So, back in the day, I auditioned a pair of modified B&K monoblocks, for potential purchase, as an upgrade to my system at that time. These was an audio shop here in CT that did the mods, and the modded amps received favorable reviews from the audio press. Plus, they were not stupid-expensive (just silly-expensive).
I went and auditioned them, and they sounded nice, but a big, black amplifier caught my eye... "What's that?" I asked.
"Counterpoint SA-220. But it hasn't been on for a few days and won't sound it's best 'cold'."
"well, I'm here, can I listen to it?"
"Sure!"
(see my letter at the bottom of this post, for a bit more detail of the experience)
So, they rigged it up, and, ice cold, that thing WIPED THE FLOOR with the B&K amplifiers. It was no contest. This was the same room, other components and CD, as used to audition the first amp.
So, I took it home.
Later, I acquired a second one used (for $500!) and contacted Mike Elliot (original designer) about making them monoblocks. Now, they have some bridging switches, to bring them to something like 600WPC into 8 ohms, but the noise and distortion also double when you do that. He suggested a wiring scheme to make each a balanced monoblock of "only" 440 watts into 8 ohms (see the letter at the bottom), but the real take-away is that the distortion stays at the original level! So, I re-tubbed them both, just for consistency's sake, and never looked back.
Here's some info (review) from high-endaudio.com on the counterpoint amplifiers:
The models I consider References are the: SA-12, SA-20, SA-100, SA-220 and (all) the Natural Progressions. All these models have similar strengths and weaknesses. They all have exceptional detail and musical information for their power ratings. They are the perfect choice for those audiophiles who need both power and "musicality", and don't want to pay "big bucks" for it. (They embarrass most of the more expensive amplifiers from Krell, Levinson etc.) Their weaknesses are not serious for their price point; a small, though noticeable amount of dryness and thinning of timbres (or loss of low-level information).
Counterpoint is now out of business. This is a tragedy considering that many other manufacturers, who made inferior and/or overpriced components, are still around. Fortunately, the original founder and designer of Counterpoint, Michael Elliot, is still in business to repair and update most of the models, but he is not "cheap". (See the "Links" section to reach him.)
For those who can't afford the expensive updates by Michael Elliot, all the above models can be improved by simply replacing the (now obsolete) coupling capacitors along with some judicious "tube rolling".
Caveat: The SA-20 model, unfortunately, used very rare MOSFETS that can't be replaced, so make absolutely certain that it's working properly. It can still be "updated", by Elliot, even if it breaks (or is broken) down, but at a much higher price.
They/he like them, rated "Class C upper" in their listings. And I believe the SA-220 used the same output devices. Mike told me he would buy hundreds of them, and then they bench-matched them into sets, for amplifiers. They also did an extensive "burn-in" before shipping, to be sure they remained stable. So, even if you find some NOS devices, chances are, The amp would not be stable once repaired...
More Counterpoint fan-boy stuff, from the same site:
...This person also had the "top of the line" Krell preamplifier, the (four-chassis) KRS Balanced. At the time, it was one of the most expensive preamplifiers in the world ($10,000). If that wasn't enough, an earlier version had received rave reviews from both Harry Pearson and David Wilson (of Wilson speaker fame) in The Absolute Sound. Despite this person's skepticism, my friend next brought over his own Counterpoint SA-9 phono preamplifier to directly compare to the big Krells. The Counterpoint had a few minor modifications, mainly coupling capacitor replacements, along with some judicious tube rolling (my friend's specialty). We all really looked forward to that "shoot-out"; the best tube preamp versus the best transistor preamp! However,...
It didn't take long to pick "the winner", and it was unanimous. The Counterpoint "wiped the floor" with the Krell. There was simply no comparison between them. The difference was so huge*, the Krell's owner was almost in shock ("How can this be!?"). More to the point, he ordered the Counterpoint SA-9 the very next day (our listening session was on a Sunday).
*The Counterpoint was much more natural, less electronic and mechanical, with a noticeably lower sound-floor, and with all of the additional musical information which comes with that critical advantage, as well as having more natural body. Any Krell sonic advantages were negligible (deep bass) and musically superficial by comparison.
...I tried it [Krell KSA-50] on a wide variety of speakers, but the only area where it truly excelled was in the bass. It had another positive trait though, it was not "offensive", in the sense of adding objectionable and irritating sounds, but it did subtract a noticeable amount of musical information, which other amplifiers, even some that were much less expensive, would pass on. The Counterpoint SA-12 and SA-20, to give just two examples, were noticeably superior to the Krell in overall performance.
