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Gold/Mining/Energy : Gold and Silver Juniors, Mid-tiers and Producers -- Ignore unavailable to you. Want to Upgrade?

To: ralfph who wrote (12171)	5/27/2006 4:05:38 PM
From: Broken_Clock	Read Replies (1) \| Respond to of 78415

I encountered the same problem. Unable to by a basic amp/tuner anywhere on the island.

To: ralfph who wrote (12171)	5/27/2006 4:39:21 PM
From: loantech	Read Replies (1) \| Respond to of 78415

mcintoshlabs.com mcintoshlabs.com mcintoshlabs.com

To: ralfph who wrote (12171)	5/27/2006 6:41:16 PM
From: FreedomForAll	Respond to of 78415

OT: You could do what a lot of others do, buy used classic or near classic gear on ebay. I bought 2 Carver TFM-22 amps that pump out the tunes at 225w/ch (for 8 ohm, 350w/ch for 4 ohm) for 4 speakers or can be bridged to 350w/ch (8 ohm) to drive 2 speakers. These are 1991 vintage and good quality... not junk from China that characterized Carver products a couple years later. The TFM line has a more tube like sound than most solid state amps; they were designed to sound like Carver's Silver Seven tube amps. It also has no fans and does not generate much heat due to its design. (The downside is getting repairs ... Bob Carver recently sold Sunfire, the successor company to Carver, and the buyers no longer support repairs on legacy Carver gear.) The TFM22's usually sell for about $250. Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines took him up on the challenge. First, The Audio Critic chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). In 1985, Stereophile magazine challenged Bob to copy a Conrad-Johnson Premier Five (the make and model was not named in the challenge but revealed later) amplifier at their offices in New Mexico within 48 hours. The Conrad Johnson amplifier was one of the most highly regarded amplifiers of its day, costing in excess of $12,000. Of note that in both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Bob, using null difference testing, successfully copied the sound of the target amplifier and won the challenge. The Stereophile employees failed to pass a single-blind test with their own equipment, and in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism by those who failed to understand the true nature of the challenge — that it was possible to duplicate an audio amplifier's sound in two completely dissimilar designs. In light of this criticism, Bob Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600-$1500).