McIntosh MAC7200 stereo receiver Measurements

Sidebar 3: Measurements

I tested the McIntosh MAC7200 with my Audio Precision SYS2722 system (see the January 2008 "As We See It"). I looked first at its behavior via its balanced and single-ended line inputs, mostly with the volume control set to its maximum, "100%," then at lower settings. I performed a complete set of tests from the receiver's 8 ohm output transformer tap, then repeated several tests from the 4 ohm and 2 ohm taps. I preconditioned the receiver by following the CEA's recommendation of operating it at one-eighth the specified power into 8 ohms for 30 minutes. At the end of that time, the heatsinks were very hot, at 151.8°F (66.6°C). After letting the MAC7200 cool down, I continued the testing.

For the balanced input, the maximum gain at the loudspeaker outputs into 8 ohms was 38.25dB from the 8 ohm tap, 34.7dB from the 4 ohm tap, and 32.2dB from the 2 ohm tap. The maximum gains from the unbalanced inputs were all 6dB higher. With the jumpers that connect the preamplifier outputs to the power amplifier inputs removed, the gains from the input labeled "PWR AMP" measured 20.2dB at the 8 ohm tap, 16.7dB at the 4 ohm tap, and 14.2dB at the 2 ohm tap. From the unbalanced line input at the preamplifier and headphone outputs, the maximum gain measured 15.4dB and 19.6dB, respectively. The MAC7200 preserved absolute polarity (ie, was noninverting) at all of its outputs.

The MAC7200's unbalanced line input impedance was 21.5k ohms at 20Hz and 1kHz, dropping to 19k ohms at 20kHz. The balanced input impedance was 33k ohms across the audioband. The power amplifier input impedance was 10k ohms from 20Hz to 20kHz. The preamplifier output impedance was a low 220 ohms at 1kHz and 20kHz, increasing to 403 ohms at 20Hz; the headphone output impedance was 48 ohms at all audio frequencies. The McIntosh's headphone output will work best with high-impedance headphones.

The amplifier's output impedance at the 8 ohm tap was 0.16–0.19 ohms depending on frequency. The 4 ohm tap's output impedance was 0.114 ohms, that of the 2 ohm tap 0.12 ohms, both from 20Hz to 20kHz. All these measurements include the series impedance of the loudspeaker cable. The modulation of the amplifier's frequency response, due to the Ohm's law interaction between this source impedance and the impedance of our standard simulated loudspeaker, was very small, even from the 8 ohm tap (fig.1, gray trace). The small-signal bandwidth with the volume control set to its maximum was flat up to 20kHz from all three output transformer taps and was down by 3dB at 90kHz. Channel matching was excellent and maintained at lower settings of the volume control. The receiver's reproduction of a 10kHz squarewave from all three taps (fig.2) was free from overshoot and ringing.


Fig.1 McIntosh MAC7200, 8 ohm tap, frequency response at 2.83V into: simulated loudspeaker load (gray), 8 ohms (left channel blue, right red), 4 ohms (left cyan, right magenta), 2 ohms (green) (1dB/vertical div.).


Fig.2 McIntosh MAC7200, 8 ohm tap, small-signal 10kHz squarewave into 8 ohms.

Fig.3 shows the effects of the treble and bass controls, set to their +12 and –12 positions compared with the response with the controls bypassed. While the maximum boost or cut at low frequencies was ±12dB, it reached ±15dB at high frequencies. Channel separation via the line inputs (not shown) was okay, at just below 70dB in both directions. The level of the McIntosh's noise floor depended on the volume control setting. With the control set to its maximum, a small number of low-level supply-related spuriae can be seen just above the random noise floor (fig.4). The wideband, unweighted S/N ratio, taken with the unbalanced inputs shorted to ground and the volume control set to its maximum, was 69.3dB, average of both channels, ref. 2.83V output from all three output taps into 8 ohms. Restricting the measurement bandwidth to the audioband increased the S/N ratio to 78.0dB, while switching an A-weighting filter into circuit improved it further to 80.6dB.


