Mark Levinson No.331

 

Potente High End No. 331 Endstufe von Mark Levinson in gutem Zustand mit leichten Gebrauchsspuren.

Technisch in einwandfreiem Zustand.

0,00 €

  • 50 kg
  • leider ausverkauft

 

Weiterführende Informationen:

 

The '331's build quality is superb, better than I've seen in almost all other audio products. If weight, shielding, and size of heatsinks mean anything, then the No.331 should run much longer and more reliably than the No.27, which already has seen five years of steady, unbroken service in my listening room.

Sound: neutrality & transparency 

Driving the Quad ESL-63s, the No.331 had stiff competition—my well-broken-in No.27 from the same manufacturer. I'd grown accustomed to this amplifier's treble detailing, which brought out the upper range of my Quad ESL-63s. With the No.27 connected to the Quad '63s and the KSA-250 driving the Bag End subwoofers, the overall effect was a natural, sweet, somewhat shallow, but detailed soundstage.

 

Within a minute after hooking up the new Levinson amplifier to the Quads, any doubts I may have had about how the '331 would fare were put to rest. These initial impressions did not change after hours of listening. The No.331 added new ingredients: greater transparency, greater depth of soundstage, and total neutrality. This made it hard to describe, because the amplifier's sonics were not silvery like the No.27's, nor dark like those of the original Levinson ML-2 or the first No.20s I auditioned in my listening room. Nor did it have the warm midrange of the No.27.5. Determining its character would take much more listening.

 

Driving either the Quads or Snells, the No.331 produced a wide and deep soundstage, easily the equal of the Krell KSA-250 which used to produce the best soundstage depth in my listening room.. This could be clearly heard on the opening of "Hotel California" on the Eagles' live Hell Freezes Over album (Geffen GEFD-24725). The placement in space of the audience sounds, the acoustic guitars, and the conga drums were all well-defined, giving the impression of a very wide, deep soundstage. The openness and naturalness of the lead vocalist's voice and the great dynamic reserves of the '331, all served to sweep me into the music. Again and again I found myself becoming involved in music that sounded three-dimensional, vibrant, and clear.

 

I was able to hear a distinct layering of the harp, clarinet, organ, and male and female choirs on Rutter's "The Lord is My Light and My Salvation," the second cut on Reference Recordings' Requiem. The No.331's ability to produce a well-defined soundstage was evident on the LP from the original soundtrack of the motion picture Glory (Virgin 90531-1). The choir spread from wall to wall in the opening cut, "A Call to Arms."

 

With the No.331 driving the Snell Reference Towers, the midrange was balanced, neutral, and grainless, with none of the forwardness JA had described in his review of the Levinson No.23.5 (Vol.14 No.9). The new Mark Levinson was as smooth in rendering orchestral textures as my well-broken-in No.27. Like the 27, the No.331 delivered a richness of orchestral timbre, especially on woodwinds, that was missing from the Krell KSA-250's presentation.

 

The No.27 rendered a silvery, sweet quality to cymbals and hi-hats at the finish of Richard Thompson's "Why Must I Plead" (Rumor and Sigh, Capitol CDP 95713 2). The new No.331 played the same selection with more transparency and neutrality. It added clarity and realism to pop vocals, allowing me to hear more of the timbre and harmonics in David Bowie's voice on the Cat People soundtrack (MCA 1498), and Willie Nelson's voice singing "Getting Over You" on his Across the Borderline (Columbia CK 52752) than I had heard before. I particularly enjoyed comparing changes in Don Henley's voice, which was lighter and clearer on the original Hotel California LP (Asylum 7E-1084) than heard on the live CD performance recorded 14 years later, where his voice is rougher, more resonant, and narrower in range.

