Nice amplifier This was in use in a home theater setup-removed and put away placed in storage for some time ***please note This unit Does light up Needs to be tested otherwise will be listed and sold as a non tested unit Additional photos will be posted shortly Please take a look at the pictures and let me know if you have any questions Thanks and good luck needs a new home where can once again be appreciated and used

Acurus Mondial A150 2-Channel Power Amplifier No Power - For Parts/Repair Unit does not power on. Unable to test further. Does NOT come with power cable. Sold AS-IS // FOR PARTS // NO WARRANTY // NO RETURNS! Will ship out in one business day.

Power tested and includes power cable. Case in great shape with minimal scuffing and no eyesores. See pics for details. Ships fast and securely via FedEx. Amplify your sound with the Acurus A250 2 Channel Stereo Power Amplifier. This black amplifier, made in the USA by Mondial Designs Ltd, has a power output of 250 W and features stereo L/R RCA audio inputs, banana speaker jacks, and 2 outputs. The amplifier class is AB and it has a number of channels of 2, with a type of power amplifier. The Acurus A250 is a high-quality amplifier that will enhance your home audio experience. It is perfect for those who want to add more power to their stereo system without compromising on sound quality. The amplifier is designed with the customer in mind and is easy to use. Get your hands on the Acurus A250 today and elevate your audio experience.

Enhance your home audio experience with the ACURUS ACT3 preamplifier by Mondial. This preamplifier is designed to provide high-quality sound output and supports Dolby surround sound formats. It is perfect for those who want to enjoy their favorite movies and music with exceptional audio quality. The brand Acurus is known for its superior performance and reliability, making it a great investment for any home audio enthusiast. The preamplifier is easy to install and use, providing a seamless audio experience to any home entertainment system.

Acurus Mondial A150 ~ 2-Channel Power Amplifier 150 Watt per Channel into 8 Ohms __________________________________________________________________________________________ The photos represent exactly what you will receive. If it is not pictured, it is not included in the order. Please utilize the zoom feature on the photos to examine the cosmetics of the item for yourself. For orders with Free Shipping, we reserve the right to use the most cost-effective shipping method available. In-store pickup is only available by prior arrangement. Shipping: We ship all items within one business day of receiving your payment, excluding weekends and holidays. Additional shipping fees will apply for all Alaska, Hawaii, and U.S. Territories (Guam, Puerto Rico, Virgin Islands, etc.) shipments. Shipping a large item to a PO Box, APO, or AFO zip code will also incur additional shipping fees. Damages: If items are damaged during transit, a claim should be filed with the carrier. We can file the claim on your behalf if you wish, but please contact us immediately if this happens, as we cannot be held responsible for how packages are handled during shipping. Please save the box and all packaging material for carrier inspection. Feedback: We include these additional lines for our mutual protection, but if you check our feedback, you can trust that we go out of our way to ensure the satisfaction of our buyers, as our business is only as good as our reputation. Please contact us immediately if there is a problem, as we cannot solve it if we are not made aware of it. Please do not leave bad feedback if there is an error but give us the chance to make it right. Disclaimer: All items that we list on eBay are in good working condition at the time of listing, unless otherwise noted. If we are unsure, we will indicate it in the listing. Please do not expect us to take back an item if it has not been fully tested. Although it worked when we tested it, there are no warranties offered or implied. Please ensure that you know what you are purchasing. We do not guarantee compatibility with your software, hardware, or electronic equipment, nor can we be held responsible for buyers remorse. We want you to get what you want, so please understand your risks and ask all questions before making a purchase. Not all equipment can be tested for 100% functionality. Some items are tested for basic power-up capability only. If something is not in the pictures or description, it is most likely not included, unless it is specifically listed as included.

Acurus Preamp Processor Act 3 Works Perfect In Very Very Good Condition Comes with remote Dolby Pro-Logic, Dolby Digital, and DTS Decoding 20 Bit D/As and A/Ds 11 Digital Inputs (8 Coaxial, 3 Toslink), 4 Sets A/V inputs, 4 sets Audio-Only Inputs; Outputs Include 2 Center and 2 Subwoofer Acurus, a division of Mondial, aimed at the entry level market of high end, started shipping the ACT-3 recently, a surround processor/preamplifier equipped with Dolby Pro Logic (DPL), Dolby Digital (DD - AC-3), and DTS decoding. The Audio/Video crowd has anticipated the release of the ACT-3 for some time now. Backorders still filling, I had some difficulty obtaining a product sample, but I would not be deterred from the mission JJ put forth, and yanked a string for a date with this mysterious black box. All the hubbub elicits an interesting point though. Many other manufacturers have already placed similar gadgets on the market, racing to cash in on the craze for the latest available. Mondial, a rather conservative company in statement and design as well as product releases, chose to postpone the ACT-3's birth to the world, making revisions until they felt comfortable with reliability and compatability issues. Since one of the methods Mondial employs to achieve a high value/price ratio lies in long production runs, it becomes all that much more important to nail a design from the get go. In the end, the brainiacs settled on a 5.1 (of course) preamp with DPL, DD, DTS, a handful of generic DSP music modes for stereo material, and most importantly, upgradeable firmware and software. Should any new format emerge, such as a 5.1 music format incorporating Meridian's Lossless Packing (MLP) data stream, the ACT-3 may incorporate the decoding. That in itself doesn't come off as unique. At least five or six processors I know of do that. The fact that the ACT-3 clocks in under two Gs doesn't sacrifice much, if anything, in build quality, and isn't made by a mass market manufacturer distinguishes this critter. Truth be told, despite us gearheads who slobber over the stoic 1/4 thick, anodized, brushed alluminum faceplates of our favorite specialty audio companies, those who cater more to the mainstream (mass market) have a very real advantage when it comes to producing the best raw performance for the dollar . . . if they decide to pursue the course. That aforementioned advantage is, of course, mass production. Because of the resources in place to satisfy the competive requirements of large scale production, the big guys can sell a $1,000 receiver with Dolby Digital for the same price that a specialty manufacturer can offer a separate preamp with the same or even less features. And, the receiver as a processor might even win out in terms of performance in addition