Tandberg Amplifier or something else?

sgleich

AK Subscriber
Subscriber
I have a mint Tandberg 3008a pre that I love and am looking for an amp to mate it with. (what a piece of art this thing is by the way) I am wondering if I should look for a Tandberg amp, 150wpc minimum or go another route. Having not heard one makes the decision a blind one. I am used to the HK sound and whatever adjective you would use to describe it. I usually just say "clear" or "clean". This combination would be replacing a wonderful sounding HK PM665 that is no slouch at 100wpc.

That said, I have admired the styling of Tandberg and the stats look good on the 3026A, 3016A and 3009A amps. I imagine any of these would be candidates for a recap or service as any amp I invest in, I would hope to use for some time. I am not opposed to spending some money to find that amp I can listen to and admire for some time even if it costs more than the official "value" of the amp itself.

Any hint on the sound qualities of Tandberg as opposed to HK?
Real world power to drive speakers?
Any qualified techs around that can restore a Tandberg?

Then again, I could go new or at least newer and go for a Bryston 4bSST2, Levinson 532H or something else with 200+ WPC and be done with it perhaps forever. Those options are in the 3g range in terms of price but am open to making an investment in something that puts a smile on my face each time I listen to it. I can say again, I love the HK sound, especially the Citation 22. Not really a "warm" guy but rather lean towards the clean and detailed with a nice high end and accurate, not booming bass.

Space: 12' deep by 16' wide room
Tandberg 3008a pre
Yamaha YP D71TT
Stanton 681 with stereohedron stylus
Schitt Modi Multibit
B&W DM16s
Listen to: Mostly Jazz from 1956-65 or so and favorite rock 60's to 70's.

Any thoughts? I am ready to head over to BT for a WTB but am not sure what to ask for.
 
My pick of those is the 3026A. The 3016A is a grip of cash to buy vs. the 3026A, so unless you need the extra HP and low impedance grunt of the larger one, I'd skip it. Same for the pair of 3009A which is effectively about the same thing as one 3016A, and equally overpriced lately. I have seen 3026A sell for reasonable prices so don't let that recent one that cleared $1,100 throw you. It does have a single power supply transformer vs. the HK but it's a pretty big toroidal type and you also get the feed-forward design and lovely Hitachi lateral MOSFET outputs. Built better too, IMO.

John
 
Thanks John. I was hoping you would respond. I sent you a pm regarding the preamp which while looking new and pristine has channels cutting in and out. What a disappointment as it really looks like it has never been used.

As for the amp, it does seem that the 3026a would be a good candidate. I would imagine that 150wpc should suffice.

In your honest opinion, will I realize an upgrade in sound with a 3026, 308a combo from the HK in my system?
 
I have a mint Tandberg 3008a pre that I love and am looking for an amp to mate it with. (what a piece of art this thing is by the way) I am wondering if I should look for a Tandberg amp, 150wpc minimum or go another route. Having not heard one makes the decision a blind one. I am used to the HK sound and whatever adjective you would use to describe it. I usually just say "clear" or "clean". This combination would be replacing a wonderful sounding HK PM665 that is no slouch at 100wpc.

That said, I have admired the styling of Tandberg and the stats look good on the 3026A, 3016A and 3009A amps. I imagine any of these would be candidates for a recap or service as any amp I invest in, I would hope to use for some time. I am not opposed to spending some money to find that amp I can listen to and admire for some time even if it costs more than the official "value" of the amp itself.

Any hint on the sound qualities of Tandberg as opposed to HK?
Real world power to drive speakers?
Any qualified techs around that can restore a Tandberg?

Then again, I could go new or at least newer and go for a Bryston 4bSST2, Levinson 532H or something else with 200+ WPC and be done with it perhaps forever. Those options are in the 3g range in terms of price but am open to making an investment in something that puts a smile on my face each time I listen to it. I can say again, I love the HK sound, especially the Citation 22. Not really a "warm" guy but rather lean towards the clean and detailed with a nice high end and accurate, not booming bass.

Space: 12' deep by 16' wide room
Tandberg 3008a pre
Yamaha YP D71TT
Stanton 681 with stereohedron stylus
Schitt Modi Multibit
B&W DM16s
Listen to: Mostly Jazz from 1956-65 or so and favorite rock 60's to 70's.

Any thoughts? I am ready to head over to BT for a WTB but am not sure what to ask for.
I am a Tandberg fan and have many pieces. I have 3008 with a 3006 amp and a 3008 with the 3026. I think the 3026 sounds better and sounds every bit as good as the bryston you mentioned. I think better. That is why i have so much. I also agree with the dubin1 that the 3016 is too expensive and hard to find. I have never heard one, and I have read they are more trouble prone.
 
