Can your main speakers handle full range up to this amp’s power level? If so, just roll the sub in to augment the low bass. If not, you need a more sophisticated amp. Look at Parasound.

Least worst solution. What seating? Hardly room for more than one swivel chair….

NAD Hybrid Digital amps, whether Hypex nCore, uCD, or Purifi, all use PWM power supplies that are highly efficient, unlike conventional supplies, and all their power ratings are conservative. It’s a big point for them. The era of soft clipping and +3dB headroom was the 80s, long before Class D was in vogue.

My current recommendation for affordable quality turntables are the Audio Technica ATLP5x and TEAC TN3B. Both have built in phono preamps. As others have pointed out, the Klipsch 7 is a mistake. If you must have Klipsch get passive RP600Mll.

Disclosure: I am not a EE. But as I have understood it, current capacity is aligned with an amp’s ability to to drive a speaker’s reactance throughout its impedance variations, which follow no simple Ohm’s Law calculation. In audible terms it means more powerful and controlled bass from your woofer. But I’ve heard amps with huge current ratings sound pretty poor in other respects. Krell was the first company to tout current doubling as the holy grail. But McIntosh always used their autoformers to trumpet “Full power to any load”. NAD now tells us “load invariance” is a virtue, and give their Hybrid Digital amps the same rating at all impedances….and are widely considered outstanding. The takeaway for me is don’t get hung up on these numbers. The FTC preconditioning requirement made it much tougher to give high 4 ohm ratings and caused a lot of over engineered over priced products to be marketed. You wouldn’t want an amp with less current than needed to drive your speakers, but having way more than enough doesn’t buy you anything.

For a small system, should be fine. Don’t overdo the volume! Remember, small speakers with small woofers are less efficient at converting amplifier power to sound, so 13W will only go so far. Trio is the name used by the same maker as Kenwood in some markets.

Not DIN, but a Japanese industry norm…17” give or take. Something to do with their conveyer belts, I heard somewhere…

May the (electromotive) Force be with you!

I’ll say! Very sweet. Love the Thorens w/ SME 3009…is that a Signet TK7? I’ve never seen the cassette deck…looks a lot like a Pioneer CTF9191…I don’t think Sansui marketed their decks in the US, at least not that I recall, and I worked at a Sansui dealer in the 70s.

If you can audition and compare them, then you can base your choice on your own judgement. I will say I used to sell Polk Monitor 7s in the mid 80s, and those appear to be replacement tweeters…Polk replacements, but not the ones originally used, which had black fabric domes with a small hole at the apex. The Celestion model is not one I’ve seen before, but looks as though it might be a lower end series sold through retail chain stores, and therefore not the best of Celestion quality. The Dyna A35 is a bona fide classic, made in Denmark by SEAS, and loved by all. I would choose those.

I sold these when they were current. One big caveat with using the EQ in conjunction with a Yamaha is that they have no “tape monitor” loop in a conventional sense, instead they have a Rec Out selector. This model also lacks a “processor loop” on the back panel. So to get the EQ in the signal path, assuming you patch it in to Tape 1 in/out, you set the input selector on Tape 1…and leave it there! Actual selection of source must be done with the Rec Out selector. This will confound most newbies and seems counterintuitive but trust me…it’s the way it is! The Equalizer has a tape loop, but that won’t change what I said. My belief is the EQ came from a rack system whose amp was more conventional, and was added to this amp and tuner. The ethos of this amp is more puristic…you don’t need no stinkin’ equalizers! Disc and Source/Direct switch says it all. My advice…unload the EQ if you can, or use it with another system without the Yamaha’s quirks.

API made many competent, even great, speakers. They knew all the tricks and had a long run with the Mirage and Energy brands. Mirage specialized in Bipolar radiators and Omni-sats and Energy in front firing and monitors. All veterans of the Floyd Toole/ NRC mill, like PSB and Paradigm.

That is a quality set up. Perfectly scaled to the room too. Kudos!

What a useless waste of internet. All this focus on weirdness…really? There are dozens of hybrid speaker designs with mismatched driver types….ribbons, air motion transformers, planar magnetic, and electrostats. And they sound pretty good, too, but could have been better. OK.

Used to sell those, and was happy to! Glad yours is still in use. The LED meters were low key, unlike successor models M60, M80, etc.

Get the Genelecs!

Yes. That’s a deal and a half.

I worked at an ESS dealer in 1973-5 and we had AMT-1s, Towers, and AMT-3 “Rock Monitors” on display, as well as Tempests and other lesser models. I never heard of these AMT-6 Professionals. When were they made? I believe you that they are awesome!

I recently got a Pro (not +) to go up a notch from the Mini, now in a secondary system. I had been using Mini with a Topping E30 ll, but the Pro line out sounds better to me than the Topping….maybe it’s the MQA decoding….has anyone done a Pro v Pro+ shootout?

I am professionally acquainted with the 948 and while I like it, I don’t consider it a strong value for the retail price. Their newer Vestia line seems very nearly as good, for quite a bit less. The Revel Performa3 F208 is very competitive as well.