I’ve seen several decades of recommendations for "giant-killer" disk players (Radio Shack’s CD-3400 and the Sony PlayStation), phono cartridges (Grado ZTE+1) and reel decks (Sony TC-155).
These days, Audio-Technica’s AT-LP60 turntable, Dayton Audio speakers and the small, Lepai class-D integrated amps get the nod: they all list for under $100 and get great reviews (although I find the A-T ‘table is far too flimsy; the extra money for a U-Turn Orbit or A-T’s own AT-LP120USB is well spent).
I’ve only listed new gear, of course… no one wants a used Sony PlayStation or TC-155 anymore. But there are great buys to be found with a used NAD 3020B integrated amp or Dynaco PAS-3X.
I’m purposely mentioning the Dynaco because for many years, I had Dynaco-based gear in my second system. First, it was a Dynaco PAS-3X preamp and Stereo 120 power amp with a Heathkit AJ-12 tuner. The preamp was tubed, the rest was solid state, and I bought the whole mess for $10 at a garage sale on the same day I got up the courage to ask out the cute waitress at Bob’s Big Boy. The tuner turned out to have major drift issues and was unimpressive; same goes for the waitress. The Dynaco gear sounded okay, but no better than the Harman/Kardon HK670 receiver I owned at the time (bought used with a Rotel RP-2400 turntable at another garage sale for $40). The Stereo 120 also liked to cut out a lot (also like the waitress), so I traded it towards a McIntosh 752, and sold the PAS-3X. A few years later, I got another PAS-3X, a Stereo 70 and an FM-3; all tubed. I liked the sound but, again, it wasn’t a world of difference from what I had then: a Marantz 1070 integrated (used as a preamp) and McIntosh 752 combo. I also was nervous about the occasional pops and hisses from the power amp (a common occurrence as tubes die, apparently). For those interested in the FM-3, by the way, it needed a new rectifier tube (which haven’t been made for decades), so I never got around to firing that up.
At one point, I used the Dynaco preamp with the McIntosh: apparently, vintage gear works best when a tube preamp mates with a solid-state power amp. However, the scratchy connections on the Dynaco bothered me and I gave up. (As someone who mostly bought used, I was always concerned that a given piece of equipment was about to have a major malfunction.)
I avoided tubes for about 10 years (buying new, solid-state gear) until the Nobsound integrated amp started getting some buzz online. The early reviews complained of either poor quality control (no longer an issue, it seems) or the tubes being used solely for visual effect (not true).
I plugged it into my system and was startled by how much more body and life the sound had. The tube “warmth” everyone talks about was finally apparent to my ears. Vinyl (pretty much my only source) sounded much more alive and lifelike. It’s the kind of thing that vinyl-haters claim doesn’t exist, and that it’s psychosomatic. Whatever the reason it sounds and feels better, it does.
The system includes a Garrard 401 with SME 3009 arm and Stanton 681mkIII-S cartridge into a Technics SU-C01 preamp and McIntosh MC2505 power amp, feeding a pair of JBL 4410’s. The Nobsound was used in place of the McIntosh, fed by the Technics preamp’s tape outputs (in effect, using the Technics as a phono preamp).
My first extended listening was on side one of “The Notorious Byrd Brothers,” during which I heard instrumental parts which I had previously never heard (xylophones and percussion mostly). Switching to the recent mono reissue of The Rolling Stones’ “Aftermath” (UK edition), I was struck by how sinewy the bass sounded on “Under My Thumb.” It felt like it was 1,000 feet tall!
After a bit, I put on Charles Earland's "Living Black": the brass attacked with bite on "Killer Joe" and I could hear the room noise much better than before (this is a live album, but you wouldn't know it since much of the crowd is mixed out of recording). For some reason, I also decided to put on a few 45s, including "Loser" by Beck and "Le Freak" by Chic, both of which had far more bass and presence than before. None of these pressings have significant inner-groove distortion, which usually turns to hash on solid state gear.
I should mention at this point that the Technics preamp (like most preamps I’ve used) has a loudness button, something which I find vitally important given the quirks of my system and source material. The Nobsound has no such button, but offers such a wide range in the bass and treble controls that I didn’t need any other compensation. I’ve never understood audiophiles who eschew tone controls; the assertion is that only perfectly recorded source material is worth listening to. (Usually, I find the opposite to be true).
My only criticism of the Nobsound is the lack of a mono button or balance control. For under $200, this first leap into tube territory may be all you need until you can afford to be one of those audiophiles who no longer looks for bargains.
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