifiers, but being pure Class A they run hot, so not good in the summer.

They have now been retired and replaced with a pair of Quad 510 amplifiers, which sound just as good to my ears and are physically smaller. I also have a pair of Quad 405-2 amplifiers which have been 'monoblocked', upgraded to Keith Snook level 3, modified for a balanced input and with improved power supplies and speaker protection circuits.

I remember you brought an ML pre and those 405 monoblocs to the MiBO meet. They were obviously better than whatever amplification had been in the system previously but it was only you and I who thought so.

[Barry]

I think it might have been the ML26 preamp I brought along, but whatever it was, we used Firebottle's Quad electrostatic speakers; same as what I use at home.

[Wakefield Turntables]

I never did get on with the 405-2 despite really really trying (and being a quad fan).

[Ali Tait]

Nice system Barry, high quality kit there.

[Lawrence001]

It's a simple matter of history. The ML10A preamp was the first I bought and which I now use just as a phono stage . The second one shown was bought as I like to use balanced-line (XLR) connections; my mono power amplifiers are positioned directly behind each speaker and connected by balanced line interconnects (running under the floor) back the preamp. My CDP has balanced outputs as does my DAC, so that is another reason for the second preamp.

To complicate matters further, I have a third Levinson preamp which also has balanced-line connections, but not as many as the ML 28 shown.

Does the No.28 not have a phono stage then Barry? Do you use the balanced converter on the unbalanced output from the ML10A?

[Barry]

Does the No.28 not have a phono stage then Barry? Do you use the balanced converter on the unbalanced output from the ML10A?

Yes and yes, though the the "pickup" input on the No. 28 is unbalanced. The Levinson No.25 'stand alone' phono stage is unbalanced.
The only important set of interconnects, that I want to be balanced, are the long cables between the preamp output to the input of the power amplifiers near the speakers

[Gazjam]

Fantastic gear there Barry,
always slavered over Mark Levinson gear, never actually heard any though!

Jimmy Hughes back in the Hifi News days was a big fan, and that made me a fan too.
Loved the look of it, still do.

Terrific Industrial Design

[Gazjam]

Always liked that older Mark Levinson kit.

I would have to get a rack or something, having it all piled like that I couldn't handle.

I’m the same Martin.

Aside the visuals, may improve the audio as well?

[Barry]

For over 10 years I have been happily using the following setup:

until about a week ago when I found when playing CDs on the Levinson CDP through the No.28 preamplifier via balanced line cables, there was a disturbing and unsettling fault. A bit difficult to describe, the sound level would randomly and erratically 'jump up and down'. This problem would occur on either channel and on both balanced-line inputs. Sometimes the problem would disappear after about half an hour of so, but not always. It made listening to CDs impossible, to the point where I was forced to connect up the CDP via unbalanced cables to the preamplifier, where everything was OK. There was another problem - the input selector knob had become loose and I could not tighten the grub screw, making changing inputs difficult.

Clearly the preamplifier need attention, so I phoned up the two people who had done work for me on Levinson electronics: Levinson gear is NOT as reliable as the manufacturer would like to admit. Sadly neither are now taking on work with Levinson gear since the company was taken over by Madrigal, and later by Harman; the latter being particularly uninterested in early Levinson amplifiers. Even so I telephoned Harman UK to enquire where to go for repairs. Apparently Harman are now only interested in personal, lifestyle audio: headphones etc., however after explaining the situation to someone with obviously poor English, it seemed that my enquiry should be passed on to JBL Luxury Products (?), who could advise.

A day later I received a message from JBL who had been notified by Harman. Annoyingly, not only had the woman at Harman not only got my name wrong, but had not passed on the fault description accurately, so an enquiry number had to be raised (why?) and I had to almost explain in words of one syllable exactly what the problem was. Again, a day later, I got an obviously automatic message, saying that it would seem that my preamplifier needed attention (!), but that replacement parts may not be now available. However they gave me the e-mail addresses of three audio companies in the UK who might be able to help.

So in the interim I have swapped in a Levinson No.26 preamplifier, something which surprisingly only took about 15 minutes despite having to almost dismantle the stack of equipment and deal with a jumble of cables:

It is now happily playing on all inputs, and to my ears is sounding just as good as the previous arrangement did. So I am now wondering whether to get the No.28 repaired, despite it being a more sophisticated design but having fewer facilities.

Hey ho!