 

The No.331 was run in gain-matched comparisons with the Mark Levinson No.27 and Krell KSA-250 amplifiers. The treble response of the Levinson '331 was free of the colorations heard with the other amplifiers. Compared to the KSA-250 and the No.27, the 331 delivered a more neutral, distant-but-layered version of orchestral textures, and recreated the sense of the hall heard during the brass finale of Janácek's Sinfonietta: Finale (Reference RR-65CD, José Serebrier, Czech State Philharmonic). There was no glare or harshness to the trumpets during the peaks, and no congestion or hardness during these orchestral climaxes. Listening to Bruce Yeh's Ebony Concerto (Reference RR-55CD) with the No.331, I was more aware of small treble-range details, such as snares in the drum heads, just behind the clarinet.

 

The No.331's high-end treble openness remained intact at higher volumes and in my larger listening room, when driving either the Quad panels or the Snell Reference Towers. The acoustic space around the instruments was clearly heard after climaxes, when the sound of cymbals and bells died away during the HDCD-encoded band arrangement of the Chorus Line overture on the Beachcomber album.

 

To examine the new amplifier's bass response, I used it to drive the massive Snell SUB S-1800 18" bass-reflex subwoofers. The older No.27 amplifier, because its gain exactly matched the new amplifier, drove the Snell Type A Reference towers. For comparison purposes, the same musical selections were played with the (gain-matched) Krell KSA-250 driving the subwoofers.

 

The No.331 proved to be a formidable bass amplifier. The No.331 sustained the deep thunder of the HDCD-encoded Lay Family Concert Organ and shook the room while playing the John Rutter Anthem "The Lord is My Light and My Salvation" (Joel Martinson, organist; Reference RR-57CD). Besides bass level, the '331 controlled the huge Snell woofer cones well.

 

These qualities added greatly to the drama in the rewritten opening of the Eagles' "Hotel California" on Hell Freezes Over. A thunderous kick drum, overlaid with conga drums and then some kind of pitched low-bass instrument playing a tonic-dominant line, announces the first appearance of the song's melody: these drums erupted with great power with the No.331-driven subwoofers. The No.331 was able to deliver the most stunning impact from the explosive synthesizer opening of Terry Dorsey's "Ascent" on Time Warp (Erich Kunzel, Cincinnati Pops, Telarc CD-80106) when compared to the No.27, a sign that the new amplifier had generous amounts of bass "slam." It equaled the Krell KSA-250 in capturing the startling, shot-like plucked notes of Abe Laborial's bass, and Randy Edelman's synthesizer during "Something's Wrong," from the soundtrack to My Cousin Vinny (Var;gese Sarabande VSD-5364), with more solidity, weight, and authority than heard with the No.27. The No.331 captured the burning pace generated by the tom-tom strokes and subterranean synthesizer chords on David Bowie's "Putting Out the Fire" cut from Cat People.

 

The No.331's quickness was also coupled with definition, as heard during comparison with the No.27. Clearly discernible pitch changes in deep bass notes were heard best from the No.331 re-creating Terry Bozzio's drums and Tony Hymas's keyboards on "Behind the Veil" on Jeff Beck's Guitar Shop (Epic EK 44313). The 331 amplifier had excellent bass-range response on sustained deep notes; this was heard clearly on both the Quad/Bag End and the Snell Reference system. But just as important, the amplifier was incredibly dynamic, bringing out the energy and pace in popular music and jazz when driving two very different loudspeaker systems.

 

The No.331, working as either a midrange-treble or a bass amplifier, was a real tonic for my two very-different speaker systems. The Quad ESL-63s, in particular, really came alive when driven by the new Levinson amplifier. This amplifier's excellent dynamic range and ability to clarify orchestral textures in the upper midrange and treble overcame the Quad's inherent dryness and reticence in this area. The Eagles' "Hotel California," plus the band arrangement of the Chorus Line overture on the HDCD-encoded Beachcomber album (Frederick Fennell, Dallas Wind Symphony, Reference RR-62CD) were totally involving on both loudspeaker systems. I found myself playing these two selections over and over. The thrill, the dynamics, and the electricity were there each time.

 

Conclusions 

This review of the Mark Levinson No.331 suggests that a superb 100Wpc stereo amplifier can be developed through careful refinements introduced over three product generations. The original No.27 had a sweet, smooth midrange and treble, but lacked bass slam. The No.27.5 added low-frequency extension and dynamic range, but had a more forward midrange, less woofer control, and a shallower soundstage, I felt. The No.331 retains all the assets of the earlier amplifiers, but with a less aggressive midrange, deeper apparent soundstage, and much better woofer control.

