McIntosh

Blue meters, glass panels, and the warmest power in audio

History

McIntosh Laboratory was founded in Silver Spring, Maryland in 1949 by Frank McIntosh and Gordon Gow. Frank McIntosh, an electrical engineer, was frustrated by the distortion and limited power of amplifiers available at the time. He set out to build an amplifier that could deliver clean, undistorted sound even at high volumes.

The company's first product was the 50W-1 amplifier (1949), which used a unique "Unity Coupled Circuit" output transformer design that McIntosh patented. This design allowed the amplifier to deliver its rated power across the entire audio spectrum while maintaining low distortion.

The 1950s saw McIntosh establish itself as a premier manufacturer of professional and consumer audio equipment. The MC30 (30W) and MC60 (60W) tube amplifiers became legends in their own time. McIntosh also introduced the first commercially produced stereo preamplifier, the C24.

The 1960s brought the iconic MC275 tube amplifier (1961), considered by many the greatest tube amplifier ever made. The company also introduced the distinctive blue meter and glass front panel that would become McIntosh trademarks.

The 1970s saw McIntosh transition to solid-state while maintaining its tube legacy. The MC2105 and MC2300 solid-state amplifiers delivered massive power with the signature McIntosh sound. The company also expanded into speakers and tuners.

Today, McIntosh remains a symbol of American high-end audio, still manufacturing in Binghamton, New York. The company continues to produce tube and solid-state amplifiers, preamplifiers, and speakers with the same commitment to quality that Frank McIntosh established over 70 years ago.

Key Facts

Legendary Products

McIntosh MC275 (1961-Present)

The most iconic tube amplifier in history. The MC275 delivers 75 watts per channel (stereo) or 150 watts (mono) from KT88 output tubes. First produced in 1961, it has been reissued multiple times and remains in production today—a testament to its timeless design.

McIntosh MC2300 (1970s)

A massive solid-state amplifier delivering 300 watts per channel. The MC2300 became famous as the amplifier powering the Grateful Dead's "Wall of Sound"—one of the most ambitious concert sound systems ever built.

McIntosh C22 Preamplifier (1960s-1970s)

The companion to the MC275 and other McIntosh amplifiers. The C22 offered multiple inputs, bass and treble controls, and the legendary McIntosh build quality. It has been reissued as the C22 Mk V.

McIntosh MC30 / MC60 (1950s)

Monoblock tube amplifiers delivering 30 and 60 watts respectively. These amplifiers established McIntosh's reputation for quality and are still highly sought after by collectors.

Sound Signature

McIntosh has a house sound that's been refined over seven decades, and it's immediately recognizable: effortless, authoritative, and musically generous. The Unity Coupled Circuit output transformers that Frank McIntosh patented give tube models like the MC275 a full-bandwidth richness that's rare in the tube world — deep, controlled bass alongside liquid midrange and extended highs. There's no strain here, even at concert-level volumes. The MC275 driving a pair of efficient speakers is one of audio's great experiences: music simply pours out with a naturalness and scale that solid-state amplifiers spend enormous sums trying to emulate.

The solid-state McIntosh amplifiers have their own magic. The MC2105 and MC2300 deliver massive current reserves that make speakers feel effortless — there's a sense of unlimited headroom where dynamic peaks are reproduced with the ease and impact of a live performance. McIntosh's autoformer technology ensures consistent power delivery regardless of speaker impedance, which means these amplifiers make virtually any speaker sound its best. The overall character leans warm and full rather than analytical, but there's enough detail and transparency to satisfy serious listeners. This is gear that makes you want to stay up late listening to one more album.

Collecting McIntosh

McIntosh is the blue-chip investment of the vintage audio world — values have appreciated consistently for decades, and show no signs of slowing. The MC275 is the crown jewel: original 1960s examples command $5,000-10,000, while the various reissues (Mark II through Mark VI) offer the same essential sound at somewhat lower prices. The MC30 and MC60 monoblocks are equally revered, typically $1,500-3,000 each, and a matched pair driving vintage speakers is one of the great vintage audio setups. The C22 preamp is the natural companion to any McIntosh power amp, fetching $2,000-5,000 for original versions.

The MC2300 — famously used in the Grateful Dead's Wall of Sound — has both sonic and cultural cachet, typically trading at $2,500-5,000. When buying any vintage McIntosh, two things are paramount: the glass front panel must be intact (replacements exist but originals are strongly preferred), and the blue meters should illuminate evenly and track accurately. Tube units should have matched, tested output tubes — a set of quality KT88s for an MC275 costs $200-400 and is essential maintenance. McIntosh's build quality means that properly maintained examples will outlast their owners, and the company's continued existence in Binghamton, New York means factory service is still available for vintage units. This is one of the few audio brands where buying vintage isn't just a hobby — it's a genuinely sound investment.