Fig.3 McIntosh MAC7200, 8 ohm tap, frequency response at 2.83V into 8 ohms with treble and bass controls set to their maximum and minimum and switched out of circuit (left channel blue, right red, 5dB/vertical div.).


Fig.4 McIntosh MAC7200, 8 ohm tap, spectrum of 1kHz sinewave, DC–1kHz, at 1W into 8 ohms with volume control set to "100%" (left channel blue, right red, linear frequency scale).

Figs.5, 6, and 7 plot the percentage of THD+noise in the MAC7200's speaker output from the 8 ohm tap into 8 ohms, the 4 ohm tap into 4 ohms, and the 2 ohm tap into 2 ohms. In each graph, the THD+N continues to drop as the power decreases below actual waveform clipping, due to the distortion lying beneath the noise floor and the fixed level of noise becoming an increasing percentage of the signal level. The receiver's maximum power is specified as being at least 200W from each of the output-transformer taps. Using our definition of clipping, which is when the output's percentage of THD+noise reaches 1%, the 8 ohm tap clipped at 255W into 8 ohms (24dBW) with both channels driven, the 4 ohm tap at 235W into 4 ohms (20.7dBW) with both channels driven, and the 2 ohm tap at 283W into 2 ohms (18.5dBW) with one channel driven. More power was available when the load impedance was lower than the nominal tap impedance. For example, with its 8 ohm tap driving 4 ohms, the McIntosh clipped at 340W into 4 ohms (22.3dBW, fig.8).


Fig.5 McIntosh MAC7200, 8 ohm tap, distortion (%) vs 1kHz continuous output power into 8 ohms.


Fig.6 McIntosh MAC7200, 4 ohm tap, distortion (%) vs 1kHz continuous output power into 4 ohms.


Fig.7 McIntosh MAC7200, 2 ohm tap, distortion (%) vs 1kHz continuous output power into 2 ohms.


Fig.8 McIntosh MAC7200, 8 ohm tap, distortion (%) vs 1kHz continuous output power into 4 ohms.

I measured how the MAC7200's distortion changed with frequency at 20V output, which is equivalent to 50W into 8 ohms and 100W into 4 ohms. The THD+N percentage was very low into both loads (fig.9) and didn't increase at the top of the audioband. As suspected from the clipping graphs, the measurement was being dominated by random noise, which can also be seen in the waveform of the THD+N spuriae (fig.10). A hint of second harmonic can be just made out in this graph, which was confirmed by spectral analysis (fig.11). Intermodulation distortion was also vanishingly low (fig.12).


Fig.9 McIntosh MAC7200, 8 ohm tap, THD+N (%) vs frequency at 20V into 8 ohms (left blue, right red) and 4 ohms (left cyan, right magenta).


Fig.10 McIntosh MAC7200, 8 ohm tap, 1kHz waveform at 100W into 8 ohms, 0.0043% THD+N (top); distortion and noise waveform with fundamental notched out (bottom, not to scale).


Fig.11 McIntosh MAC7200, 8 ohm tap, spectrum of 50Hz sinewave, DC–1kHz, at 100W into 8 ohms (left channel blue, right red, linear frequency scale).


Fig.12 McIntosh MAC7200, 8 ohm tap, HF intermodulation spectrum, DC–30kHz, 19+20kHz at 100W peak into 8 ohms (linear frequency scale).

I primarily tested the McIntosh's phono input from the preamplifier output with the jumpers to the power amplifier inputs removed. The moving magnet and moving coil modes both preserved absolute polarity at all outputs in all modes. The MM input impedance was an appropriate 45k ohms at 20Hz and 1kHz, dropping to 39.6k ohms at 20kHz. The MC mode's input impedance had been set to 200 ohms; I measured 200.7 ohms from 20Hz to 20kHz. With the volume control set to its maximum, the MM mode offered 55.7dB of gain at the preamplifier output and 84.8dB at the 8 ohm loudspeaker output. The MC mode offered 20dB higher gain.