to wearing a few extra gizmos. If a Dolby Digital processor/preamp for under a grand fits the shopping criteria, performance-wise, a mass market receiver wages the best bet. Even if a specialized company should choose to stray near the territory of the big kids on the block, not many do for precisely that reason. The little companies, though a scrappy bunch, don't have the facilities or the financial clout to generate products in volume sufficient to set the cost per unit low enough. If they did, they still lack the advertising muscle to grab enough of the market to unload the necessary inventory. They may offer a better quality product in terms of build, but even after streamlining the manufacturing process, it still costs more. Mondial accepted that fact, but chose to skirt the border with the Acurus ACT-3. At $1,799 retail, it fills a nitch above the typical mass market stuff, yet ducks the $2,500-and-up benchmarks that typically swim gill to gill with the biggest fish around (such as the Yamaha DSP-A1, the B&K Ref 20, Lexicon DC-1, and Meridian 565.) Plus, the ACT-3 brings a pedigree to the table. Acurus has previously earned accolades for their power amplifiers, as well as the predecessor of the ACT-3, the ACT-1. Mondial's Aragon line fronts some heavies in the respective ranks as well. The facade of the ACT-3 makes me think in some ways of a military school cadet. Clean, yet stark, spiffed up but simple, functional but still lean to the point of avante garde, even perhaps attempting an elitist pose. Only a single knob and a handful of diminutive buttons decorate the face plate. Combined with the featured inputs, outputs, ports, and software, the ACT-3 looks dressed to seduce the custom installer as much as the typical A/V geek like myself. Acurus ACT-3 Rear Panel The rear panel sports a collection of inputs that allow eight total sources, each with their own analog and coaxial digital audio jacks. Four composite and two S-Video inputs, as well as three Toslink jacks feed the system, which then spits the typical 5.1 preamplifier outs (two center and two mono subwoofer outputs) as well as two pairs of analog audio outputs, two composite video outputs, and one S-Video output for purposes of recording and monitoring as the user sees fit. In addition, a RS-232 connection, an IR input port, and 5V trigger lend a lot of installation flexibility. The custom software options, accessible only by simultaneously turning up the volume knob and powering on, allows separate On/Off IR commands for Xantecish IR repeaters serving automation systems, as well as an auto On/Off, and programmable input labels (including 8-Track). Get out the Bee Gees! The setup procedure did feel a bit strange. Not bad, just different. Instead of directly accessing the individual parameters, the path took a roundabout way in order to make the process itself simpler. For instance, to set the parameters for a given playback mode (DPL, DD, DTS, etc.), the user must activate that mode through the auto switching feature by feeding software of the specific format, and then enter the programming menu and set delay times, levels, bass management, or whatever. And, in cases like bass management, one can't directly control the state of the 5.1 speakers, but rather choose from five preset configurations available, none of which will not allow the main left and right channels to share the LFE channel with the subwoofer output, nor can the sub level be set with test tone calibration, but must find its groove during listening with program material. Also, even though a configuration exists for five full-range speakers, as well as full-range main and rear speakers, it isn't possible to allow full-range operation of the left, center, and right channels while limiting bass content to the rear. Granted, that's an unlikely scenario, but in situations with perforated screens, it's plausible to have small rear speakers mounted on the side walls with three matching full-range speakers in the front All of these issues may be addressed through external hookup rigging, but it's still a departure from the more common setup procedure that allows more direct access. Once the parameters are set for each mode, they remain as a separate default for each, even when a user adjusts levels to compensate for personal taste with particular program material. Although the setup does diverge from the conventional, it also makes it difficult for the non-techno-inclined to get things really out of whack. Select the source, press play on that source, adjust your volume, and away you go. This in itself will save many users, salesman, and installers the frustration, time, and expense of unnecessary service calls. If you're a hobbyist in the A/V arena, you might wonder how difficult a time a person could have watching a movie through their stereo. If so, you might be shocked. I've seen customers walk into a store, steaming mad, convinced that a receiver was defective only because they thought the effort to open the manual to the trouble-shooting section and follow the suggestion to press the Tape Monitor button too inconvenient. Acurus ACT-3 Remote ControlThe programmable IR remote operates most major brands of equipment, but cannot learn IR commands from other sources. I found codes to operate the basic functions of my own stuff, but couldn't get a code to operate an ancient RCA television perched in my parents' entertainment center. Four Macro buttons allow up to eight steps of the programmed commands. A fully learnable remote with more IR codes, or at least a more documented brand listing in the manual would have offered a more complete package, but the ACT-3's price requires a lean budget, and anyone can spend another $139 on a remote which will do just that. Here it comes, the place for statements of drama and astonishment, classically reserved for a writer to exchange hyperbole for fame by means of an advertisement quote in some glossy rag. Keep waiting dudes. If you want glossy, polish your screen. We began the engagement with a two-channel shootout between the level-matched (within 0.5 dB) output of the ACT-3 and the older but excellent JVC XLZ-1050 CD Player which I also used as a transport to test the DACs in the ACT-3, compared to the DACs in the player itself. Switching between the two with a passive controller, I did this test primarily to evaluate the performance of the ACT-3's onboard DACs and analog output stages by themselves, reasoning that they would ultimately become the limiting factor in any surround mode. Except for proprietary DSP processing on some models, Dolby Digital and DTS decoding chips are primarily routing data. Stereo, by its limited nature, can show subtleties in the chain of reproduction to a flawed extent. What 5.1 recordings can potentially do by brute force, stereo must accomplish by nuanced trickery. Besides, even though I believe that more than two channels are necessary to significantly advance the state of the art of music reproduction, 5.1 recording in general hasn't standardized, let alone matured. Currently, 5.1 mixes reside primarily in the realm of cinema, a world that often seems oblivious to the virtues of fidelity. With most recordings of average quality, the difference between the ACT-3 and the JVC was slight or nil. The most revealing turns came with material such as Mars