Competitors & Comparisons

McIntosh vs Fisher: Both American luxury; McIntosh more prestigious

McIntosh vs Audio Research: Both tube specialists; different approaches

McIntosh vs Conrad-Johnson: Similar market; McIntosh more established

Amplifiers

• MA-5100 (1966–1972) — McIntosh MA-5100 (1966–1972), McIntosh's first fully solid-state integrated amp. 45 WPC into 8 ohms, glass faceplate, warm house sound, thin documentation.
• MA-6200 — McIntosh MA-6200 integrated amplifier. Little documented; known from a single 1981 classified ad listing at $1,000. An obscure model from McIntosh's integrated amp lineup.
• MA2275 — McIntosh MA2275 (2006) integrated amplifier — 120W/ch KT88 tube design with autoformers, drawing on MC275 heritage.
• MA6100 (1972–1979) — McIntosh MA6100 (1972–1979) — 70W/ch solid-state integrated amp, dual phono inputs, no autoformer. The gateway McIntosh of the 1970s.
• MA6300 — McIntosh MA6300 integrated amplifier — 100W into 8 ohms, 160W into 4, phono stage, Blue Eyes meters. McIntosh's affordable entry point.
• MA6900 — McIntosh MA6900 (2001–2012) — flagship 200W/ch solid-state integrated amp with 5-band EQ, autoformers, and MM phono. Specs and MA6900G limited edition.
• MA6900G — McIntosh MA6900G Limited Gold Edition integrated amplifier, 200W/ch, limited to 150 units for McIntosh Japan's establishment, autographed by Charles Lindor.
• MA9000 Integrated Amplifier (Unknown) — The McIntosh MA9000 Integrated Amplifier is a vintage amplifier known for its quality construction and performance. Covers production years.
• MAC1900 (1972–1975) — McIntosh MAC1900 (1972–1975) — the last MAC-badged receiver, 55W into 4/8Ω, gold-anodized faceplate, and a tuner section that made it a collector's target.
• MC1201 — McIntosh MC1201 monaural power amplifier, 1,200W into 2/4/8 ohms, fully balanced with autoformer output, circa 2001.
• MC122 — McIntosh MC122 solid-state power amplifier, 120W/channel. Little else documented; owner reports praise reliability.
• MC162 — The McIntosh MC162 is a 2-channel power amplifier rated at 160 watts per channel into a 4-ohm load. Contemporary coverage in Audio (October 1999, p.70)
• MC207 — McIntosh MC207 seven-channel home theater amplifier (2004–2019), 200W x 7 into 4 or 8 ohms, DPM and Power Guard. Used prices $3,850–$5,999.
• MC252 — McIntosh MC252 stereo power amp — 250W into 2/4/8 ohms, 500W mono to 1 ohm, 0.005% THD/IMD. Factory specs, no confirmed production years.
• MC3500 MKII — McIntosh MC3500 MKII monoblock tube amplifier (2021–), 350W reissue of the Woodstock-era 1968 original. EL509S tubes, Unity Coupled Circuit.
• MC402 — McIntosh MC402 stereo power amplifier (2002) — 400W per channel into 2/4/8 ohms via hand-wound autoformers, quad-differential balanced design, 47.6kg chassis.
• MC501 (2003–2012) — McIntosh MC501 monoblock power amplifier (2003–2012): 500W into 2/4/8 ohms via Autoformers, quad-balanced solid-state design, 91.5 lbs.
• MC602 — McIntosh MC602 stereo power amplifier, ~2000. 600W per channel into 2/4/8 ohms, fully balanced, autoformer output. ¥1,200,000 in Japan. Little period documentation survives.
• MCP1 — McIntosh MCP1: a rare solid-state monoblock amp with transformer-less capacitive-drop supply, floating ground, and 2x70VA output. Little else documented.
• MX110 (1962) — McIntosh MX110 (1962) — tube tuner-preamplifier with FM multiplex stereo, 12AX7/12AU7 tubes, and the signature blue meter. Collector favorite.
• MX114 (1998) — McIntosh MX114 solid-state FM tuner-preamplifier — 2.5µV IHF sensitivity, 2mV phono input, 2.5V main out, full factory parts list and alignment data.

Cd Players

• MCD1000 (2003–2010) — McIntosh MCD1000 (2003-2010) CD transport built to pair with the MDA1000 DAC. Machined aluminum tray, 3-beam laser, coaxial/optical/AES-EBU outputs.
• MCD201 (2005) — McIntosh MCD201 two-channel SACD/CD player (2005, ¥525,000 Japan). Twin-laser transport, multi-bit DAC, variable XLR/RCA outputs, known transport issues.
• MCD7005 — McIntosh MCD7005 CD player — 18-bit 8x oversampling DAC, Philips CDM-3 transport, 100dB dynamic range. Specs documented; price and production years unrecorded.
• MCD7007 (1988–1994) — McIntosh MCD7007 (1988–1994) — a $2,000 third-generation McIntosh CD player with 4× oversampling, dual 16-bit DACs, and a transport that needs Binghamton service.

Integrated Amplifier

• MA-230 — McIntosh MA-230 solid-state stereo control amplifier, c. 1964–65. Advertised as a dual 30-watt amp/preamp at $349; period record is thin.

