# AMPS: Adcom GFA-555 or Hafler DH-500



## ReticulatingPigeonElf (Sep 22, 2010)

Anyone experienced with either? And if so, any word on their performance in studio and/or home theater use? 

Was also considering a Bryston 3b or 4b. Marantz MA-500 monoblocks are also something I'm weighing. 

Any recommendations for models from other brands like Outlaw, Rotel, etc?

Those Mcintosh or Bel Cantos are just way out of my price range, which is like <$400...but I might just end up splurging on an Emotiva XPA-2 or something.

thanks


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## TOS (May 27, 2007)

The Bryston 4B is a pretty awesome solid state amp. I would recommend getting a good preamp to match. Good luck with your pick.


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## ReticulatingPigeonElf (Sep 22, 2010)

TOS said:


> The Bryston 4B is a pretty awesome solid state amp. I would recommend getting a good preamp to match. Good luck with your pick.


Yeah, I think the 4b is at the top of the list right now....I just wish I could find a good deal on one locally.


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## stereo_luver (Oct 30, 2007)

The Brystons are nice. But be careful matching a pre to these. I'd take the Adcom over the Hafler. However, the main weak point in the Adcom are the Toshiba transistors in the output stage. I used to keep several on hand just in case if you know what I mean. I was a big fan of Adcom back in the day and used a lot of the GF line of products. The Marantz monoblocks are 'meh' average IMO. I'd also take the Rotel over the Outlaw unless you are going to use the mono's from Outlaw. They are pretty solid. I know Emotiva offers a trade in policy on HT processors. I'm not too sure about the amps. I do know they do A LOT of engineering for other companies which will remain unmentioned and copy many designs and incorporate them into thier own line of amps. I wasn't really impressed by the Emotiva in my HT rig and switched to Parasound and finally settled with HALCRO mono's for all my power needs.



Chuck


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## Viggen (May 2, 2011)

I have a Adcom GFA-5500..... it's a solid amp but there are much better options out there. Been 20 yrs since I used a Hafler...... no clue how they compare

Bryston would be your best bet of what you listed, I have considered one of their larger amps when I can upgrade. I also considered a wyerdforsound amp, just not sure what to think of class D yet.

My wife has 4 parasound HCA-1500's, they sound a LOT better then my Adcom, thus the adcom is not in the garage.


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## Mike_Dee (Mar 26, 2011)

I'm still running an Adcom GFA-555 that I bought in 1989. Thing has plenty of clean power, and is bulletproof. You can pick them up on eBay pretty reasonably. Can't argue with 22 years of excellent service.


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## ReticulatingPigeonElf (Sep 22, 2010)

stereo_luver said:


> The Brystons are nice. But be careful matching a pre to these. I'd take the Adcom over the Hafler. However, the main weak point in the Adcom are the Toshiba transistors in the output stage. I used to keep several on hand just in case if you know what I mean. I was a big fan of Adcom back in the day and used a lot of the GF line of products. The Marantz monoblocks are 'meh' average IMO. I'd also take the Rotel over the Outlaw unless you are going to use the mono's from Outlaw. They are pretty solid. I know Emotiva offers a trade in policy on HT processors. I'm not too sure about the amps. I do know they do A LOT of engineering for other companies which will remain unmentioned and copy many designs and incorporate them into thier own line of amps. I wasn't really impressed by the Emotiva in my HT rig and switched to Parasound and finally settled with HALCRO mono's for all my power needs.
> 
> Chuck


Thanks for your input - gave me something to think about. Still haven't made a choice though. I may just hold out until I can get something in the $1000-$1500 price range, as I'd like to acquire something that hopefully results in long term satisfaction. 

Then again, I may just forgo a new studio power amp for a new automotive DSP. Seriously considering a BitOne.1/MS-8 - or a 3sixty.3/H800 when they're released. There's also the radical possibility that I may just sell the current HU and put the money towards a P99...oooooo :surprised: 

But seriously, those Halcros look brutal, dang. Do you have the 78 or 88? Or something discontinued?



Viggen said:


> I have a Adcom GFA-5500..... it's a solid amp but there are much better options out there. Been 20 yrs since I used a Hafler...... no clue how they compare
> 
> Bryston would be your best bet of what you listed, I have considered one of their larger amps when I can upgrade. I also considered a wyerdforsound amp, just not sure what to think of class D yet.
> 
> My wife has 4 parasound HCA-1500's, they sound a LOT better then my Adcom, thus the adcom is not in the garage.


Yeah, those 4b amps (regular/st/sst) look pretty slick - just wish I could find one closer to my budget range. 

Thanks for the Parasound suggestion - looks like they'd fit the budget (used). Going to check out some reviews and see how they stack up against other more high-end amps.



Mike_Dee said:


> I'm still running an Adcom GFA-555 that I bought in 1989. Thing has plenty of clean power, and is bulletproof. You can pick them up on eBay pretty reasonably. Can't argue with 22 years of excellent service.


Yeah, a few reviews said the 555 sounds better than the 5500/5802 models. They're also definitely more affordable.


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## atxtrd (Apr 30, 2011)

I used to run a Parasound HCA2205 through an Outlaw pre/pro and to this day I still prefer my old Carver TFM-25 over the Parasound. Bob Carver built some fine gear and imo those amps are worth a listen, they can be had for little money in comparison to some of the other stuff mentioned. Good luck!


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## ReticulatingPigeonElf (Sep 22, 2010)

atxtrd said:


> I used to run a Parasound HCA2205 through an Outlaw pre/pro and to this day I still prefer my old Carver TFM-25 over the Parasound. Bob Carver built some fine gear and imo those amps are worth a listen, they can be had for little money in comparison to some of the other stuff mentioned. Good luck!


yeah, i just about got a used phase linear 400, but worried if it broke down, i'd have to find a qualified repair person, or learn how to fix it myself - assuming replacement parts were available.


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## atxtrd (Apr 30, 2011)

ReticulatingPigeonElf said:


> yeah, i just about got a used phase linear 400, but worried if it broke down, i'd have to find a qualified repair person, or learn how to fix it myself - assuming replacement parts were available.


Good thing about Carver is there are several guys online that do nothing but refurb old Carver gear and parts/schematics are easy to get. Not to mention there is something cool about watching those old bouncing meters!


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## Viggen (May 2, 2011)

very true on the Carver stuff, I have never messed with them but they were one of the manufacturers suggested to me as a upgrade from the parasounds. I want/need 500-600w a channel amp so I am limited on what I can do for my old power hungry speakers. 

Sunfire is another brand, wasn't that a Bob Carver design as well


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## atxtrd (Apr 30, 2011)

Yes, Sunfire is Bobs new company after Carver, they make some great stuff as well. Found this interesting bit of info about ole Bob. 

"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, Carver, 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)."


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