The MAC7200's RIAA correction offered very low error (fig.13) and was well-matched between the channels. Channel separation via the phono input was good, at 70dB in both directions at all audio frequencies. The phono input's noise performance in MM mode was excellent, with unweighted audioband signal/noise ratios (ref. 1kHz at 5mV input signal) of 79.2dB (average of both channels). The ratios improved to 84.6dB when A-weighted. The higher gain in the MC mode reduced the S/N ratio; the unweighted wideband ratio ref. 1kHz at 500ÊV was 66.1dB and 83dB, A-weighted.


Fig.13 McIntosh MAC7200, phono input, MM mode, response with RIAA correction (left channel blue, right red, 0.5dB/vertical div.)

The MAC7200's phono input offered excellent overload margins, at >22.5dB ref. 1kHz at 5mV in MM mode and >20dB ref. 1kHz at 500µV in MC mode. The phono input's distortion was very low, primarily consisting of the second harmonic, but this lay at just –100dB (0.001%, fig.14). Intermodulation distortion via the MAC7200's phono input was also extremely low.


Fig.14 McIntosh MAC7200, phono input, MM mode, spectrum of 1kHz sinewave, DC–10kHz, at 10mV input (left channel blue, right red; linear frequency scale).

The McIntosh MAC7200's optical and coaxial S/PDIF digital inputs locked to data sampled up to 192kHz. Apple's USB Prober utility, running on my battery-powered MacBook Pro, identified the McIntosh as "McIntosh HD USB Audio\000..." from "McIntosh\000... ." The USB port operated in the optimal isochronous asynchronous mode, and Apple's AudioMIDI utility revealed that via USB the MAC7200 accepted 16-, 24-, and 32-bit integer data sampled at all rates from 32kHz to 384kHz.

With the volume control set to its maximum, a 1kHz digital signal at –20dBFS resulted in a level at the 8 ohm loudspeaker outputs of 34.64V into 8 ohms, which is equivalent to 150W into 8 ohms. As is often the case with integrated amplifiers with DACs, the MAC7200's digital inputs have too much gain. The –20dBFS digital signal resulted in a level of 1.252V at the preamplifier output and 2V at the headphone output. To avoid damaging the McIntosh's power amplifier stage with high-level digital signals, I performed all the measurements of the digital inputs' performance at the preamplifier output. As this output clips with full-scale digital signals with the volume control set to its maximum, I examined the behavior of the digital inputs with the volume control at 76%, a few dB below the setting at which the distortion started to rise. The preamplifier output level at this volume control setting was 3.15V.

The McIntosh's USB and S/PDIF inputs preserved absolute polarity. The impulse response with 44.1kHz data (fig.15) indicates that the reconstruction filter is a conventional linear-phase type, with time-symmetrical ringing on either side of the single sample at 0dBFS. With 44.1kHz-sampled white noise (fig.16, red and magenta traces), the MAC7200's response rolled off sharply above 20kHz, reaching full stop-band suppression just above half the sample rate (vertical green line). An aliased image at 25kHz of a full-scale tone at 19.1kHz (blue and cyan traces) is suppressed by more than 110dB, and though the distortion harmonics of the 19.1kHz tone can be seen, these are all very low in level. The second harmonic is the highest in level, at –90dB (0.003%). The MAC7200's digital-input frequency response was flat in the audioband and follows the same basic shape, but with a slight peak just before the sharp rolloff at half of each sample rate (fig.17).


Fig.15 McIntosh MAC7200, digital inputs, impulse response (one sample at 0dBFS, 44.1kHz sampling, 4ms time window).


Fig.16 McIntosh MAC7200, digital input, wideband spectrum of white noise at –4dBFS (left channel red, right magenta) and 19.1kHz tone at 0dBFS (left blue, right cyan), with data sampled at 44.1kHz (20dB/vertical div.).