Power Amplifiers

• 240 — McIntosh 240 vacuum tube stereo power amplifier from c.1960–1961. 40W/ch stereo or 80W mono. Documented only through High-Fidelity advertisements.
• MC-2125 (1976–1981) — McIntosh MC-2125 stereo power amplifier (1976–1981), 120W/ch stereo or 240W mono, among the first McIntosh amps with Power Guard anti-clipping protection.
• MC-2205 (1975–1981) — McIntosh MC-2205: 200 W/ch solid-state power amp (1975), first McIntosh with Power Guard, autoformer taps to 1 ohm, 38.6 kg.
• MC-2300 (1970s) — McIntosh MC-2300 solid-state amplifier from the 1970s — 300 watts per channel into loads from 0.5 to 16 ohms, famous for powering the Grateful Dead's Wall of Sound.
• MC-250 (1961–1971) — McIntosh MC-250 (1961–1971), first-gen solid-state power amp: 50W/ch stereo, 100W mono, Autoformer taps at 4/8/16 ohms, chrome chassis.
• MC-275 (1961–1970) — McIntosh MC-275 (1961–1970): 75W/ch tube stereo power amp, Unity Coupled Circuit, the Stereo Power House that's still in production six generations later.
• MC-60 (c. 1955–1961) — McIntosh MC-60 (c. 1955–1961): a 60-watt mono tube power amplifier with Unity Coupling, $198.50 new, documented mainly through McIntosh's 1955–57 print ads.
• MC-7205 — McIntosh MC-7205 five-channel power amp, 120W/8Ω or 200W/4Ω per channel, $4,500 new. Audio (Jan 2000) measured ~0.004% THD+N.
• MC1.25KW Power Amplifier (2001) — The McIntosh MC1.25KW power amplifier delivers 1,200 watts of continuous power. Explore full specifications, reviews, and pricing for this 2001 model.
• MC2000 (1999–2000) — McIntosh MC2000 — 1999–2000 limited-edition 50th-anniversary tube amp, 130Wpc, eight KT88s, ~500 built. NOS examples list near $30k.
• MC2155 — A 2-channel solid-state power amplifier made in the USA with 150 watts per channel output. Covers detailed specs and production dates.
• MC2255 (1981–1986) — McIntosh MC2255 stereo power amplifier (1981–1986), 250W/ch into 1–8 ohms, Power Guard protection, 0.02% THD. Solid-state classic.
• MC2505 — A solid-state stereo power amplifier delivering 50 watts per channel with precise frequency response. With the complete spec table and when it was made.
• MC2KW Ultimate Flagship Amplifier (Unknown) — The McIntosh MC2KW is a 2000-watt monoblock amplifier system with three chassis per channel.
• MC50 (1969–1970) — McIntosh MC50 (1969–1970) — 50W mono solid-state amp with Autoformer output for 4/8/16Ω loads. 20 lbs, 0.25% THD. Values $625–$1,800.
• MC7100 (1992–1997) — McIntosh MC7100 (1992–1997) direct-coupled solid-state power amp: 100W/ch into 8 ohms, 150W into 4, no autoformers, Power Guard, Sentry Monitor.
• MC7270 (1985–1991) — McIntosh MC7270 (1985–1991), 270W/ch stereo amp with autoformer outputs stable into 1 ohm, 540W bridged mono.
• MC7300 — A high-power solid-state stereo amplifier with advanced protection systems and precision metering, built for stability across demanding speaker loads.
• MCC-1000 — Little is documented about the McIntosh MCC-1000. The Archive's research has found no factory literature, no confirmed production dates, and no review.

Preamplifier

• C-24 — McIntosh C-24 — the company's first solid-state preamp. Two phono inputs, tape head, 0.1% distortion, and a serial-number-dependent parts list.