 

But the advances are more than evolutionary. The Mark Levinson No.331 has a neutral, grainless midrange that allows it to develop the soundstaging and depth that I found lacking in the No.27.5. As a result, the No.331 is the best-sounding Mark Levinson dual-monaural amplifier I've heard. Its ability to breathe life into loudspeakers in the form of extended, neutral midrange and highs is very good news for Quad ESL-63 lovers. Never have my Quads sounded better. This mix works well for dynamic loudspeaker systems as well, as shown by the No.331's ability to function superbly as either a subwoofer amplifier or as a midrange/tweeter amplifier in the full-range, bi-amplified Snell Type A Reference System.

 

The No.331's build quality is up to the highest standard found in high-end products today. This amplifier's sonics, superb parts quality, overkill power supply, reduced price compared with its predecessor, and five-year warranty offer its owner lots of value for the money, and bring a Class A recommendation from me. The Mark Levinson No.331 should be auditioned by anyone in the market for a topflight, solid-state, 100Wpc stereo amplifier.

Mark Levinson No. 39 CD Player / DA Wandler

 

Referenz CD-Player mit separat nutzbarer DA-Wandler Sektion durch zwei Digitale Eingänge.

Der Mark Levinson No. 39 wurde komplett überholt befindet sich in einem top gepflegten Zustand!

Die originale, schwere Metallfernbedienung gehört zum Lieferumfang.

Bei vielen Fachleuten immer noch eine Referenz.

2.390,00 €

  • leider ausverkauft

Mark Levinson No. 38S

 

Sehr gut erhaltener Vorverstärker von Mark Levinson in der originalen No. 38S Version. ( kein Update ). Kleinere Gebrauchsspuren vorhanden, technisch einwandfreier Zustand. Metallfernbedienung, Bedienungsanleitung und Originalverpackung gehören zum Lieferumfang. Sun Audio Gerät.

2.690,00 €

  • leider ausverkauft

Mark Levinson No. 332

 

Potenter audiophiler Endverstärker der Extraklasse in technisch wie auch optisch einwandfreiem Zustand. Der No. 332 bringt stolze 65kg auf die Waage und leistet ultrastabile 400W/4Ohm.  In der Regel untertreibt Mark Levinson mit seinen Leistungsangaben, daher liegen wir sicherlich bei 500W/4Ohm. 

SN NR 1641

3.590,00 €

  • leider ausverkauft

Mark Levinson No. 532 SOLD SOLD SOLD

 

Mächtige Endstufe des amerikanischen Traditionshersteller Mark Levinson. Dieser schwere Brocken versorgt so ziemlich jeden Lautsprecher  mit ausreichend Leistung. Sehr schöner optischer Zustand, technisch einwandfrei. Bilder mit besserer Auflösung folgen.

NP 26.000€

 

Dieses Gerät wird im Kundenauftrag verkauft.

 

9.245,00 €

  • leider ausverkauft

Mark Levinson No. 29

 

In diesem makellosem Erhaltungszustand ist diese Endstufe sicherlich recht selten anzutreffen. Die No.29 kommt klanglich einer Röhre recht nahe und spielt daher sehr musikalisch, Analytik ist Ihr fremd. Optisch wie auch technisch in einwandfreiem Zustand.

Die passende No. 28 Vorstufe haben wir ebenfalls auf Lager.

0,00 €

  • leider ausverkauft

 

Technische Daten:

 

Solid-state stereo power amplifier. Power output: 50Wpc into 8 ohms (17dBW), 100Wpc into 4 ohms (17dBW), 175Wpc into 2 ohms (16.4dBW). May be bridged (for monoblock operation) into loads down to 2 ohms. Rated THD: under 0.3% at rated power, 20Hz–20kHz. Input Impedance: 50k ohms shunted by 1.5nF. Voltage gain: 26dB. Power dissipation: 100W (idle).