Lasar's Eleventh Hour. With Q-sound and Head Related Transfer Function techniques, the music can either immerse the listener in an ocean of dimension, or simply shimmer some sounds around the old bean. Using the JVC as the analog source, I could only sink a smile into the sheer ridiculous but convincing unbelievability - thunderstorms, wolves, and little infant girls dance though my mind to the cadence of some mad magician. Using the ACT-3 essentially as an outboard DAC, all the performers showed up, but couldn't make me shudder. Bass still had good presence. Midrange and treble avoided any irritating hash, but couldn't open up the miracle I have come to lust after. To be fair, the ACT-3 isn't an outboard dedicated two-channel DAC, and I haven't heard a surround processor that could function well as one until they move over that $2,500 mark, but hey, I can hope can't I? A variety of movies in Pro Logic and Dolby Digital slammed through the ACT-3. The Dolby Digital soundtrack of Toy Story wrapped me up with little Maggie (my daughter) on the lap - a father and daughter enjoying the sweet spot while mom had to sit to the side. Throughout our moony session, the ACT-3 followed instructions to the T, allowing our enjoyment to jump along without impairment. DTS music discs such as Alan Parson's On Air alluded to the impressive possibilites of 5.1 music recordings, but didn't quite knock me on my tail. All in all, the processing surpassed the older Yamaha DDP-1 DD Decoder, and pulled in closely to the Millenium 5.1 DTS Decoder, though the differences each way weren't vast. Considering that a good Dolby Digital receiver and an outboard DTS decoder such as the Millenium would run about the same as the ACT-3, that's actually pretty good. The ACT-3's built-in digital surround decoding modes DD and DTS) mean less cable, less space, and a more attractive, more solidly built product. Should internal amps and extra features like tone controls add value for the prospective purchaser, the receiver combo becomes more attractive. However, if somebody doesn't want non-critical controls or internal amplifiers, the ACT-3 acquires top billing. Though features tend to take a back seat in high-end applications, many of them do come in handy. Personally, I would have liked the option of stereo subwoofer outs such as those on the Yamaha DSP-A1, perhaps presets, and adjustable subwoofer crossover with a variety of slopes and crossover points to choose from. A digital five-band adjustable parametric EQ wouldn't hurt either. Still, I can't expect a beverage to taste like good Scotch but have the price tag of a 40 oz. bottle of King Cobra. Nothing can be everything to everyone. Any attempt to do so always leads to failure in more respects, and at under $2,000 for a product like the ACT-3, such compromise would be suicidal. Acurus left the gizmos off to keep the costs down and build quality up, and the build quality is really something. It's not of the same caliber as Mondial's own Aragon line, Krell's KAV products, or the beautifully sculpted Balanced Audio Technology gear in terms of finish, but the chassis does resist flexing remarkably well, exuding a solid and trustworthy feel to the touch. With quality of this kind, one may often take a bit of pride, and a sliver of satisfaction during operation. There is value in the tactile experience of audio equipment. It is, after all, the whole experience that shapes the curvature of the lips at the end of the bout. Now before anyone goes running out with a checkbook flapping from the pocket, be aware of a couple quirks that we should address: Since the processor controls each channel's analog volume control digitally, with 70 discrete steps, at very quiet listening levels, the user can't adjust the front-to-back and left-to-right levels very far before losing all sound on one side, because the processor can't turn the levels down any more without muting them, which it does. This fact isn't crippling, but a little annoying if you're trying to listen to surround material late at night with a kiddy in a nearby bed. No one I know has ever listened to movies that low, so for typical situations it probably won't ever arise. The noise floor of the ACT-3 is substantial, both electronically in the form of a background hiss, and mechanically through transformer hum. The effects in use will depend not only on the ambient noise levels in your listening room, but the gain/sensitivity of your amp/speaker combination. The electronic noise is constant regardless of volume up to unity (gain =1), which would overload most amplifiers, and then increases when the volume is set above that. Level controls available with some amps can alleviate the problem, maximizing the S/N ratio between the preamp output and amplifier intput. With my Aragon 8008BB, which has a voltage gain of 28 dB, and Infinitys which have a voltage sensitivity of 87dB/2.83 volts/1 meter, I could hear the electronic noise two meters away. Farther than that, the electronic noise became lost underneath the slight mechanical hum of the ACT-3's transformer. Since I sit about 3 meters away, hiss from the front wasn't much of an issue. With a Sunfire amp (the two channel, 300 w/ch version) though, driving M&K satellites to the rear, about two meters away from my head, I could hear noise in the rear channels during low-level playback, which did bug me a little. It didn't bother me enough to construct attenuator pads for the rear channel amp inputs, which would have lessened the effect substantially. To put it in context, a computer in the same room would mask all of the above. The only time that this might become a really serious issue is with very sensitive speakers placed very close to listeners in a quiet room at low listening levels. Otherwise, the noise you don't want to hear will get lost in the noise you do. Summary The Acurus ACT-3 has stacks of competition from above and below in terms of price. In my opinion, it will appeal mostly to those who don't want to play with their food, but simply eat it. The ACT-3 is a set, forget, and romp style brick. It looks pretty nice, sounds pretty nice, and is difficult to screw up. Couple that to the upgradeable architecture and price tag, I'd venture to say it's a fair deal.

Made in USA ???????????????? Acurus A250 Stereo Power Amplifier 250w x2 (8 ohm) 350w x2 (4 ohm) Mondial Designs “The Acurus A250 is a stunningly transparent amplifier. While rated at 250 Watts per channel, on the test bench it has easily produced 315 watts into an 8 ohm load. Very musical and well nuanced” Power output: 250 watts per channel into 8? (stereo) Frequency response: 20Hz to 20kHz Total harmonic distortion: 0.06% Input sensitivity: 1.2V Signal to noise ratio: 110dB Power amp is in excellent working condition. Only issue is the power light flickers while it’s on. Amplify your audio experience with the Acurus A250 Power Amplifier. This black, 2-channel amplifier features stereo L/R RCA audio inputs and banana speaker jacks as audio outputs. With a power output of 250 W, this amplifier is perfect for enhancing your home audio and delivering a powerful sound experience. The A250 also has 2 inputs and 2 outputs, making it easy to connect to your audio system. Whether youre a music enthusiast or a movie buff, this power amplifier is a must-have for any home audio setup.