Preamplifiers

• 31V — McIntosh C 31V audio/video preamp, documented mainly through Leonard Feldman's 1988 Audio magazine equipment profile. Little else survives.
• C-26 — McIntosh C-26 preamplifier. Record is thin: an Audio-Collection photo and 1982-85 Audio classifieds ($250 used in 1982). No specs documented.
• C-27 (1977–1983) — McIntosh C-27 solid-state stereo preamp (1977–1983), reviewed in Audio Sept 1978. 2.5V output, 70dB volume range, Panloc mounting, phono stage.
• C-28 — McIntosh C-28 stereo preamplifier of the mid-1970s, documented through period Audio reviews and a 1980 classified ad. Find when it was made here.
• C-31V — The public record on the McIntosh C-31V is thin, but it does include one substantial period source: an Equipment Profile in Audio (February 1988.
• C-39 — McIntosh C-39 preamplifier from the mid-1990s, documented only as a tuner-less version of the MX-130 with Dolby Pro Logic and six output channels.
• C100 (1997–2000) — McIntosh C100 (1997–2000) dual-chassis preamp — 0.002% THD, silver-wire MC transformer, ±0.05 dB digital volume. A Pure Audio Control Center.
• C1000 (2005–2015) — McIntosh C1000 Preamplifier System (2005–2015) — dual-chassis reference preamp with swappable C1000P solid-state or C1000T tube modules, VRV 214-step volume control, and 70 dB meters.
• C1000T+C1000C — McIntosh C1000T+C1000C two-chassis tube reference preamplifier, circa 2007. Fully balanced, 8x 12AX7A, MM/MC phono, VRV volume, inert-gas relay switching.
• C100A — Documentation on the McIntosh C100A is thin. What the record shows: it was a preamplifier built with a dual-chassis design — the unit physically splits
• C104 (1950–1954) — The McIntosh C104 (1950–1954) is a rare mono tube preamp-equalizer with three 5751 tubes, external power supply, and a reputation for precision and serviceability.
• C11 — A vacuum tube stereophonic preamplifier from McIntosh, produced during the early stereo era. This page has full specifications and production years.
• C20 — McIntosh C20 tube stereo preamp — 8 inputs, 12AX7/12AU7/6X4 lineup, rear-panel low frequency trim. High Fidelity called it exceptionally flexible.
• C200 (2000–2006) — McIntosh C200 (2000–2006) dual-chassis flagship preamp — 213-step volume, MM/MC phono, 0.002% THD, 34.3 kg across two boxes.
• C22 (1963–1968) — McIntosh C22 (1963–1968) vacuum tube preamplifier — six tubes, 55dB phono gain, 0.08% THD, and the warm-up delay that silences the MC275's front end until the 12AX7s are ready.
• C2700 Modern Flagship Preamplifier (Unknown) — The McIntosh C2700 Modern Flagship Preamplifier is a vintage preamplifier tube known for its quality construction and performance.
• C29 (1980-1983) — The moment you hear a well-serviced C29, you realize why some preamps become heirlooms—this one doesn’t just pass signal, it preserves intent.
• C32 (1980-1987) — The McIntosh C32 wasn’t just another preamplifier—it was a statement. Born in 1980, at the crossroads of analog refinement and the digital dawn, it stood.
• C33 (1993-1997) — One of the quietest, most feature-rich solid-state preamps of its era—warm, full-bodied, and built like a tank, with a phono stage that still impresses.
• C34V (1985–1992) — McIntosh C34V (1985–1992) AV control center — 20W+20W monitor amp, five-band EQ, compander, and optional MVS-1 external video switching in an 11.8 kg chassis.
• C35 — McIntosh C35 (1989–1992) solid-state stereo preamp — 0.002% THD, 2.5mV phono, 5-band EQ, remote control system center.
• C36W (Unknown) — A wide-bodied preamp from the last golden era of American high-end solid-state design—where understated control met unshakable build quality.
• C37 (1965-1969) — The McIntosh C37 isn’t a relic from the golden age of tubes or a forgotten prototype—it’s a late-era stateme. Full specifications and review.
• C40 (1993-1999) — When the McIntosh C40 arrived in 1993, it didn’t just update the preamp game—it redefined what a modern control center could be while staying true to…
• C41 — Two-channel solid state preamplifier from McIntosh Labs with analog circuitry, phono input, and remote control. Find the complete spec table here.
• C42 — A solid-state audio control center with precision equalization and balanced digital attenuation, built for high-fidelity signal management.
• C45 (2012-2017) — The McIntosh C45 wasn’t just another preamp—it was a statement. Bridging the golden age of analog with the dawn of high-resolution digital, this
• C46 (2003-2012) — When McIntosh launched the C46 in 2003, it wasn’t just releasing another preamp—it was refining a legacy. This page has detailed specs and production dates.
• C47 (2020-present) — The McIntosh C47 (2015–2019) packs a 32-bit DAC, MM/MC phono, and HXD® headphone tech into a classic design. Specs, quirks, and why it's a hidden gem.
• C500 (2003-2007) — McIntosh C500 (2003-2007) preamplifier: dual-chassis tube/solid-state design, 40 lbs, 100dB S/N, $12k-$18k MSRP — a rare high-end control center.
• C504 (1980-1988) — A compact preamp with serious pedigree—don’t let its size fool you, this one’s got the DNA of a giant. Covers current market value and detailed specs.
• C52 (2013-2021) — For nearly a decade, the McIntosh C52 stood as the flagship preamplifier in one of high-end audio’s most revered lineups. It wasn’t just a control
• C53 (2020-present) — Represents McIntosh's modern high-end preamplifier design philosophy, combining classic McIntosh build quality with cutting-edge digital technology…
• C70 (2020-present) — Limited-edition vacuum tube preamplifier built to celebrate McIntosh’s 70th anniversary, featuring all-analog design, visible tubes, and modern
• C712 (1998-2002) — The McIntosh C712 (1993–1997) is a compact, entry-level control center with MM phono, XLR outputs, and classic McIntosh build.
• MX-112 — McIntosh MX-112 — an obscure McIntosh tuner (or preamp/tuner) with almost no surviving documentation. Known only from a single 1987 classified ad listing it at $450.
• MX-130 — McIntosh MX-130 tuner/preamplifier with Dolby Pro Logic decoder and six output channels. Priced at $3,600 in 1994. Thinly documented beyond period reviews.
• MX113 — McIntosh MX113 AM/FM tuner-preamplifier — 2mV phono sensitivity, 72dB phono S/N, switchable FM selectivity, 10V main output.
• MX115 (1968) — Solid-state tuner-preamp from McIntosh with FM/AM tuner and high-performance preamplifier section. Includes the complete spec table and when it was made.
• MX117 — A solid-state AM/FM stereo tuner preamplifier produced by McIntosh Laboratory during the early 1980s. Includes full specifications and production years.

Receivers

• 1900 — The McIntosh 1900 is a solid-state stereo receiver produced from roughly 1971 to 1974, sitting above the earlier 1700 in the company’s lineup. It’s one of
• 4275 (late 80’s) — McIntosh 4275 late-1980s hybrid receiver — tube tuner front-end, solid-state amp, Autoformer outputs, 75W/ch in walnut cabinet.
• MAC 1700 (1967–1973) — McIntosh MAC 1700 (1967–1973) — 40 W/ch hybrid receiver, McIntosh's contested transition model between the tube MAC 1500 and MAC 1900.
• MAC-1500 (1965–1967) — McIntosh MAC 1500 (1965–1967) hybrid receiver — tube FM tuner, FET preamp, tube output. 30 W/ch into 8Ω, $499.99 new, ~2,600 made.
• MAC-4200 — McIntosh MAC-4200 AM/FM receiver from the late 1980s, rated 75 W/ch (8 ohms) and 100 W/ch (4 ohms). A little-documented model with period magazine specs.