Fig.17 McIntosh MAC7200, digital inputs, frequency response at –12dBFS into 100k ohms with data sampled at: 44.1kHz (left channel green, right gray), 96kHz (left channel cyan, right magenta), 192kHz (left blue, right red) (1dB/vertical div.).

Channel separation via the digital inputs was a very good 90dB below 1kHz. When I increased the bit depth from 16 to 24 with a dithered 1kHz tone at –90dBFS (fig.18), the noise floor components dropped by around 18dB, which implies that the MAC7200 offers around 19 bits' worth of resolution. With undithered data representing a tone at exactly –90.31dBFS (not shown), the three DC voltage levels described by the data were well resolved. With undithered 24-bit data (also not shown), the result was a fairly clean sinewave.


Fig.18 McIntosh MAC7200, digital inputs, spectrum with noise and spuriae of dithered 1kHz tone at –90dBFS with: 16-bit data (left channel cyan, right magenta), 24-bit data (left blue, right red) (20dB/vertical div.).

Intermodulation distortion via the McIntosh amplifier's digital inputs was very low, but there was an odd scalloping of the noise floor either side of the twin tones at 19kHz and 20kHz (fig.19; this can also be seen in fig.16). This modulation of the noise floor was also evident when I tested the MAC7200 for its rejection of word-clock jitter via its S/PDIF and USB inputs, obscuring the odd-order harmonics of the 16-bit J-Test signal's LSB-level, low-frequency squarewave (fig.20).


Fig.19 McIntosh MAC7200, digital inputs, HF intermodulation spectrum, DC–30kHz, 19+20kHz at 0dBFS peak(linear frequency scale).


Fig.20 McIntosh MAC7200, digital input, high-resolution jitter spectrum of analog output signal, 11.025kHz at –6dBFS, sampled at 44.1kHz with LSB toggled at 229Hz: 16-bit Toslink data (left channel blue, right red). Center frequency of trace, 11.025kHz; frequency range, ±3.5kHz.

Overall, the McIntosh MAC7200 performed very well on the test bench via its line inputs, exceeding its specified power and offering extremely low distortion. It also includes an excellent phono input that offers low noise and low distortion in both MM and MC modes. However, while the digital inputs offer excellent resolution, I was bothered by the modulation of the noise floor with high-level, high-frequency tones (footnote 1).—John Atkinson

Footnote 1: This scalloping of the noise floor is probably not audible as such, However, it is always suspicious when a product's transfer function is modified by the signal.
McIntosh Laboratories, Inc.
2 Chambers Street
Binghamton, NY 13903
(607) 723-3512

volvic's picture

As someone who uses a Tandberg receiver to listen to classical stations when I visit my parents in Montreal and a Linn Kremlin for my FM sessions here in NYC, it is nice to see companies still investing in FM. Also nice to see a receiver with enough inputs for those of us who have more than two components to plug in.

JRT's picture

Antenna Specialties APS-13 enjoyed a good reputation, but they went out of business a long time ago. I don't think Channel Master or Winegard still offer anything in a good high gain directional outdoor antenna optimized for FM.

What is available commercially? Anything pro-grade, broadcast monitor reference grade?

Are there any credible good DIY designs available?

A brief article covering the subject, including a nontrivial market survey would be an interesting read.

CG's picture

Maybe a little on the techie side, but that's the nature of it all. Brian *REALLY* knows his stuff.

EDIT: I should have read some of the replies below before hitting "Save". Somebody already mentioned this website. Sorry for the duplication. I'll do better in the new year. (Just not post - that's my resolution.)

Timbo in Oz's picture

A rhombic wire antenna on the ceiling pointed at the desired station.

See FM Tuners site. IIRC

IF the station's transmitter is close by, a T antenna pointed at it may suffice. You may need a map to figure out the bearing.

Or mount the T antenna on a narrow strip of wood on a round base and add a kitchen / dining table turntable under it.

Still surprises me that so many folks don't GET that antennas matter way more than the tuner.