Thank you. I bought a 3026a that is going right to a Tandberg tech to be evaluated and perhaps restored. It will be a few weeks until i can hear them together. I have admired these from afar for years for their cool design and have read much about thier sound.

Do you or John listen to Vinyl through the pre? Curious about the MC stage. I only have MM carts currently but would like to find a well matched cart for the 3008a and my Yamaha YP D71. Thanks.
 
I have the 3002A, not the 3008A. I use its phono stage, in preference to other full-function preamps with very good phono replay, and several stand-alone phono stages which I own or have tried in my system at the urging of the hi-end dealers I know. So far nothing has tempted me away from the Tandberg. I must add that its quality came as a complete surprise, it greatly exceeded my expectations. The MM and MC stages are entirely separate and tailored to each type's needs — many MC stages simply use a small SUT, or a few op-amps, feeding into the MM stage. The 3002A lacks adjustments for MC, though the MM has three settings each for impedance and capacitance — but it has handled nine or ten different LOMCs with aplomb, with no shrill or dull highs, and each cartridge's "voice" is rendered distinctly and authoritatively. The 3008A is more sophisticated than mine, and may have more loading options. I think you'll be delighted with it.

I can't compare it to anything from HK — my last HK component was a kit for an all-tube integrated I built in my dorm room at Columbia freshman year, aeons ago.
 
I have the 3002A, not the 3008A. I use its phono stage, in preference to other full-function preamps with very good phono replay, and several stand-alone phono stages which I own or have tried in my system at the urging of the hi-end dealers I know. So far nothing has tempted me away from the Tandberg. I must add that its quality came as a complete surprise, it greatly exceeded my expectations. The MM and MC stages are entirely separate and tailored to each type's needs — many MC stages simply use a small SUT, or a few op-amps, feeding into the MM stage. The 3002A lacks adjustments for MC, though the MM has three settings each for impedance and capacitance — but it has handled nine or ten different LOMCs with aplomb, with no shrill or dull highs, and each cartridge's "voice" is rendered distinctly and authoritatively. The 3008A is more sophisticated than mine, and may have more loading options. I think you'll be delighted with it.

I can't compare it to anything from HK — my last HK component was a kit for an all-tube integrated I built in my dorm room at Columbia freshman year, aeons ago.
I also have a 3002 preamp as well as two 3008s. I cannot really hear much difference. The volume and balance pots are upgraded. I also have a top of the line Bryston, a Hafler class A, ad three more I built myself. The Tanbergs are still the best. My homemade one second.
 
I got my Tandbergs casually. They were dealer demo models, with little use and handled carefully by a skilled guy. I got the 3002A, 3006A and 3011A — he had the CDP but wouldn't part with it. I traded 2 speakers and a LOMC for them. No cash, so very lucky.

I was all-tube in those days, and just wanted a good SS system as backup. I didn't use them, just stored them for that eventuality. Turned out to be 20 years, so to some extent they're still "as new".

I didn't really know what they were, I thought they were on the NAD-Rotel level (I'm not knocking NAD-Rotel). I loved the elegant look of the 3000 series, not a single aesthetic faux pas — but that too misled me, maybe "too pretty", the "dumb blonde" cliché (I'm not knocking blondes). I think many people share this misperception — when I'm in audiophile company and say I'm using Tandberg, I don't see admiring eyes.

So when I finally hooked them up as a system, I was astonished how good they are. Only a week after this revelation, I most fortuitously found a 3-piece silver system at a thrift shop — 3002, 3003, 3011 — for $100. They were not "as new", dirty and grimy, but they cleaned up beautifully with only one small scratch. And they all work, but for the tuner's memory and presets, a common flaw as you know. It truly is one of the Great Tuners (though mine needs aligning — can anyone tell me what that might cost?)

This anecdote contributes nothing to the thread, it's just a story I wanted to share. I'm a Tandberg Man by chance. Or destiny.
 
Great story, thank you. So still... I have heard Tandberg but will soon. That aestetic is what got me initially long ago in a stereo ad. And "if those sound as good as they look..." was my first reaction.
I then ran across them being talked about when i joined AK. I have researched them off and on since and decided to take the plunge with the 3008a as a start.

So i am really going for it blind (or deaf) in purchasing these nice looking units and having them "restored". I am sure it will be an ongoing reward.

I am curious about the mm mc inputs on the pre and what might be best. Low output MC, high output MC, MM?
 
Catching up after CES - and yet another sinus infection, I really hate Vegas.

Both EQ models (3002A and 3008A) are prone to dropping channels due to cracked solder joints. Open it up and inspect carefully EVERY connection point where a physically mounted component is soldered to the board or something that can move mechanically is soldered. That includes jumper boards, switches, pots, headers, etc. Resolder anything that's dry-looking, cratered or cracked. The good news is that shouldn't take more than a half hour and not much else ever breaks on these two.