Speakers

• A-116 — Surviving information on the McIntosh A-116 is thin — a few magazine ads from 1953 and 1954, and little else. What the record shows: the A-116 was a
• C37W — Surviving information on the McIntosh C37W is thin, and what exists presents a fascinating puzzle. The record consists of a single period advertisement, a
• LS310 — McIntosh LS310 bookshelf speaker (1991). 2-way design with dual 6.5-inch poly/Kevlar woofers and 1-inch titanium dome tweeter. Reviewed by Stereophile in 1993.
• LS330 — McIntosh LS330 — a little-documented 3-way floorstanding speaker with a 10-inch woofer, 4-ohm load, and 50–400W power handling. Specs are thin; what's known is here.
• LS350 — The McIntosh LS350 is a floorstanding loudspeaker from the company’s LS series — the line Audio Classics describes as “McIntosh’s first speaker series of
• MA230 (1963-1966) — McIntosh MA230 (1963-1966) — McIntosh's first integrated amp: solid-state preamp, tube output, 30W/ch, $349 original. Collectibility and restoration notes.
• MA6400 (1998-2002) — McIntosh MA6400 (1995-1997) integrated amplifier: 100W/ch, glass front, blue meters, Power Guard. Classic mid-90s tube-like warmth in solid-state form.
• MA6450 (1995-2000) — McIntosh MA6450 integrated amplifier (1990s) weighs 18.6kg, delivers 100W/channel, includes MM phono stage — a sturdy. Covers full specifications.
• MAC4275 (1988–1990) — McIntosh MAC4275 (1988–1990) — 75W/ch AM/FM stereo receiver with Power Guard, Autoformer output, direct-coupled design. Built in Japan for McIntosh.
• MAC4280 — McIntosh MAC4280: a little-documented McIntosh tube receiver with Power Guard and Sentry Monitoring. Two service revisions known; specs largely unrecorded.
• MC150 — McIntosh MC150 solid-state stereo power amplifier — 150W/ch into 2, 4, or 8 ohms, 0.005% THD, 59 lb chassis, bridgeable to 300W mono.
• MC1C (Unknown) — The first speaker McIntosh ever made—and the one that proved they weren’t just about amplifiers. Covers detailed specs and production dates.
• MC2002 — The McIntosh MC2002 — 200W/ch direct-coupled solid-state power amp with the only red power button McIntosh ever built. Specs and collector notes.
• MC2105 (1967-1977) — McIntosh MC2105 (1967–1977): McIntosh's first solid-state power amp, 105W/ch with autoformer output stage. Collectible, serviceable, and still musical.
• MC2150 (1982-1987) — McIntosh MC2150 power amp (1980-1983): 150W into 8Ω, 200W into 4Ω, Autoformer output, Power Guard protection. Market $800-$1,500.
• MC2200 (1975-1977) — McIntosh MC2200 (1975-1977) — 200W/ch solid-state power amp with Power Guard, autoformer output, and 1-ohm taps. The first McIntosh to hit 200W per channel.
• MC225 (1961-1967) — McIntosh MC225 (1961-1967) — 25W/ch stereo tube power amp with Unity Coupled transformer and quad 7591 outputs. The holy grail of McIntosh tube gear.
• MC2250 (1977-1980) — The McIntosh MC2250 (1982–1987) is a rare 250W/ch powerhouse — only 499 made. Specs, history, and collector pricing for this commercial-grade solid-state legend.
• MC240 (1960-1968) — McIntosh MC240 (1960–1968) tube stereo power amp — 40W/ch, 6L6GC outputs, Autoformer, 56 lb chrome chassis. Collector favorite.
• MC2600 (1987-1994) — When the MC2600 hit the scene in 1987, it wasn’t just another amplifier—it was a statement. Includes detailed specs and production dates.
• MC275 (1993) (1993-1999) — When McIntosh revived the MC275 in 1993, they weren’t just reissuing an amplifier—they were reigniting a legend. The original 1960s MC275 had already
• MC30A (1960-1963) — McIntosh MC30A (1960–1963) monoblock tube amplifier — 30W, KT66 tubes, Unity Coupled transformer. Legendary build and sound.
• MC3500 (1968–1971) — McIntosh MC3500 (1968–1971) monoblock tube amp — 350W, 150 lbs shipping, Woodstock-proven. Unity Coupled design, collector's item.
• MC352 (2001-2005) — Born from McIntosh’s legendary MC3500 lineage, the MC352 isn’t just an amplifier—it’s a statement. Find full specifications and production years here.
• MC500 — McIntosh MC500 stereo power amp (1994-1999): 500W into 8/4/2Ω, 1000W bridged mono, Power Guard, 114 lbs. A documented bruiser.
• MC7104 (1994-1997) — The MC7104 wasn’t just another solid-state amp—it was a statement. Released in 1994, it marked McIntosh’s bold step into a new era of high-current design.
• MC7106 (1995-2001) — McIntosh MC7106 (1992–1998) — 6-channel solid state amplifier with 100W/ch, THX certification, Autoformer, and LED VU meters.
• MC7200 (1987-1995) — McIntosh MC7200 (1989-1993) 200W power amp with Autoformer™, glass front, blue meters — built for brute-force clarity. This page has the complete spec table.
• MC75 (1961-1967) — McIntosh MC75 (1961-1967) monoblock tube amplifier — 75W, Unity Coupled transformer, dual KT88s, and the first McIntosh blue watt meters.
• MR7082 — McIntosh MR7082 AM/FM/Weather Band Tuner. A genuinely obscure model — little documented beyond its existence, a vintage working unit, and a $200 market price.
• MX118 (1998-2002) — It arrived in 1994, right as home theater was exploding, and represents McIntosh's ambitious attempt to bridge. Full specifications and review.
• MX132 (1998-2002) — When McIntosh stepped into home theater with the MX132 in 1998, it wasn’t just entering a new market—it was redefining it. This was the brand’s first
• xr-19 — McIntosh XR-19 (1981–1987) — 4-way Isoplanar loudspeaker with 8-inch woofer, 2-inch tweeter, 45Hz–20kHz response. Walnut-clad floorstander once listed at $7,999 used.
• xr-5 (1971-1974) — The McIntosh XR-5 is a 1970s floorstanding speaker with time-aligned crossovers, fused tweeters, and a hinged grill — built for power and precision.
• xr-6 (1972-1975) — The McIntosh XR-6 (1970-1978) is a 4-way acoustic suspension speaker with oiled walnut finish, 200W handling, and a visual protection lamp system.
• XR100 Loudspeaker (1976) — McIntosh XR100 (1976-1984) - pinnacle of the XR series with 15 inch woofer, studio-monitor accuracy, and McIntosh musicality. Flagship floorstanding speaker.
• XR17 — McIntosh XR17 Loudspeaker System (1985–1986): 4-way floorstander with triac protection, status lights, 86dB sensitivity, and 200w power handling.
• xr3 (1968-1971) — The McIntosh XR3 (1976–1981) offers smooth, detailed sound with Isoplanar drivers and indicator lights. Prone to foam decay, but highly restorable.
• XR50 — A compact 3-way bookshelf loudspeaker system from McIntosh, engineered for high-fidelity performance in a ported cabinet.
• XRT-22 (1989) — High-performance line source array loudspeaker from McIntosh with 22 drivers per cabinet, designed for precise imaging and wide sound dispersion.
• XRT18 — McIntosh XRT18 (1985–1992) speaker system with 16-tweeter array, 86dB sensitivity, and MQ-107 equalizer requirement — a rare.
• xrt20 (1984-1989) — McIntosh XRT20 (1985-1990) floorstanding speaker with 24 tweeters, 400W power, 90dB sensitivity. A radical line-source design from McIntosh's archives.
• XRT22s — McIntosh XRT22s loudspeaker system — a rare, large line array from the 1980s, originally $8,000. Documentation is thin and driver counts conflict across sources.
• XRT25 — McIntosh XRT25 — massive 3-way, 18-driver floor-standing speaker system with separate tweeter column, 16 aluminum-dome tweeters, and MQ109 active equalizer. Listed at $8,300/pair.
• XRT26 — Documentation on the McIntosh XRT26 is genuinely thin. What survives comes down to a handful of spec fragments and directory listings — no period review