Timbo down under as in OZ not Okey!!!

volvic's picture

Good question, I am using an old rabbit ears antenna and would love to put an aerial, albeit a small one on my 11th floor balcony, so I can better catch WKCR.

jimtavegia's picture

Find a good VHF TV antenna as the FM band is between channels 6 and 7. Most of these will work well depending upon your distance from the transmitting site.

If you are close to a metro area don't forget about the Magnum Dynalab ST-2 omni outdoor antenna. They make some of the best FM tuners on the market.

Also check out I am still using one of their smaller directional FM only older models.

This new Mac receiver is an amazing all in one product. Given what separates cost these days it might even be a bargain.

volvic's picture

I think this is the best option, especially for those who live in NYC Co-op buildings that need something inconspicuous from property manager’s prying eyes.

JRT's picture

Magnum Dynalab ST-2 is omni-directional, so may help improve reception of weak signal, but is not going to help with multipath interference. If mutlipath interference is the problem, then a directional antenna may help.

Ortofan's picture

... residential-grade FM antenna with relatively decent performance seems to be the four-element Stellar Labs 30-2460, sold by Newark/Farnell/Avnet/MCM for $30.

If you want to order from the UK, a higher-performance option, at a significantly higher price, would be the Innov 88-DES-11.

A professional-grade, broadcast monitor quality antenna would be the Kathrein-Scala CL-FMRX. Last time I checked the price, it was over $1K - maybe not an unreasonable sum if you're already spending $7.5K for a receiver.

Best resource I've found for FM antenna info is the K6STI site:
It includes modeled performance evaluations for many antennas, some suggested mods and a few DIY projects.

JRT's picture

Footnote 1 mentions past reviews of the Day Sequerra Reference Monitor FM tuner. I would like to see a review and test of the current model Day Sequerra M4.2Si AM/FM tuner. I like that it includes AES3 (AES/EBU) digital audio output.

AM-FM Broadcast Receiver

AM: 520 kHz to 1720 kHz (User-selected 9 kHz or
10 kHz increments)
FM: 87.9 MHz to 108.1 MHz (User-selected 100 kHz or
200 kHz increments)

AM: < 20 dBf (-100 dBm) for SNR -20 dB referenced to 30% modulation
FM: < 15 dBf (-100 dBm) for SNR -30 dB referenced to 100% modulation

F-Type 75-ohm connectors
AM-FM: -55 dBm Nominal; -20 dBm Maximum

AM: > 100 dB for SNR -20 dB
FM: > 100 dB for SNR -30 dB

> 65 dB

> 70 dB

> 35 dB

AM: ±1 dB, 40 Hz to 15 kHz
FM: ±1 dB, 20 Hz to 20 kHz

50 µSEC or 75 µSEC (User-selected)

Left/Right Balanced XLR connectors
+4 dBm into 600 ohm at 100% modulation

AES-3 Professional, 110-ohm transformer-isolated on
XLR connector
0 dBFS <0.005% THD+N using HD Radio™ input

<4.5 seconds

MPS Left (on R output) and HD-1 Left (on L output) on
Analog, Digital and Headphone audio outputs

5-rear panel tallies, front panel indications and email for loss of Audio, Carrier, OFDM HD Radio Lock, Multicast Available and

PI [Call Letters], PS [Program Service], PTY [Program Type], and
RT [Radio Text]

SIG, SIS, Extended SIS, AAAS, and LOT; PAD including station long and short name, program type, song file, artist, album, genre and comment fields.

All tuners are RDS/RBDS capable

Auto-sensing 85-264 VAC, 47-63 Hz input

Operating Temperature: +41 to +105° F (+5 to +40° C)
Storage Temperature: -13 to +140° F (-25 to +60° C)
Relative Humidity: Maximum 85%, non-condensing

1RU EMI-hardened; 19” (482 mm) W x 14” (3.5M) D x 1.75” (44) H

12 lbs. [5.4 kg]

Three years, limited parts and labor

Unbalanced analog and digital audio outputs on RCA connectors installed in place of standard XLR connectors; order model "M4.2S-RCA"

contact information:
7209 Browning Road
Pennsauken, NJ 08109, USA
Phone: 1.856.719.9900