Good pick on the 3026A, should enjoy that one.

John
 
Both EQ models (3002A and 3008A) are prone to dropping channels due to cracked solder joints. Open it up and inspect carefully EVERY connection point...
Should I do this now (or soon) as a preventive measure, or wait until a fault develops? I ask because I've recently acquired a knack for damaging almost everything I touch, so not touching my 3002A is the best policy.

Also, have you any idea of how age might affect my units, which have a somewhat unique history — used sparingly as dealer demos when new, then not used at all until 2 years ago. Over 20 years in hibernation. Does that make a significant difference?
 
I have not boxed up the Pre to send back to the seller. He is willing to fix it but imagine the issue is exactly what John mentions. Slight pressure on the top or tilting it cuts channels in and out. I am willing to open it up and look around but am not sure about my soldering skills! I can replace a cap in a speaker but am not sure I should be fine-tuning my soldering skills inside this untouched preamp.

I have a question about the MC input. I know nothing about MC and gain. Am I reading it right that the MC section has a 60 gain on a 3008a? If so, how do I select a MC cart that would be adequately loud? Sorry for my complete lack of knowledge here...
 
Should I do this now (or soon) as a preventive measure, or wait until a fault develops? I ask because I've recently acquired a knack for damaging almost everything I touch, so not touching my 3002A is the best policy.

Also, have you any idea of how age might affect my units, which have a somewhat unique history — used sparingly as dealer demos when new, then not used at all until 2 years ago. Over 20 years in hibernation. Does that make a significant difference?

I would image that makes them great candidates to have a fresh life of music making. At least they have not been abused or driven hard.
 
I have a question about the MC input. I know nothing about MC and gain. Am I reading it right that the MC section has a 60 gain on a 3008a? If so, how do I select a MC cart that would be adequately loud? Sorry for my complete lack of knowledge here...
I don't know the gain on my 3002 or 3002A. But I use MCs around 0.2mv (not the all-time lowest but quite low) and they play more than loudly enough, without discernible noise. I haven't tried to match Metallica live concert levels (I have no Metallica), it might fail that test, but it's ample for all other realistic challenges.
 
I mostly play Jazz from about 1956 to 1965 but have been known to play a few of my favorite rock LP's. Neil Young & Crazy Horse to Wings Speed of Sound and in between though most of my rock is in high-res digital. All of my CD's are boxed up and may never see the light of day again. Jazz is Dexter Gordon, Lou Donaldson, Gene Ammons, Art Pepper, Grant Green, Burrell, Blakey, Donald Byrd, Lee Morgan etc. More melodic than avant garde and I love the sound of the cymbals...

Thanks for that answer. Reading about MC cartridges is enough to make my head spin.
 
I seem to have found the source of the channel cut out on the 3008a. Just a tiny bit of pressure here will get both channels going. What is that blue cap thing? Some kind of switch? Pardon my ignorance.


Testing with HK Citation 22. Sounds amazing when both channels are working. All switches etc. are clean and clear. Checked tuner and digital inputs, all good and the MM stage sounds just amazing.

I was going to send it back to seller to fix but I may just send it to the tech that will be doing the 3026a.



3008a-channel-cut-out.jpg
 
That's a signal muting relay, and one of the places to look for solder failure. The part itself is pretty robust, have never had to replace one. It's based on reed switches, so the actual contacts are sealed.

That said, pressing there is probably moving a cracked joint elsewhere because you move the board enough to cause it. I do find bad solder at those relays occasionally on the 3001/3001A tuners but it's not as common on these preamps. Look at the places where the boards plug in to each other, where the plug-in PCB headers connect stuff (both sides of the connections), and at the switches and pots that bolt through the front panel. The RCA jacks are usually ok, can't remember if if there's a plug in board back there w/o looking at one of mine, but if there is check those connections as well. The actual components like resistors, transistors, etc. don't usually have solder failures, it's where either two boards connect or something rigid like a pot or switch is both mounted physically and also soldered to the board, where these failures occur.

If I had one in front of me that wasn't exhibiting systems, I would still check it at least. It's not hard to do visually and you'll probably find some joints that are one impact away from breaking electrically. As to whether usage plays a factor, yes absolutely - but probably more due to that mechanical input vs. hours of electrical usage. Thermal cycling from use is part of that cracked solder equation though, so it has some impact.

John
 
I screwed up my courage, watched a few videos and opened it up again. Under magnification the solder on all pins on that header and the relay were cracked. I reflowed them! I found a few more and did those as well. Sounds great and no channel cutout.
 
Excellent. These really are very well-built and reliable units, aside from that one issue with cracked solder.

John
 
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