Tuners

• MR-65 — McIntosh MR-65 tube FM tuner (1960-62), mono with outboard MA-5 multiplexer for stereo. High Fidelity (1961) measured 0.5% distortion, 3.5 dB capture ratio. Scarce and thinly documented.
• MR-7084 — McIntosh MR-7084 AM/FM tuner, introduced in 1995 at $1,300. Little-documented model with Spatial circuit and FM channel separation of 50 dB.
• MR-74 — McIntosh MR-74 tuner — little-documented model from the early 1980s. Only known fact: $725 asking price in a 1981 classified ad.
• MR-77 — McIntosh MR-77 FM tuner — developed alongside the MR-78, 2.3 µV IHF sensitivity per a 1979 Audio survey, and documented mainly through its factory service manual.
• MR-78 (1972–1977) — McIntosh MR-78 (1972–1977) FM tuner — Modafferi's RIMO filter, 2.5 µV sensitivity, 210 kHz selectivity. The analog tuner collectors call one of the best ever built.
• MR500 (1972-1982) — The McIntosh MR500 tuner delivers exceptional FM/AM reception with the clarity and reliability that defined McIntosh's approach to radio tuner design.
• MR55 (1960–1963) — McIntosh MR55 (1960–1963) FM/AM tube tuner — 18 tubes, six-gang tuning cap, Unity Coupled transformer. Restored examples $300–$600.
• MR65 (1960–1962 / 1961–1963) — McIntosh MR65 tube AM/FM mono tuner, 1960–62. Stereo needs the MA-5 multiplexer. Eight tubes, 4-gang front end; period asking $170–$599, serviced near $1,299.
• MR65A (1972-1982) — The McIntosh MR65A tuner delivers exceptional FM/AM reception with the clarity and reliability that defined McIntosh's approach to radio tuner design.
• MR65B (1967) — McIntosh MR65B FM/AM tuner from 1967 with multiplex stereo and Unity Coupled circuitry. Covers the complete spec table and when it was made.
• MR66 — The McIntosh MR66 is a scarce tube-era AM/FM tuner, documented in a 1961 installation and 1990s dealer listings at a premium over the MR67.
• MR67 (1963–1969) — McIntosh MR67 tube FM stereo tuner (1963–1969), $299 new, 2.5uV sensitivity, dual tuning eye with multipath display. Collectible, serviced examples $700–$1,100.
• mr7083 (1993-1995) — McIntosh MR7083 AM/FM Stereo Tuner (1990-1995) — solid-state digital tuner with glass faceplate, 75 dB FM S/N, and SPATIAL processor.
• MR71 (1963–1969) — McIntosh MR71 (1963–1969) tube FM multiplex tuner — 6DS4 Nuvistor front end, 2.5µV sensitivity, ultrasonic muting. The tube tuner collectors still chase.
• MR73 (1969–1971) — McIntosh MR73 (1969–1971): the company's first solid-state AM/FM tuner, $549 new, one 6HU6 magic eye tube, resale $490–$899.
• MR85 (1999) — High-end analog AM/FM tuner from McIntosh with advanced reception and build quality. This page has current market value, detailed specs and production dates.
• MR88 (1972-1982) — The McIntosh MR88 AM/FM/XM/HD Tuner (2009–2016) blends retro aesthetics with digital broadcast fidelity, featuring HD Radio, XM support.

Unknown

• 20W — McIntosh 20W, an obscure early-1950s McIntosh amplifier. Known from ads as the 20W-2, rated 20 watts with 40-watt peaks.