(NOTE: SA-12 and SA-20, were improved later and became the SA-120 and SA-220. The amplifier itself is the same; some protection circuitry was added and other minor changes, as I recall from my conversations with Mike Elliot in the late 90's.)
And, my claim to internet fame: My letter (which begins at the quotes)...
Decades ago, I was a Counterpoint dealer. I felt at the time, and still do, that they were a highly innovative and value-priced company. I was very sad when they closed down, and I've been on a "mission" since then to ensure that they will never be forgotten. Recently, a long-time reader sent me an email with information that may prove useful for the owners of some of their excellent amplifier models. Here it is, with some minor editing and my bold:
"...My current system consists of a Rega Planar 3 into an Aragon 47k; A Theta Data into an Aragon D2A; those feed the Perreaux SM6 preamp which feeds the pair of Counterpoint SA-220s (as detailed later). Speakers are Thiel CS 2.2s.
Back in the late 80's/early 90's, I bought (new) one of the Counterpoint SA-220 amps. It was from a retailer in CT (I can't remember their name) in a converted old house. So they had several listening rooms, set up in a real house. That was a cool concept that worked well.
Anyway, I went there to audition a pair of B&K monoblocks, which they had modified. At the time, that was the 'hot set-up' as reviewed by Stereophile, whom I was subscribing to at the time. They had them warmed up and ready to go for me, in a small room. It was wide, but the system was across from a couch on the long wall, so distance to speakers was small-ish. (I recall it twice as long as wide)
I brought my (still) reference CD of Robbie Robertson's first record (1987) and listened. It sounded good- certainly better than the Hafler amp I was using at the time. But there was a big, black amp on the rack, sitting cold and idle. So I asked about it. 'That's a Counterpoint. Very nice amps but they require us to sell so many units per month to retain dealer status, an we don't operate like that.' Long story short; I auditioned it, ice cold (only allowing the requisite warm-up mute period) and W O W was I blown away. Yes, it was a bit more (they did discount is slightly to move it), but it was another plane of existence. Same system and room otherwise- just the amp changed, Night and day.
Fast forward a few years and after a move, it wasn't working. So it went back to Mike Elliot for repair. It was an inexpensive repair (broken wire connection) and came back STILL not working- same connection from the transformer was a hair short, and would break during transport vibrations. I fixed it myself with his guidance, and it has been fine (including a couple moves) since. I added some silicone o-rings on the tubes because I got them free from work, and I had the top open anyway. Did it do anything? Who knows...
As you probably know, these can be bridged to monoblocks as well. Something ridiculous like 600W into 8 ohms or something. Borderline welding power supply. Anyway, I happened across a slightly newer (than mine) second SA-220 and contacted Michael to see about possibly upgrading them both or other options which might be available to me. He let me in on a secret- I don't know if this applies to all power amplifiers, or just his design*...
I am using a Perreaux SM6 preamp (which I thought I learned about from your site years ago, but I don't see it there now**) and all the inputs are single-ended; however, it has a set of balanced outputs. From these, I had some Mogami cables made which terminate with un-grounded (shield is floated at the amplifier end) RCA connectors. Per Michael's direction, I connect the "+" to the R+ input and the "-" to the L+ input. Speakers are connected to the "red" output posts respecting similar polarity as input.
This essentially creates a 440w monoblock, rather than bridging, which as I understand bridged amps, also doubles the noise and distortion of the amp. Using this method, the noise and distortion stays where it was/is and the available output power is increased.
A little background: I'm a drummer. Have been since age six in all sorts of bands marching, concert, jazz, progressive rock etc. I have a very good understanding of how a bass drum SHOULD sound. They have a whole lot more 'life' to them than one would be led to believe. Subtle harmonics across the sonic spectrum. Point: This is the first time I have heard bass drum reproduced convincingly. I think, if one has this amp, and can find another (in good shape) wiring them this way is well worth the price of admission." (01/19)
*Caution - Make certain that the circuit of any Counterpoint amplifier is similar to the SA-220 before attempting the reader's wiring experiment.
**I was also a Perreaux dealer in the 1980s. I was impressed with how natural they sounded, especially compared to other transistor designs of their day. Even today, their power amplifiers and preamplifiers (as phono stages) are still listed as "References".