Dimensions: 17.5" W by 6.9" H by 14.6" D. Weight (shipping): 60lbs.

 

 


Mark Levinson No. 23.5

 

Für viele Mark Levinson Fans eine der audiophilsten Endstufen dieses amerikanischen Herstellers. Der optische Erhaltungszustand ist außerordentlich gut, technisch funktioniert das edle Stück einwandfrei.

0,00 €

  • leider ausverkauft

Mark Levinson No. 39

 

Mit einem Neupreis von 15.000,-DM damaliges Referenzgerät  der einschlägigen Fachzeitschriften. Sammlerzustand, ohne bemerkenswerte optische oder technische Mängel. Originalverpackung, Metallfernbedienung und Unterlagen vorhanden.

Auf Wunsch kann gegen Aufpreis noch ein original Ersatzlaser erworben werden.

0,00 €

  • leider ausverkauft

Krell KAV-2250

 

Technische Daten:  

Stereoendstufe mit 250 Watt an 8 Ohm Frequenzgang :  20 Hz bis 20 kHz,+ odB-0,09dB 0.25Hz bis 170 kHz + 0 dB Signal/Rauschabstand ” A ” Bewertet : kleiner 112 dB Harmonische Verzerrungen : ( THD ): 1 kHz größer 0,003% 20 kHz größer 0,20 % Verstärkungsfaktor : 25,7 dB Eingangsimpedanz : 100 kOhm Eingangsempfindlichkeit : 2,32 Vrms Ausgangsspannung : Peak to Peak 127 V  RMS 45 V Ausgangsleistung pro Kanal : 8 Ohm -250 Watt/ 4 Ohm-500 Watt Gebrückt : 8 Ohm-1000W Stromverbrauch : Standby 35 W Leerlauf 80 W Max 2000 W Eingänge : 2 Single-ended via RCA ( Cinch ) Stecker,2 symmetrische via XLR Stecker Ausgänge : 2 Lautsprecherausgänge via Fünf-Wege Anschlussterminal Fernsteuerung : 12 VDV Out ( 12 V Trigger ) via  3,5mm Stecker,12 VDC in  ( 12 V Trigger ) via 3,5mm Stecker Abmessungen: 43,8b x 14,3 h x 43,4t cm Gewicht : Verpackt 33.5 Kg . Nur Gerät : 29,0 Kg

0,00 €

  • leider ausverkauft

Krell KST-100 Endstufe

 

Angeboten wird eine Krell KST-100 in gutem Zustand.
Optisch gepflegt und technisch überholt!

Audio schrieb: 'Unbeindruckt von der zu treibenden Last spielte das Schwergewicht mit einer begeisternden Mühelosigkeit, zeigte sich aber auch äußerst liebevoll und behutsam ... und fetzte bei brachialen Einsätzen Kraftvoll los.' 'Alroundtalent'
85 P. hat damit die damalige Accuphase P500 geschlagen.

Die KST 100 kling sehr ausgewogen. Sie zeichnet sich durch sehr seidige Höhen (fast röhrenähnlich) und ein enormes Bassfundament aus.

Class A bis 50 % Automatic Bias

Die Endstufe ist extrem laststabil. 100 W an 8 Ohm / 200 an 4 Ohm /
800 an 1 Ohm

0,00 €

  • leider ausverkauft

Mark Levinson No. 27

 

Potente Endstufe von Mark Levinson im Topzustand. Kommt mit so ziemlich jedem Lautsprecher zurecht und ist auch von der klanglichen Abstimmung flexibel einsetzbar.

0,00 €

  • leider ausverkauft

Mark Levinson No. 28 + PLS-228

 

Nahezu makelloser No. 28, überdies erhielt dieser erst kürzlich eine komplette Revision über 1100,-€. 

0,00 €

  • 1 kg
  • leider ausverkauft

Mark Levinson ML 23.5

 

Für viele Mark Levinson Fans eine der audiophilsten Endstufen dieses amerikanischen Herstellers. Der optische Erhaltungszustand ist außerordentlich gut, technisch funktioniert das edle Stück einwandfrei.