Other Models

• 10B — McIntosh 10B FM stereo tuner — 17-tube design with gold anodized front panel, 0.1% THD, 1.5 µV sensitivity, circa 1957-1959.
• 15W 1 — Almost nothing is recorded about the McIntosh 15W 1. The model does not appear in any of the period catalogs, service manuals.
• 20W 2 — McIntosh C34V (1986) AV preamp with 20W+20W monitor amp, 5-band EQ, and video switching. Heavy-duty 11.8kg analog control center.
• 50W 1 — A vacuum tube stereo power amplifier, notable as McIntosh Laboratory’s first product. Includes the complete spec table and when it was made.
• 50W 2 (1951–1955) — McIntosh 50W-2 (1951–1955) — 50W mono tube amplifier with bifilar output transformer and separate P50D power supply. $249.50 new.
• A150 — The McIntosh A150 is an integrated amplifier whose documentation is unusually thin, even by the standards of this archive. What the record does
• AE-2A — McIntosh AE-2A professional audio equalizer from the mid-1960s film-front era, priced at $149.00, sold alongside the C-24 preamp and MC-2105 amplifier.
• ae2 — The McIntosh AE-2 (1950–1952) was the brand's first preamp—tube-powered, mono, and housed in a wooden chassis. Specs, history, and rarity.
• AR-3a — McIntosh AR-3a: no evidence McIntosh made this model — the AR-3a is documented as an Acoustic Research speaker from 1967-1975. Attribution note with known specs.
• AR4x — No evidence exists of a McIntosh AR4x; this page documents the Acoustic Research AR-4x, the 1964 compact speaker that sources actually describe.
• C-8 — McIntosh C-8 Professional Audio Compensator and preamplifier, mid-1950s. Five bass and five treble switches operating cumulatively. Sold at $88.50 as companion to the McIntosh 60.
• C1000C — McIntosh C1000C — the reference controller for McIntosh's flagship two-chassis preamp system, running tube or solid-state units. 39 lbs of dual-balanced architecture.
• C1000P — McIntosh C1000P solid-state preamplifier module — 33 lb, eight 12AX7A tubes, 16V balanced output, six-way MC loading. Two-box system with C1000C controller.
• C1000T — McIntosh C1000T tube preamp — 8x 12AX7A, 16V balanced max output, VRV 214-step volume, ¥2,520,000 around 2007.
• C108 — A word of caution before we go any further: “C108” is one of those designations McIntosh applied to two completely different products. The one most
• C30 (1987–1991) — McIntosh C30 solid-state preamp (1987–1991). Trans-impedance phono stage, 100dB S/N, $1,799 new. A collector favorite from the late 80s.
• C7 — McIntosh C7 stereo preamplifier (1979-1981). Solid-state control unit with dual phono inputs, tape monitoring, and 1.5V rated output. A transitional model from McIntosh's late-70s line.
• MA6 — Little is documented about the McIntosh MA6. What the record shows is a specialized piece: a vacuum-tube power amplifier built around 6L6-GC tubes in
• MC-24 — The MC-24 is one of the more obscure entries in McIntosh's early amplifier lineup — a vacuum-tube stereo power amplifier rated at 15 watts per channel
• MC-30 (1954–1963, disputed) — McIntosh MC-30 (1954–1963) vacuum tube monoblock, 30 watts, unity-coupled circuit, tube-rectified — the amp that built McIntosh's low-distortion reputation.
• MC1.2KW — McIntosh MC1.2KW monoblock power amplifier: 1,200W into 2/4/8 ohms via Autoformer, Quad Balanced, 147 lbs. Production years and original price poorly documented.
• MC2.1KW — McIntosh MC2.1KW monoblock power amplifier (2024), 2000W tri-chassis design, 75th Anniversary Edition limited to 75 pairs.
• MC2102 — McIntosh MC2102 vacuum tube stereo amplifier — 100W/ch into 2, 4, or 8 ohms, eight tubes per channel, unity-coupled output transformer. Production years and original price undocumented.
• MC275 Mk II — McIntosh MC275 Mk II — a later variant of the iconic 1961 tube amplifier. Little is documented about the Mk II specifically; known as the Gordon J. Gow Commemorative Special Edition with KT88 tubes.
• MC275 Mk III — McIntosh MC275 Mk III (1995-2003) — the third iteration of the legendary KT88 tube amplifier, featuring XLR inputs and a mix of point-to-point wiring and circuit boards.
• MC275 Mk IV — McIntosh MC275 Mk IV tube amplifier (2004-2006) — the fourth iteration of the iconic 1961 design, first with balanced inputs and modern speaker connectors.
• MC275 Mk V — McIntosh MC275 Mk V (2009–2012): RoHS-compliant reissue of the classic KT88 tube amp with single-board construction and gain controls eliminated.
• MC275 Mk VI — McIntosh MC275 Mk VI — current-production vacuum tube power amplifier in the legendary MC275 lineage, 75W/ch stereo or 150W mono. Documentation is thin; lineage traces to 1961.
• MC275-V — McIntosh MC275-V tube power amplifier — 75W/ch from push-pull KT88s, XLR and RCA inputs, stainless top panel. Version labeling across sources is ambiguous.
• MC40 — McIntosh MC40 (1962–1969) — 40W monoblock tube amp, $159 new, solid-state rectification and McIntosh output iron.
• MCD205 — McIntosh MCD205 five-disc CD changer — Nakamichi MusicBank transport, 24-bit CS4396 DACs, 108dB SNR. A no-compromise changer now discontinued.