Update: Do not expect a demo video because e-bay has an imaginary review team that never reviews videos in a respectable amount of time. Sounds incredible. Please unmute and play demo with volume up. Has some scratches as well as some scratches and paint on nameplate. (condition stated above) With all this being said, I do not do returns. You still have e-bays buyer protections. Because of the time, effort, nature of item, etc..etc... All vintage items at the end of the day are being sold 100% as-is, as-described & as-pictured with no returns. This item once again does work. Please check out my other listings too. I do ship after e-bay and b.o.a. payout so its vital for optimal shipping times to get your payment in right away. Thank you for your purchase.

Acurus Preamp Processor Act 3 Works Perfect In Very Very Good Condition Comes with remote Dolby Pro-Logic, Dolby Digital, and DTS Decoding 20 Bit D/As and A/Ds 11 Digital Inputs (8 Coaxial, 3 Toslink), 4 Sets A/V inputs, 4 sets Audio-Only Inputs; Outputs Include 2 Center and 2 Subwoofer Acurus, a division of Mondial, aimed at the entry level market of high end, started shipping the ACT-3 recently, a surround processor/preamplifier equipped with Dolby Pro Logic (DPL), Dolby Digital (DD - AC-3), and DTS decoding. The Audio/Video crowd has anticipated the release of the ACT-3 for some time now. Backorders still filling, I had some difficulty obtaining a product sample, but I would not be deterred from the mission JJ put forth, and yanked a string for a date with this mysterious black box. All the hubbub elicits an interesting point though. Many other manufacturers have already placed similar gadgets on the market, racing to cash in on the craze for the latest available. Mondial, a rather conservative company in statement and design as well as product releases, chose to postpone the ACT-3's birth to the world, making revisions until they felt comfortable with reliability and compatability issues. Since one of the methods Mondial employs to achieve a high value/price ratio lies in long production runs, it becomes all that much more important to nail a design from the get go. In the end, the brainiacs settled on a 5.1 (of course) preamp with DPL, DD, DTS, a handful of generic DSP music modes for stereo material, and most importantly, upgradeable firmware and software. Should any new format emerge, such as a 5.1 music format incorporating Meridian's Lossless Packing (MLP) data stream, the ACT-3 may incorporate the decoding. That in itself doesn't come off as unique. At least five or six processors I know of do that. The fact that the ACT-3 clocks in under two Gs doesn't sacrifice much, if anything, in build quality, and isn't made by a mass market manufacturer distinguishes this critter. Truth be told, despite us gearheads who slobber over the stoic 1/4 thick, anodized, brushed alluminum faceplates of our favorite specialty audio companies, those who cater more to the mainstream (mass market) have a very real advantage when it comes to producing the best raw performance for the dollar . . . if they decide to pursue the course. That aforementioned advantage is, of course, mass production. Because of the resources in place to satisfy the competive requirements of large scale production, the big guys can sell a $1,000 receiver with Dolby Digital for the same price that a specialty manufacturer can offer a separate preamp with the same or even less features. And, the receiver as a processor might even win out in terms of performance in addition to wearing a few extra gizmos. If a Dolby Digital processor/preamp for under a grand fits the shopping criteria, performance-wise, a mass market receiver wages the best bet. Even if a specialized company should choose to stray near the territory of the big kids on the block, not many do for precisely that reason. The little companies, though a scrappy bunch, don't have the facilities or the financial clout to generate products in volume sufficient to set the cost per unit low enough. If they did, they still lack the advertising muscle to grab enough of the market to unload the necessary inventory. They may offer a better quality product in terms of build, but even after streamlining the manufacturing process, it still costs more. Mondial accepted that fact, but chose to skirt the border with the Acurus ACT-3. At $1,799 retail, it fills a nitch above the typical mass market stuff, yet ducks the $2,500-and-up benchmarks that typically swim gill to gill with the biggest fish around (such as the Yamaha DSP-A1, the B&K Ref 20, Lexicon DC-1, and Meridian 565.) Plus, the ACT-3 brings a pedigree to the table. Acurus has previously earned accolades for their power amplifiers, as well as the predecessor of the ACT-3, the ACT-1. Mondial's Aragon line fronts some heavies in the respective ranks as well. The facade of the ACT-3 makes me think in some ways of a military school cadet. Clean, yet stark, spiffed up but simple, functional but still lean to the point of avante garde, even perhaps attempting an elitist pose. Only a single knob and a handful of diminutive buttons decorate the face plate. Combined with the featured inputs, outputs, ports, and software, the ACT-3 looks dressed to seduce the custom installer as much as the typical A/V geek like myself. Acurus ACT-3 Rear Panel The rear panel sports a collection of inputs that allow eight total sources, each with their own analog and coaxial digital audio jacks. Four composite and two S-Video inputs, as well as three Toslink jacks feed the system, which then spits the typical 5.1 preamplifier outs (two center and two mono subwoofer outputs) as well as two pairs of analog audio outputs, two composite video outputs, and one S-Video output for purposes of recording and monitoring as the user sees fit. In addition, a RS-232 connection, an IR input port, and 5V trigger lend a lot of installation flexibility. The custom software options, accessible only by simultaneously turning up the volume knob and powering on, allows separate On/Off IR commands for Xantecish IR repeaters serving automation systems, as well as an auto On/Off, and programmable input labels (including 8-Track). Get out the Bee Gees! The setup procedure did feel a bit strange. Not bad, just different. Instead of directly accessing the individual parameters, the path took a roundabout way in order to make the process itself simpler. For instance, to set the parameters for a given playback mode (DPL, DD, DTS, etc.), the user must activate that mode through the auto switching feature by feeding software of the specific format, and then enter the programming menu and set delay times, levels, bass management, or whatever. And, in cases like bass management, one can't directly control the state of the 5.1 speakers, but rather choose from five preset configurations available, none of which will not allow the main left and right channels to share the LFE channel with the subwoofer output, nor can the sub level be set with test tone calibration, but must find its groove during listening with program material. Also, even though a configuration exists for five full-range speakers, as well as full-range main and rear speakers, it isn't possible to allow full-range operation