Heinz R.'s picture

I think good FM tuners are fantastic. But, unfortunately, it is at least in my area in Germany so that FM nowadays sends in very miserable quality cheaply converted analog signals that come in the studio anyway already digitally from the hard drive. I still have a Quad FM3 tuner and an Audiolab 8000T, both of which are far too good for what FM transmits these days. In the case of the beautiful MAC 7200, that would be like throwing pearls before swine re its FM section.
The only chance for a good FM tuner would be if there were a new scene of FM lovers who would broadcast analog vinyl or tapes.
When I pass the French border by car I can listen to such analog stations for some time, it transforms the sound of my car radio. We don't know anymore what we have lost.
I made the comparison, my local classical station WDR3 sounds 1000 times better as internet stream even via iPhone than via FM because the stream is the unaltered digital signal…like decades earlier the analogue signal was the true unaltered one.

AaronGarrett's picture

The Grimm Mu 1 streamer has an FM Tuner which is promised to be enabled in a future software update. Having FM tuner functionality in a streamer sees like a good idea. Can't comment on the quality of the tuner since it isn't enabled yet.

jimtavegia's picture

For the $83K for my pre thanksgiving surgery I could have bought 10 of those and had 9 new friends for life. Just sayin. Glad I had the surgery, though. YMMV.

DavidEdwinAston's picture

Forgive me, nothing technical to add. Although I am perfectly content with my Quad solid state amplification, I want this product, or to be fair, any McIntosh product!!! Surely, that facia appearance must be ingrained into the subconscious of anyone who has heard music on a radio and then grown up attempting to hear it played, as well as possible, in their own homes?
Anyway, thank you for this wonderful online resource, and Happy New Year to you all.

avanti1960's picture

would be mainly interested in the amplifier section of this receiver, thank you for (briefly) capturing its essence.

jimtavegia's picture

$2K less. Would love that as well.

Ortofan's picture

... a US dealer for the MA7200 integrated amp?
According to the McIntosh website, the MA7200 is not available in the US (or Canada).

jimtavegia's picture

$5500.00 Another bargain I would think for those in high end land.

Ortofan's picture

... the MAC7200.
The MA5300 does not have the output-coupling autoformers.
For about the same price as the MAC7200, there is the autoformer-coupled MA8900 integrated amp.

jimtavegia's picture

I still love it and I would still want the receiver, all in one, and have everything I could ever want and more. By right buy once.

jimtavegia's picture

$5500. Seems like another great buy.

DavidEdwinAston's picture

£6750, to purchase this side of the pond!

a.wayne's picture

Why Mac wont invest in Heat Sinks is beyond me , at these prices it should seem possible ..


Ortofan's picture

... amplifier preconditioning procedure from running an amp at one-third power for one hour to running it at one-eighth power for one-half hour?

John Atkinson's picture
Ortofan wrote:
Why has there been a change made in the amplifier preconditioning procedure from running an amp at one-third power for one hour to running it at one-eighth power for one-half hour?

When Stereophile started measuring amplifiers in the late 1980s, we preconditioned the amplifiers being tested by running them at one-third power into 8 ohms for 60 minutes. With an amplifier with a class-AB output stage, this maximally stresses the output devices, and was the preconditioning originally recommended in 1967 by the IHF (Institute of High Fidelity) and adopted by the FTC.

Many manufacturers argued that this was too demanding and not typical of normal use, so the CEA introduced a different preconditioning: running the amplifier at one-eighth power into 8 ohms for 30 minutes. As current-day designers probably use the more-recent CEA test rather than the IHF test when specifying heatsinks, etc, we recently decided to use both: applying the CEA test, then, if the amplifier didn't overheat, continuing with the older IHF test.

With this McIntosh receiver, it only just passed the CEA test. Continuing with the IHF test would probably have broken it, aborting the measurements.