I went and auditioned them, and they sounded nice, but a big, black amplifier caught my eye... "What's that?" I asked.
"Counterpoint SA-220. But it hasn't been on for a few days and won't sound it's best 'cold'."
"well, I'm here, can I listen to it?"
"Sure!"
(see my letter at the bottom of this post, for a bit more detail of the experience)
So, they rigged it up, and, ice cold, that thing WIPED THE FLOOR with the B&K amplifiers. It was no contest. This was the same room, other components and CD, as used to audition the first amp.
So, I took it home.
Later, I acquired a second one used (for $500!) and contacted Mike Elliot (original designer) about making them monoblocks. Now, they have some bridging switches, to bring them to something like 600WPC into 8 ohms, but the noise and distortion also double when you do that. He suggested a wiring scheme to make each a balanced monoblock of "only" 440 watts into 8 ohms (see the letter at the bottom), but the real take-away is that the distortion stays at the original level! So, I re-tubbed them both, just for consistency's sake, and never looked back.
Here's some info (review) from high-endaudio.com on the counterpoint amplifiers:
COUNTERPOINT HYBRIDS
These models were all overlooked when I first put this list together. These are the finest amplifiers, overall, for the money, that I have ever heard. Every single model they made is a Reference, except those from their First Generation.The models I consider References are the: SA-12, SA-20, SA-100, SA-220 and (all) the Natural Progressions. All these models have similar strengths and weaknesses. They all have exceptional detail and musical information for their power ratings. They are the perfect choice for those audiophiles who need both power and "musicality", and don't want to pay "big bucks" for it. (They embarrass most of the more expensive amplifiers from Krell, Levinson etc.) Their weaknesses are not serious for their price point; a small, though noticeable amount of dryness and thinning of timbres (or loss of low-level information).
Counterpoint is now out of business. This is a tragedy considering that many other manufacturers, who made inferior and/or overpriced components, are still around. Fortunately, the original founder and designer of Counterpoint, Michael Elliot, is still in business to repair and update most of the models, but he is not "cheap". (See the "Links" section to reach him.)
For those who can't afford the expensive updates by Michael Elliot, all the above models can be improved by simply replacing the (now obsolete) coupling capacitors along with some judicious "tube rolling".
Caveat: The SA-20 model, unfortunately, used very rare MOSFETS that can't be replaced, so make absolutely certain that it's working properly. It can still be "updated", by Elliot, even if it breaks (or is broken) down, but at a much higher price.
They/he like them, rated "Class C upper" in their listings. And I believe the SA-220 used the same output devices. Mike told me he would buy hundreds of them, and then they bench-matched them into sets, for amplifiers. They also did an extensive "burn-in" before shipping, to be sure they remained stable. So, even if you find some NOS devices, chances are, The amp would not be stable once repaired...
More Counterpoint fan-boy stuff, from the same site:
...This person also had the "top of the line" Krell preamplifier, the (four-chassis) KRS Balanced. At the time, it was one of the most expensive preamplifiers in the world ($10,000). If that wasn't enough, an earlier version had received rave reviews from both Harry Pearson and David Wilson (of Wilson speaker fame) in The Absolute Sound. Despite this person's skepticism, my friend next brought over his own Counterpoint SA-9 phono preamplifier to directly compare to the big Krells. The Counterpoint had a few minor modifications, mainly coupling capacitor replacements, along with some judicious tube rolling (my friend's specialty). We all really looked forward to that "shoot-out"; the best tube preamp versus the best transistor preamp! However,...
It didn't take long to pick "the winner", and it was unanimous. The Counterpoint "wiped the floor" with the Krell. There was simply no comparison between them. The difference was so huge*, the Krell's owner was almost in shock ("How can this be!?"). More to the point, he ordered the Counterpoint SA-9 the very next day (our listening session was on a Sunday).
*The Counterpoint was much more natural, less electronic and mechanical, with a noticeably lower sound-floor, and with all of the additional musical information which comes with that critical advantage, as well as having more natural body. Any Krell sonic advantages were negligible (deep bass) and musically superficial by comparison.
...I tried it [Krell KSA-50] on a wide variety of speakers, but the only area where it truly excelled was in the bass. It had another positive trait though, it was not "offensive", in the sense of adding objectionable and irritating sounds, but it did subtract a noticeable amount of musical information, which other amplifiers, even some that were much less expensive, would pass on. The Counterpoint SA-12 and SA-20, to give just two examples, were noticeably superior to the Krell in overall performance.