of the left, center, and right channels while limiting bass content to the rear. Granted, that's an unlikely scenario, but in situations with perforated screens, it's plausible to have small rear speakers mounted on the side walls with three matching full-range speakers in the front All of these issues may be addressed through external hookup rigging, but it's still a departure from the more common setup procedure that allows more direct access. Once the parameters are set for each mode, they remain as a separate default for each, even when a user adjusts levels to compensate for personal taste with particular program material. Although the setup does diverge from the conventional, it also makes it difficult for the non-techno-inclined to get things really out of whack. Select the source, press play on that source, adjust your volume, and away you go. This in itself will save many users, salesman, and installers the frustration, time, and expense of unnecessary service calls. If you're a hobbyist in the A/V arena, you might wonder how difficult a time a person could have watching a movie through their stereo. If so, you might be shocked. I've seen customers walk into a store, steaming mad, convinced that a receiver was defective only because they thought the effort to open the manual to the trouble-shooting section and follow the suggestion to press the Tape Monitor button too inconvenient. Acurus ACT-3 Remote ControlThe programmable IR remote operates most major brands of equipment, but cannot learn IR commands from other sources. I found codes to operate the basic functions of my own stuff, but couldn't get a code to operate an ancient RCA television perched in my parents' entertainment center. Four Macro buttons allow up to eight steps of the programmed commands. A fully learnable remote with more IR codes, or at least a more documented brand listing in the manual would have offered a more complete package, but the ACT-3's price requires a lean budget, and anyone can spend another $139 on a remote which will do just that. Here it comes, the place for statements of drama and astonishment, classically reserved for a writer to exchange hyperbole for fame by means of an advertisement quote in some glossy rag. Keep waiting dudes. If you want glossy, polish your screen. We began the engagement with a two-channel shootout between the level-matched (within 0.5 dB) output of the ACT-3 and the older but excellent JVC XLZ-1050 CD Player which I also used as a transport to test the DACs in the ACT-3, compared to the DACs in the player itself. Switching between the two with a passive controller, I did this test primarily to evaluate the performance of the ACT-3's onboard DACs and analog output stages by themselves, reasoning that they would ultimately become the limiting factor in any surround mode. Except for proprietary DSP processing on some models, Dolby Digital and DTS decoding chips are primarily routing data. Stereo, by its limited nature, can show subtleties in the chain of reproduction to a flawed extent. What 5.1 recordings can potentially do by brute force, stereo must accomplish by nuanced trickery. Besides, even though I believe that more than two channels are necessary to significantly advance the state of the art of music reproduction, 5.1 recording in general hasn't standardized, let alone matured. Currently, 5.1 mixes reside primarily in the realm of cinema, a world that often seems oblivious to the virtues of fidelity. With most recordings of average quality, the difference between the ACT-3 and the JVC was slight or nil. The most revealing turns came with material such as Mars Lasar's Eleventh Hour. With Q-sound and Head Related Transfer Function techniques, the music can either immerse the listener in an ocean of dimension, or simply shimmer some sounds around the old bean. Using the JVC as the analog source, I could only sink a smile into the sheer ridiculous but convincing unbelievability - thunderstorms, wolves, and little infant girls dance though my mind to the cadence of some mad magician. Using the ACT-3 essentially as an outboard DAC, all the performers showed up, but couldn't make me shudder. Bass still had good presence. Midrange and treble avoided any irritating hash, but couldn't open up the miracle I have come to lust after. To be fair, the ACT-3 isn't an outboard dedicated two-channel DAC, and I haven't heard a surround processor that could function well as one until they move over that $2,500 mark, but hey, I can hope can't I? A variety of movies in Pro Logic and Dolby Digital slammed through the ACT-3. The Dolby Digital soundtrack of Toy Story wrapped me up with little Maggie (my daughter) on the lap - a father and daughter enjoying the sweet spot while mom had to sit to the side. Throughout our moony session, the ACT-3 followed instructions to the T, allowing our enjoyment to jump along without impairment. DTS music discs such as Alan Parson's On Air alluded to the impressive possibilites of 5.1 music recordings, but didn't quite knock me on my tail. All in all, the processing surpassed the older Yamaha DDP-1 DD Decoder, and pulled in closely to the Millenium 5.1 DTS Decoder, though the differences each way weren't vast. Considering that a good Dolby Digital receiver and an outboard DTS decoder such as the Millenium would run about the same as the ACT-3, that's actually pretty good. The ACT-3's built-in digital surround decoding modes DD and DTS) mean less cable, less space, and a more attractive, more solidly built product. Should internal amps and extra features like tone controls add value for the prospective purchaser, the receiver combo becomes more attractive. However, if somebody doesn't want non-critical controls or internal amplifiers, the ACT-3 acquires top billing. Though features tend to take a back seat in high-end applications, many of them do come in handy. Personally, I would have liked the option of stereo subwoofer outs such as those on the Yamaha DSP-A1, perhaps presets, and adjustable subwoofer crossover with a variety of slopes and crossover points to choose from. A digital five-band adjustable parametric EQ wouldn't hurt either. Still, I can't expect a beverage to taste like good Scotch but have the price tag of a 40 oz. bottle of King Cobra. Nothing can be everything to everyone. Any attempt to do so always leads to failure in more respects, and at under $2,000 for a product like the ACT-3, such compromise would be suicidal. Acurus left the gizmos off to keep the costs down and build quality up, and the build quality is really something. It's not of the same caliber as Mondial's own Aragon line, Krell's KAV products, or the beautifully sculpted Balanced Audio Technology gear in terms of finish, but the chassis does resist flexing remarkably well, exuding a solid and trustworthy feel to the touch. With quality of this kind, one may often take a bit of pride, and a sliver of satisfaction during operation. There is value in the tactile experience of audio equipment. It is, after all, the whole experience that shapes the curvature of the lips at the end of the bout. Now before anyone goes running out with a checkbook flapping from the pocket, be aware of a couple quirks that we should address: Since the processor controls each channel's analog volume control digitally, with 70 discrete steps, at very quiet listening levels, the user can't adjust the front-to-back and left-to-right levels very far before losing all sound on one side, because the processor can't turn the levels down any more without muting them, which it does. This fact isn't crippling, but a little annoying if you're trying to listen to surround material late at night with a kiddy in a nearby bed. No one I know has ever listened to movies that low, so for typical situations it probably won't ever arise. The noise floor of the ACT-3 is substantial, both electronically in the form of a background hiss, and mechanically through transformer hum. The effects in use will depend not only on the ambient noise levels in your listening room, but the gain/sensitivity of your amp/speaker combination. The electronic noise is constant regardless of volume up to unity (gain =1), which would overload most amplifiers, and then increases when the volume is set above that. Level controls available with some amps can alleviate the problem, maximizing the S/N ratio between the preamp output and amplifier intput. With my Aragon 8008BB, which has a voltage gain of 28 dB, and Infinitys which have a voltage sensitivity of 87dB/2.83 volts/1 meter, I could hear the electronic noise two meters away. Farther than that, the electronic noise became lost underneath the slight mechanical hum of the ACT-3's transformer. Since I sit about 3 meters away, hiss from the front wasn't much of an issue. With a Sunfire amp (the two channel, 300 w/ch version) though, driving M&K satellites to the rear, about two meters away from my head, I could hear noise in the rear channels during low-level playback, which did bug me a little. It didn't bother me enough to construct attenuator pads for the rear channel amp inputs, which would have lessened the effect substantially. To put it in context, a computer in the same room would mask all of the above. The only time that this might become a really serious issue is with very sensitive speakers placed very close to listeners in a quiet room at low listening levels. Otherwise, the noise you don't want to hear will get lost in the noise you do. Summary The Acurus ACT-3 has stacks of competition from above and below in terms of price. In my opinion, it will appeal mostly to those who don't want to play with their food, but simply eat it. The ACT-3 is a set, forget, and romp style brick. It looks pretty nice, sounds pretty nice, and is difficult to screw up. Couple that to the upgradeable architecture and price tag, I'd venture to say it's a fair deal.

Up for sale is the Acurus A250 amplifier in excellent working condition. The case also in great shape. Power cable is included. Amplify your audio experience with the Acurus A250 2 Channel Stereo Power Amplifier. This high-quality amplifier features stereo L/R RCA audio inputs and banana speaker jacks for a versatile range of audio outputs. The black color and sleek design make it a stylish addition to any home audio setup. With two channels and a powerful sound, this Acurus A250 amplifier is perfect for enhancing your music and movie listening experience. Made in the United States, you can trust in the quality and durability of this product. Upgrade your home audio setup today with this top-of-the-line power amplifier.

Enhance your home audio experience with the ACURUS ACT3 preamplifier by Mondial. This preamplifier is designed to provide high-quality sound output and supports Dolby surround sound formats. It is perfect for those who want to enjoy their favorite movies and music with exceptional audio quality. The brand Acurus is known for its superior performance and reliability, making it a great investment for any home audio enthusiast. The preamplifier is easy to install and use, providing a seamless audio experience to any home entertainment system.

Acurus Preamp Processor Act 3 Works Perfect In Very Very Good Condition Comes with remote Dolby Pro-Logic, Dolby Digital, and DTS Decoding 20 Bit D/As and A/Ds 11 Digital Inputs (8 Coaxial, 3 Toslink), 4 Sets A/V inputs, 4 sets Audio-Only Inputs; Outputs Include 2 Center and 2 Subwoofer Acurus, a division of Mondial, aimed at the entry level market of high end, started shipping the ACT-3 recently, a surround processor/preamplifier equipped with Dolby Pro Logic (DPL), Dolby Digital (DD - AC-3), and DTS decoding. The Audio/Video crowd has anticipated the release of the ACT-3 for some time now. Backorders still filling, I had some difficulty obtaining a product sample, but I would not be deterred from the mission JJ put forth, and yanked a string for a date with this mysterious black box. All the hubbub elicits an interesting point though. Many other manufacturers have already placed similar gadgets on the market, racing to cash in on the craze for the latest available. Mondial, a rather conservative company in statement and design as well as product releases, chose to postpone the ACT-3's birth to the world, making revisions until they felt comfortable with reliability and compatability issues. Since one of the methods Mondial employs to achieve a high value/price ratio lies in long production runs, it becomes all that much more important to nail a design from the get go. In the end, the brainiacs settled on a 5.1 (of course) preamp with DPL, DD, DTS, a handful of generic DSP music modes for stereo material, and most importantly, upgradeable firmware and software. Should any new format emerge, such as a 5.1 music format incorporating Meridian's Lossless Packing (MLP) data stream, the ACT-3 may incorporate the decoding. That in itself doesn't come off as unique. At least five or six processors I know of do that. The fact that the ACT-3 clocks in under two Gs doesn't sacrifice much, if anything, in build quality, and isn't made by a mass market manufacturer distinguishes this critter. Truth be told, despite us gearheads who slobber over the stoic 1/4 thick, anodized, brushed alluminum faceplates of our favorite specialty audio companies, those who cater more to the mainstream (mass market) have a very real advantage when it comes to producing the best raw performance for the dollar . . . if they decide to pursue the course. That aforementioned advantage is, of course, mass production. Because of the resources in place to satisfy the competive requirements of large scale production, the big guys can sell a $1,000 receiver with Dolby Digital for the same price that a specialty manufacturer can offer a separate preamp with the same or even less features. And, the receiver as a processor might even win out in terms of performance in addition to wearing a few extra gizmos. If a Dolby Digital processor/preamp for under a grand fits the shopping criteria, performance-wise, a mass market receiver wages the best bet. Even if a specialized company should choose to stray near the territory of the big kids on the block, not many do for precisely that reason. The little companies, though a scrappy bunch, don't have the facilities or the financial clout to generate products in volume sufficient to set the cost per unit low enough. If they did, they still lack the advertising muscle to grab