Die originale ML 23.5 Verpackung ist auch noch vorhanden.

 

240V Gerät

 

Technische Daten:

Solid-state stereo power amplifier. Rated power output: 200Wpc continuous into 8 ohms (23dBW) with less than 0.1% THD, 400Wpc continuous into 4 ohms (23dBW) with less than 0.2% THD, both from 20Hz–20kHz, both channels driven. Damping factor: greater than 600 at 50Hz, 8 ohms (equivalent to an output impedance of 0.013 ohms). Frequency response: 4Hz–140kHz, —dB. Input impedance: 50k ohms shunted by 1.5nF. Voltage gain: 26dB (load not defined). Input sensitivity: 141mV for 1W output. Dimensions: 19" (483mm) W by 8.25" (210mm) H by 15.7" (399mm) D. Shipping weight: 105 lbs (48kg).

 

0,00 €

  • leider ausverkauft

Mark Levinson ML-27

 

Angeboten wird eine Mark Levinson ML-27 Endstufe.
Optisch in gepflegtem Zustand. Die originale Verpackung
ist vorhanden.

 

0,00 €

  • leider ausverkauft

Mark Levinson ML-27.5


Stream composition Dual monophonic stream composition

Output power 350W+350W (2ohm) 

200W+200W (4ohm) 

100W+100W (8ohm) 

700W (at the time of 4 ohms and bridge connection) 

400W (at the time of 8 ohms and bridge connection)

Frequency characteristic 4Hz - -140kHz three dB

SN ratio 106dB

Input impedance 50kohm

Power source AC100V, 50Hz/60Hz

Power consumption 175W (at the time of an idling) 

400W (at the time of 8 ohms and an Output power)

Dimensions Width 483x height 175x depth of 450mm

Weight 31.5kg

0,00 €

  • leider ausverkauft

Mark Levinson No. 30.5 + PLS-330

 

Nach wie vor einer der besten Wandler überhaupt!

 

Weitere Informationen unter:

http://www.stereophile.com/content/mark-levinson-no305-reference-digital-processor

0,00 €

  • leider ausverkauft

Mark Levinson ML-11 Ovp

incl. Unterlagen und Garantiezertifikat

Angeboten wird eine noch "echte" Mark Levinson ML-11 Endstufe in hervorragendem Zustand, technisch wie auch optisch.

Sammlerzustand!

0,00 €

  • leider ausverkauft

Mark Levinson Fisher Symo LS4X

Mark Levinson Fisher Symo LS4X Lautssprecherkabel.

Original Mark Levinson ML-2 Mono Endstufen Zubehör.

Die Fisher Plugs sind nicht mehr im Handel erhältlich!!

Mark Levinson Fisher Symo LS4X Lautssprecherkabel.

0,00 €

  • leider ausverkauft


Mark Levinson ML-2

 

Zum Verkauf steht ein Pärchen der legendären Mark Levinson ML-2 Endstufen.
In diesem technisch wie auch optisch hervorragendem Zustand so gut wie nicht mehr zu bekommen.
Die ML-2 war eine der letzten "echten" Mark Levinson Produkte und wurde noch vor der Übernahme durch Madrigal und später der "Harman Specialty Group" produziert.
Die Mono Endstufen wurden vor ca. 8 Jahren bei einem autorisierten ML Fachbetrieb überarbeitet und klingen traumhaft. Klanglich in puncto Musikalität nicht mit den neueren ML Produkten zu vergleichen!

Optisch bestehen nur minimale kleine Makel, welche in Anbetracht des fortgeschrittenen Alters nicht der Rede wert sind. In diesem Zustand quasi nicht mehr zu bekommen und eine echte Wertanlage!
Was diese Endstufen in der heutigen Zeit kosten würden, muss an dieser Stelle, glaube ich, nicht näher erläutert werden.
Der Satz: "The Spirit of Mark Levinson" findet hier seinen Ursprung.

 

Mark Levinson ML-2

0,00 €

  • leider ausverkauft