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I did notice it could be ran at a impedance loads of 0.25 and 0.5 in the manual. It made me just sit there for a second.

I couldn't get a simple design to like 4 Ohm resistive with +35V

Edit: I was trying to get it to over a 2V RMS input voltage to work with my sound card.

Edited by Krakin

Krakin's Home Dipole Project


Krakin, are you some sort of mad scientist?

I would have replied earlier, but I was measuring the output of my amp with a yardstick . . .

What you hear is not the air pressure variation in itself

but what has drawn your attention

in the two streams of superimposed air pressure variations at your eardrums

An acoustic event has dimensions of Time, Tone, Loudness and Space

Everyone learns to render the 3-dimensional localization of sound based on the individual shape of their ears,

thus no formula can achieve a definite effect for every listener.

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  • 4 months later...

Update . . .

I picked up this amp in June. I figured you guys would enjoy checking it out. This was the last amplifier McIntosh produced in the BIG industrial chassis (same exact chassis as the MC2300 in my original post). McIntosh only built these amplifiers from 1990-1995 and they didn't build very many. Many of these were sold to discos and night clubs as they were so incredibly powerful and the Power Guard circuitry really limited the amount of damaged woofers and speaker drivers. McIntosh did also make a version of the MC2600 for the US Navy to modulate sonar and it had output autoformers with taps specific to that application. LIke the MC2300 (and the later MC2500), the MC2600 was designed to make any level of power, up to its rated output, with both channels driven for an indefinite period of time. All of these amplifiers have dual 5" cooling fans on the rear panel and a LOT of heat sinking to allow for this.

This amplifier appeared on the front cover of the Feb. 1992 issue of Audio Magazine and I've wanted one ever since. They tested the amplifier at over 850 wpc and measured over 2kw per channel on 20 mS tonebursts. In order to achieve that with both channels driven, the amplifier requires a dedicated 30A 120V outlet. McIntosh rated the amp conservatively at 600 wpc but stated it was capable of 2,000 wpc on tone bursts and over 100A per channel. Think about that for a second . . .


I looked for one for nearly 15 years before finding this one. These are incredibly difficult to find as most who own them simply will not part with them. After playing with the amp for a while, it's become the main amplifier in my multi-channel / home theater system. [Yeah, if you look closely, I'm somewhat consumed with McIntosh gear . . . the MC225 in the background is a 25 wpc tube amplifier from the 1960s that I recently had totally overhauled by one Steven Mantz (yes, that Steven Mantz - he's also a McIntosh nut).]

Here's a pic of the entire setup after I did some MAJOR cleaning up.


The mains are Altec Lansing 9846-8A Studio Control Room Monitors and are driven by the MC2600. They are a two way design with a 15" woofer and a 24" wide aluminum sectoral horn. The crossover frequency is 500Hz. These speakers were most commonly used in studios to monitor recording sessions and master albums. They are also incredibly difficult to find but I've had this pair since 1992.

The MC2600 / Altecs is the most satisfying combination of audio equipment these ears have yet heard.

Tony Candela - SMD Sales & Marketing
Email me at [email protected] to learn about becoming an SMD Partner!


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