Up for sale is the Granite Audio 770R Preamplifier(remote controlled) which also has an excellent MM phono section. This is a world class preamp, functions perfectly and is in very good cosmetic condition. A good read about this wonderful preamp is Mike Malters' review at Positive Feedback. I am pearing down my system, just sold my Aleph 2 monoblocks and now selling the 770R. Linestage has 3 12AX7 tubes and the phono stage has 3 12AX7 tubes. The power supply is tube rectified. The unit has 1 MM input and 5 linestage inputs with tape input. There is also a high output
jack and a low output jack. A balance volume pot in the back is controlled by the remote. The preamp cost was $4500.00 and is now going for $6500.00.
For feedback my Ebay name is cinemaboy1
In the last pic the 7 tubes in the background came with the purchase of the 770R. Additionally included are 6 JAN Philips NOS 12AX7's and 1 JAN that have very low hours. Also included are 3 NOS Mazda 12AX7s and 3 NOS GE 5751 tubes for tube rolling. Two types of tube dampers are included. The unit is in very good condition except for some light scratches on the top and two sides that are very hard to see. Granite front plate is perfect. The "Granite Audio" logo bulbs run very hot and were disconnected according to Granite Audio directions. The bulbs are very easy to reconnect which involves soldering one simple solder joint. I recommend not using the lights. The unit was tested last April(2016) by Granite Audio and was fine. Unit will be double boxed for safe shipping and shipped by FedEx. A discussion forum of the 770 Preamp is at: https://forum.audiogon.com/discussions/granite-audio-770-tube-pre-amp-its-phono-sec. The full review of the 770 is at: http://www.positive-feedback.com/Issue6/graniteaudio.htm. Some comments of the Postive Feedback Review are as follows: This is the finest tube preamp with tube phono section in the world today. Check out these glowing compliments from Mike Malter's review
in Positive Feedback Magazine, 2003 , Issue #6. Mike uses our Model #470 silver interconnects in his reference system, which also includes the #770 preamp because he bought the one he reviewed. Quote #1 "The Granite Audio Preamp delivers the magic of music.
Listening with this preamp is one of those hair raising on the back of my
neck while I'm tapping my toes kind of experiences. A vinyl recording of Orphee Aus Enfers is playing as I write this, and I am tapping my toes to the beat, laughing with joy at what I am hearing. I feel at one with the emotion of the music." Mike
Malter. Quote #2 "With a piece of gear this outstanding, I was intrigued by what went into it to make it sound so good. What I mean by so good is that this preamp by my way of thinking is so incredibly musical. It is also extremely quiet, a virtue for its built-in phono stage as well as in general for allowing fine and subtle detail to emerge. Furthermore it handles very complex musical passages such that fine instrumental detail is apparent while at the same time maintaining the broader musical picture. Its tonality to my ear, or shall I say tastes, are correct. I tried to find weaknesses to write about. And I am embarrassed to say I couldn't find any, at least from a musical perspective." Mike
Malter. Quote #3 "After break-in, I had the best time listening to music that I
have ever had. I would like to share some of the highlights of my experience, to reveal both the strengths and weaknesses of the preamp and, in the case of vinyl, its phono stage. For my vinyl references, I first chose Also Sprach Zarathustra, performed by the Chicago Symphony Orchestra and George Solti. This is a very complex piece with enormous range, and because of this, much can get lost in reproduction. That was not the case here. It seems that the more complex a piece of music, the more the Granite Audio phono stage likes it. The opening buzz representing the nothingness of the Universe was clear, not at all mushy. When God spoke, even during the crescendo of the Grand Voice, each instrument sounded separate and clear. This rendition has a lot of bass, and it was always tight, never mushy or bloated, and never emphasized at the expense of higher-pitched instruments or the gestalt of the piece. I never heard any kind of congestion. The sound was natural, open, and spacious, never harsh or glary. Next up, Kind of Blue. What's not to like? I heard sound that was wide and spacious, with small details very easy to hear. The bass was clean and tight, the highs crystal clear. The music was liquid and smooth, with a strong, solid presence." Mike Malter.
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