enough of the market to unload the necessary inventory. They may offer a better quality product in terms of build, but even after streamlining the manufacturing process, it still costs more. Mondial accepted that fact, but chose to skirt the border with the Acurus ACT-3. At $1,799 retail, it fills a nitch above the typical mass market stuff, yet ducks the $2,500-and-up benchmarks that typically swim gill to gill with the biggest fish around (such as the Yamaha DSP-A1, the B&K Ref 20, Lexicon DC-1, and Meridian 565.) Plus, the ACT-3 brings a pedigree to the table. Acurus has previously earned accolades for their power amplifiers, as well as the predecessor of the ACT-3, the ACT-1. Mondial's Aragon line fronts some heavies in the respective ranks as well. The facade of the ACT-3 makes me think in some ways of a military school cadet. Clean, yet stark, spiffed up but simple, functional but still lean to the point of avante garde, even perhaps attempting an elitist pose. Only a single knob and a handful of diminutive buttons decorate the face plate. Combined with the featured inputs, outputs, ports, and software, the ACT-3 looks dressed to seduce the custom installer as much as the typical A/V geek like myself. Acurus ACT-3 Rear Panel The rear panel sports a collection of inputs that allow eight total sources, each with their own analog and coaxial digital audio jacks. Four composite and two S-Video inputs, as well as three Toslink jacks feed the system, which then spits the typical 5.1 preamplifier outs (two center and two mono subwoofer outputs) as well as two pairs of analog audio outputs, two composite video outputs, and one S-Video output for purposes of recording and monitoring as the user sees fit. In addition, a RS-232 connection, an IR input port, and 5V trigger lend a lot of installation flexibility. The custom software options, accessible only by simultaneously turning up the volume knob and powering on, allows separate On/Off IR commands for Xantecish IR repeaters serving automation systems, as well as an auto On/Off, and programmable input labels (including 8-Track). Get out the Bee Gees! The setup procedure did feel a bit strange. Not bad, just different. Instead of directly accessing the individual parameters, the path took a roundabout way in order to make the process itself simpler. For instance, to set the parameters for a given playback mode (DPL, DD, DTS, etc.), the user must activate that mode through the auto switching feature by feeding software of the specific format, and then enter the programming menu and set delay times, levels, bass management, or whatever. And, in cases like bass management, one can't directly control the state of the 5.1 speakers, but rather choose from five preset configurations available, none of which will not allow the main left and right channels to share the LFE channel with the subwoofer output, nor can the sub level be set with test tone calibration, but must find its groove during listening with program material. Also, even though a configuration exists for five full-range speakers, as well as full-range main and rear speakers, it isn't possible to allow full-range operation of the left, center, and right channels while limiting bass content to the rear. Granted, that's an unlikely scenario, but in situations with perforated screens, it's plausible to have small rear speakers mounted on the side walls with three matching full-range speakers in the front All of these issues may be addressed through external hookup rigging, but it's still a departure from the more common setup procedure that allows more direct access. Once the parameters are set for each mode, they remain as a separate default for each, even when a user adjusts levels to compensate for personal taste with particular program material. Although the setup does diverge from the conventional, it also makes it difficult for the non-techno-inclined to get things really out of whack. Select the source, press play on that source, adjust your volume, and away you go. This in itself will save many users, salesman, and installers the frustration, time, and expense of unnecessary service calls. If you're a hobbyist in the A/V arena, you might wonder how difficult a time a person could have watching a movie through their stereo. If so, you might be shocked. I've seen customers walk into a store, steaming mad, convinced that a receiver was defective only because they thought the effort to open the manual to the trouble-shooting section and follow the suggestion to press the Tape Monitor button too inconvenient. Acurus ACT-3 Remote ControlThe programmable IR remote operates most major brands of equipment, but cannot learn IR commands from other sources. I found codes to operate the basic functions of my own stuff, but couldn't get a code to operate an ancient RCA television perched in my parents' entertainment center. Four Macro buttons allow up to eight steps of the programmed commands. A fully learnable remote with more IR codes, or at least a more documented brand listing in the manual would have offered a more complete package, but the ACT-3's price requires a lean budget, and anyone can spend another $139 on a remote which will do just that. Here it comes, the place for statements of drama and astonishment, classically reserved for a writer to exchange hyperbole for fame by means of an advertisement quote in some glossy rag. Keep waiting dudes. If you want glossy, polish your screen. We began the engagement with a two-channel shootout between the level-matched (within 0.5 dB) output of the ACT-3 and the older but excellent JVC XLZ-1050 CD Player which I also used as a transport to test the DACs in the ACT-3, compared to the DACs in the player itself. Switching between the two with a passive controller, I did this test primarily to evaluate the performance of the ACT-3's onboard DACs and analog output stages by themselves, reasoning that they would ultimately become the limiting factor in any surround mode. Except for proprietary DSP processing on some models, Dolby Digital and DTS decoding chips are primarily routing data. Stereo, by its limited nature, can show subtleties in the chain of reproduction to a flawed extent. What 5.1 recordings can potentially do by brute force, stereo must accomplish by nuanced trickery. Besides, even though I believe that more than two channels are necessary to significantly advance the state of the art of music reproduction, 5.1 recording in general hasn't standardized, let alone matured. Currently, 5.1 mixes reside primarily in the realm of cinema, a world that often seems oblivious to the virtues of fidelity. With most recordings of average quality, the difference between the ACT-3 and the JVC was slight or nil. The most revealing turns came with material such as Mars Lasar's Eleventh Hour. With Q-sound and Head Related Transfer Function techniques, the music can either immerse the listener in an ocean of dimension, or simply shimmer some sounds around the old bean. Using the JVC as the analog source, I could only sink a smile into the sheer ridiculous but convincing unbelievability - thunderstorms, wolves, and little infant girls dance though my mind to the cadence of some mad magician. Using the ACT-3 