(NOTE: SA-12 and SA-20, were improved later and became the SA-120 and SA-220. The amplifier itself is the same; some protection circuitry was added and other minor changes, as I recall from my conversations with Mike Elliot in the late 90's.)
And, my claim to internet fame: My letter (which begins at the quotes)...
Counterpoint SA-220 Power Amplifier
Decades ago, I was a Counterpoint dealer. I felt at the time, and still do, that they were a highly innovative and value-priced company. I was very sad when they closed down, and I've been on a "mission" since then to ensure that they will never be forgotten. Recently, a long-time reader sent me an email with information that may prove useful for the owners of some of their excellent amplifier models. Here it is, with some minor editing and my bold:
"...My current system consists of a Rega Planar 3 into an Aragon 47k; A Theta Data into an Aragon D2A; those feed the Perreaux SM6 preamp which feeds the pair of Counterpoint SA-220s (as detailed later). Speakers are Thiel CS 2.2s.
Back in the late 80's/early 90's, I bought (new) one of the Counterpoint SA-220 amps. It was from a retailer in CT (I can't remember their name) in a converted old house. So they had several listening rooms, set up in a real house. That was a cool concept that worked well.
Anyway, I went there to audition a pair of B&K monoblocks, which they had modified. At the time, that was the 'hot set-up' as reviewed by Stereophile, whom I was subscribing to at the time. They had them warmed up and ready to go for me, in a small room. It was wide, but the system was across from a couch on the long wall, so distance to speakers was small-ish. (I recall it twice as long as wide)
I brought my (still) reference CD of Robbie Robertson's first record (1987) and listened. It sounded good- certainly better than the Hafler amp I was using at the time. But there was a big, black amp on the rack, sitting cold and idle. So I asked about it. 'That's a Counterpoint. Very nice amps but they require us to sell so many units per month to retain dealer status, an we don't operate like that.' Long story short; I auditioned it, ice cold (only allowing the requisite warm-up mute period) and W O W was I blown away. Yes, it was a bit more (they did discount is slightly to move it), but it was another plane of existence. Same system and room otherwise- just the amp changed, Night and day.
Fast forward a few years and after a move, it wasn't working. So it went back to Mike Elliot for repair. It was an inexpensive repair (broken wire connection) and came back STILL not working- same connection from the transformer was a hair short, and would break during transport vibrations. I fixed it myself with his guidance, and it has been fine (including a couple moves) since. I added some silicone o-rings on the tubes because I got them free from work, and I had the top open anyway. Did it do anything? Who knows...
As you probably know, these can be bridged to monoblocks as well. Something ridiculous like 600W into 8 ohms or something. Borderline welding power supply. Anyway, I happened across a slightly newer (than mine) second SA-220 and contacted Michael to see about possibly upgrading them both or other options which might be available to me. He let me in on a secret- I don't know if this applies to all power amplifiers, or just his design*...
I am using a Perreaux SM6 preamp (which I thought I learned about from your site years ago, but I don't see it there now**) and all the inputs are single-ended; however, it has a set of balanced outputs. From these, I had some Mogami cables made which terminate with un-grounded (shield is floated at the amplifier end) RCA connectors. Per Michael's direction, I connect the "+" to the R+ input and the "-" to the L+ input. Speakers are connected to the "red" output posts respecting similar polarity as input.
This essentially creates a 440w monoblock, rather than bridging, which as I understand bridged amps, also doubles the noise and distortion of the amp. Using this method, the noise and distortion stays where it was/is and the available output power is increased.
A little background: I'm a drummer. Have been since age six in all sorts of bands marching, concert, jazz, progressive rock etc. I have a very good understanding of how a bass drum SHOULD sound. They have a whole lot more 'life' to them than one would be led to believe. Subtle harmonics across the sonic spectrum. Point: This is the first time I have heard bass drum reproduced convincingly. I think, if one has this amp, and can find another (in good shape) wiring them this way is well worth the price of admission." (01/19)
*Caution - Make certain that the circuit of any Counterpoint amplifier is similar to the SA-220 before attempting the reader's wiring experiment.
**I was also a Perreaux dealer in the 1980s. I was impressed with how natural they sounded, especially compared to other transistor designs of their day. Even today, their power amplifiers and preamplifiers (as phono stages) are still listed as "References".