• MCD301 — McIntosh MCD301 SACD/CD player — dual-mode DSD/PCM converters, twin laser pickups, 12 kg chassis, original list $4,500–$5,000.
• MCD7009 — McIntosh MCD7009 CD player — a little-documented model confirmed by auction photos and a 1996 Audio magazine profile. No factory specs survive in the record.
• MDA1000 (2003) — McIntosh MDA1000 (2003) upsampling DAC — companion to the MCD1000 transport. 768kHz/24-bit, eight DAC circuits, built-in preamp, reviewed by Stereophile in 2004.
• MI-200 — McIntosh MI-200 industrial tube amplifier — 200W unity-coupled triode power in a 140-lb rack chassis. Rare, collectible, and built like a tank.
• MI350 — McIntosh MI350 — 350W tube amplifier with 1/4/8/16/50/64-ohm taps and 150V output, built for commercial sound. Service notes and tube complement inside.
• ml-1 (1969-1975) — Acoustic suspension design, 12-inch woofer, 2-inch midrange, 1-inch tweeter, oiled walnut cabinet, McIntosh-designed drivers.
• ML-10C — McIntosh ML-10C — the sealed bookshelf sibling of the ML-1C, $319 in 1980. Owner-reported sound, refoam and ferrofluid maintenance, and used prices from $500 to $1,999 a pair.
• ml-2 (1970-1972) — The McIntosh ML-2C (1971–1985) is a 5-way floor speaker with dual 12-inch woofers, known for its rich sound when paired with McIntosh equalizers.
• ml-2m (1980-1984) — McIntosh ML-2M — rare full-range speaker, ~400 made, reportedly 200W, six drivers. Foam surrounds almost always need service.
• ml-4 (1971-1973) — The McIntosh ML-4 (1972) is a 5-way, 11-driver acoustic suspension speaker with four 12-inch woofers per cabinet—flagship of McIntosh's first speaker line.
• ml-4c (1973-1975) — The McIntosh ML-4C is a 5-way, 11-driver floorspeaker from 1973–1975 that only delivers its rated 20Hz–20kHz response with the separate MQ101 equalizer.
• ML-4M — McIntosh ML-4M — obscure ML-series loudspeaker (5-way, 11 drivers), also a replacement tweeter part 036-016. Service manual exists; almost nothing else documented.
• MQ-101 — McIntosh MQ-101 stereo equalizer — +17 dB low boost at 20 Hz, ±5 dB mid, ±4 dB high, ±0.5 dB flat response.
• MQ-104 — McIntosh MQ-104 (1971–1974) Ambient/Quadrasonic Harmonizer — two-channel ambience synthesizer that faked quadraphonic sound from stereo sources. $199 in 1972, now commanding $650+ from collectors.
• MQ102 (1970–1978) — McIntosh MQ102 environmental equalizer (1970–1978): chrome-front, per-channel low-frequency correction, 0/−6/−12dB attenuator, 20Hz–20kHz ±0.5dB.
• MQ107 — A fourteen-channel environmental equalizer designed for custom installation with the XRT18s and XRT22s speaker systems. Find the complete spec table here.
• MR-80 (1980–1985) — McIntosh MR-80 FM tuner (1980–1985), flagship tuner with lock circuit, five-gang front end, PLL MPX. Originally $1,300.
• SCR2 — McIntosh SCR2 solid-state stereo control preamp, 1969–1970. Replaced the C26, followed by the C28. Original price $300. Documented mainly through period Stereo Review ads.
• SCR3 — The McIntosh SCR3 is an all-solid-state audio compressor/limiter introduced in 1970 at an original price of $249.00. It's a single-rack-unit-high
• STEREOTECH 1200 — A vintage AM/FM stereo receiver produced for McIntosh by Foster, rated at 60 watts per channel into 8 ohms. Includes full specifications and production years.
• xl-1 (1980-1982) — The McIntosh XL-1 bookshelf speaker delivers rich, fatigue-free sound in a compact walnut cabinet—overbuilt, reliable, and still competitive today.
• XL-1W — Documentation on the McIntosh XL-1W is thinner than you'd expect for a company as records-obsessed as McIntosh. What's known with confidence: this was the
• XL10 — McIntosh XL10 Isoplanar Loudspeaker System — three-way design with 8-inch woofer, 10-inch passive radiator, 1-inch tweeter, 45Hz–20kHz response.
• XR-14 — McIntosh XR-14: rare 3-way floor-standing speaker with 8-driver array, dual 15-inch woofers, $1,800/pair. Little documentation survives.
• XR-290 — McIntosh XR-290 floorstanding loudspeaker, introduced 1984. 4-way design with dual 12-inch woofers, adjustable room-response switches. Little-documented flagship.
• XR1051 — McIntosh XR1051 floor-standing loudspeaker — 2-way bass reflex with dual 10-inch woofers, 92dB sensitivity, 4-ohm impedance. Thinly documented; specs and owner reports only.
• XR1052 — McIntosh XR1052 (1978) — the flagship floor-standing speaker with dual 12-inch push-pull woofers, 8 ohms, 600W max, original price $2,600/pair.
• XR16 — The XR16 is a three-way, bass-reflex loudspeaker that McIntosh produced during the mid-1970s — one source places it squarely in 1976, another extends
• XR240 — McIntosh XR240 floorstanding speaker — design notes from Audio 1990, used-market prices from 1993–95 dealer listings. Scarce, undocumented, collectible.
• XR250 — McIntosh XR250 (late 1970s): a large 3-way, 4-driver floorstanding speaker from McIntosh's early high-end loudspeaker line. 100W max, 8 ohms, 30-20kHz. Known for vertical array drivers and time-aligne…