John Atkinson
Technical Editor, Stereophile

Ortofan's picture

... incorporates built-in thermal protection circuits to guard against overheating.
It might have been useful to determine if those circuits performed as intended.
For those amplifiers that do pass the CEA preconditioning procedure, if you are concerned that the more stressful IHF/FTC preconditioning procedure might cause a given unit to fail, perhaps you could perform that test after all of the other measurements have been completed.

DavidEdwinAston's picture

and here is me, thinking that a McIntosh product would have the durability, and longevity of granite!
Should you deign ever to test the Quad monoblocks that I use (no longer marketed Platinum.) I wonder how they would fare using the old test?

JRT's picture

Your comment about the product having the durability and longevity of granite seems inappropriate for something with only a non-transferrable 3 year warranty on parts and labor (per the specifications page of this review).

DavidEdwinAston's picture

Excellent point JRT. Perhaps, the hifi electronics with the longest (transferrable?) warranty should always be the go to choice! Hmm, a bit of googling is called for!

JRT's picture

One way to ameliorate some of the risk would be to distribute system functionality across separate devices rather than having so much of the functionality bundled into one disposable receiver. The separates can be separately replaced, so that less is lost when something fails out of warranty and it is discovered that the repair is either impracticable due to some future scarcity of obsolete items needed for the repair, or impractical due to cost and bother of the repair being excessively expensive relative to the cost of replacement or substitution. There is nothing at all new in this consideration, rather is one of the old arguments in favor of separates.

DavidEdwinAston's picture

I did have a brief look round. Chord Electronics apparently give a five year warranty on their "full size" electronics. McIntosh may well be above average with their warranty. You know doubt realised I was attempting humour with my granite comment. I would swap my Quads for McIntosh monoblocks in a shot although I likely don't have the shelving space or strength for them!

Ortofan's picture

... provided by Bryston.

DavidEdwinAston's picture

Wow!'s picture

Hi, my outlaw tuner has HD FM and USA made. That's why I brought it.

rl1856's picture

The MA7200 *is* available to US buyers, and is priced slightly less than the MAC7200. I mention this because FM station choice is problematic for most in the US. Big city or large metro area usually has a few good stations, and a 1 box solution has merit. For suburban and non big city use, a FM radio option may be a waste of funds. In fact the variety of choice, and potential quality from some stations makes internet radio streaming a very viable option. The sound quality of a high bit rate stream rivals or exceeds what is generally offered by FM stations in the US. MA7200 may be the sweet spot for a MAC 1 box solution.

dsmalle's picture

In my country the radio stations are moving from FM to DAB+. It's even become an obligation for new cars to have a DAB+ radio. So I'm surprised when a new receiver from McIntosh with digital inputs doesn't sport this option. It's surely capable for this.

Trevor_Bartram's picture

The Stellar Labs 30-2460 FM antenna has all the right ingredients (folded dipole, two directors, one reflector) and the price is right at $30 but does not appear to be available (using Google Shopping). Does anyone have another affordable suggestion?
P.S. this Stellar Labs antenna is large and intended for outdoor applications.

Charles E Flynn's picture

aRui's picture

"My other speakers, Revel Ultima Salon2's, were rated by the manufacturer at 3.7 ohms at 90Hz. JA measured its impedance to lie between 3 and 5 ohms, so I selected the 2 ohm tap."
Why 2ohm tap on the Revel Salon 2? Why not 4ohm tap?

John Atkinson's picture
aRui wrote:
"My other speakers, Revel Ultima Salon2's, were rated by the manufacturer at 3.7 ohms at 90Hz. JA measured its impedance to lie between 3 and 5 ohms, so I selected the 2 ohm tap." Why 2ohm tap on the Revel Salon 2? Why not 4ohm tap?

In general, the electrical phase angle reduces a loudspeaker's effective impedance, making it more difficult to drive than the manufacturer's specification suggests. The tradeoff with using the McIntosh's 2 ohm output transformer tap would be reduced maximum power but as the measurements show, this was not an issue.

John Atkinson
Technical Editor, Stereophile