essentially as an outboard DAC, all the performers showed up, but couldn't make me shudder. Bass still had good presence. Midrange and treble avoided any irritating hash, but couldn't open up the miracle I have come to lust after. To be fair, the ACT-3 isn't an outboard dedicated two-channel DAC, and I haven't heard a surround processor that could function well as one until they move over that $2,500 mark, but hey, I can hope can't I? A variety of movies in Pro Logic and Dolby Digital slammed through the ACT-3. The Dolby Digital soundtrack of Toy Story wrapped me up with little Maggie (my daughter) on the lap - a father and daughter enjoying the sweet spot while mom had to sit to the side. Throughout our moony session, the ACT-3 followed instructions to the T, allowing our enjoyment to jump along without impairment. DTS music discs such as Alan Parson's On Air alluded to the impressive possibilites of 5.1 music recordings, but didn't quite knock me on my tail. All in all, the processing surpassed the older Yamaha DDP-1 DD Decoder, and pulled in closely to the Millenium 5.1 DTS Decoder, though the differences each way weren't vast. Considering that a good Dolby Digital receiver and an outboard DTS decoder such as the Millenium would run about the same as the ACT-3, that's actually pretty good. The ACT-3's built-in digital surround decoding modes DD and DTS) mean less cable, less space, and a more attractive, more solidly built product. Should internal amps and extra features like tone controls add value for the prospective purchaser, the receiver combo becomes more attractive. However, if somebody doesn't want non-critical controls or internal amplifiers, the ACT-3 acquires top billing. Though features tend to take a back seat in high-end applications, many of them do come in handy. Personally, I would have liked the option of stereo subwoofer outs such as those on the Yamaha DSP-A1, perhaps presets, and adjustable subwoofer crossover with a variety of slopes and crossover points to choose from. A digital five-band adjustable parametric EQ wouldn't hurt either. Still, I can't expect a beverage to taste like good Scotch but have the price tag of a 40 oz. bottle of King Cobra. Nothing can be everything to everyone. Any attempt to do so always leads to failure in more respects, and at under $2,000 for a product like the ACT-3, such compromise would be suicidal. Acurus left the gizmos off to keep the costs down and build quality up, and the build quality is really something. It's not of the same caliber as Mondial's own Aragon line, Krell's KAV products, or the beautifully sculpted Balanced Audio Technology gear in terms of finish, but the chassis does resist flexing remarkably well, exuding a solid and trustworthy feel to the touch. With quality of this kind, one may often take a bit of pride, and a sliver of satisfaction during operation. There is value in the tactile experience of audio equipment. It is, after all, the whole experience that shapes the curvature of the lips at the end of the bout. Now before anyone goes running out with a checkbook flapping from the pocket, be aware of a couple quirks that we should address: Since the processor controls each channel's analog volume control digitally, with 70 discrete steps, at very quiet listening levels, the user can't adjust the front-to-back and left-to-right levels very far before losing all sound on one side, because the processor can't turn the levels down any more without muting them, which it does. This fact isn't crippling, but a little annoying if you're trying to listen to surround material late at night with a kiddy in a nearby bed. No one I know has ever listened to movies that low, so for typical situations it probably won't ever arise. The noise floor of the ACT-3 is substantial, both electronically in the form of a background hiss, and mechanically through transformer hum. The effects in use will depend not only on the ambient noise levels in your listening room, but the gain/sensitivity of your amp/speaker combination. The electronic noise is constant regardless of volume up to unity (gain =1), which would overload most amplifiers, and then increases when the volume is set above that. Level controls available with some amps can alleviate the problem, maximizing the S/N ratio between the preamp output and amplifier intput. With my Aragon 8008BB, which has a voltage gain of 28 dB, and Infinitys which have a voltage sensitivity of 87dB/2.83 volts/1 meter, I could hear the electronic noise two meters away. Farther than that, the electronic noise became lost underneath the slight mechanical hum of the ACT-3's transformer. Since I sit about 3 meters away, hiss from the front wasn't much of an issue. With a Sunfire amp (the two channel, 300 w/ch version) though, driving M&K satellites to the rear, about two meters away from my head, I could hear noise in the rear channels during low-level playback, which did bug me a little. It didn't bother me enough to construct attenuator pads for the rear channel amp inputs, which would have lessened the effect substantially. To put it in context, a computer in the same room would mask all of the above. The only time that this might become a really serious issue is with very sensitive speakers placed very close to listeners in a quiet room at low listening levels. Otherwise, the noise you don't want to hear will get lost in the noise you do. Summary The Acurus ACT-3 has stacks of competition from above and below in terms of price. In my opinion, it will appeal mostly to those who don't want to play with their food, but simply eat it. The ACT-3 is a set, forget, and romp style brick. It looks pretty nice, sounds pretty nice, and is difficult to screw up. Couple that to the upgradeable architecture and price tag, I'd venture to say it's a fair deal.

ACURUS 200X3 by Mondial 3-Channel Amplifier 200-Watts X 3 Audio Classics, Ltd. Original MSRP: $1200.00 This amplifier is fully tested and sounding good. There is a lite scratches across the face plate that is barely noticeable in normal room lighting, please refer to the photos. Thanks for looking. Model / Serial 200X3 / 047180 Contiguous US Lower-48-State shipping, insurance and handling charges for this item will be $55.00 Signature Required. Please submit all inquiries regarding this item through the Ebay messaging system and ask All questions before committing to purchase. We will only ship to your Ebay/Paypal/Credit-Card Verified or Confirmed shipping address. We will not under-value this item or otherwise falsify our invoices or shipping documents for any reason.This item is available for sale only through Ebay.________________________________________________________________________________________________________

For sale is a pre-owned ACURUS LINE L10 VORVERSTÄRKER PREAMPLIFIER PREAMP MONDIAL DESIGNSIt has been thoroughly tested and is in excellent working condition. Please note that we are unable to ship this item to P.O. Boxes, Puerto Rico, or Hawaii. If you win the auction, we regretfully will have to cancel the order. Thank you for your interest.Authentic photos of the item are provided to ensure transparency and customer satisfaction. We prioritize the quality of our service and aim to foster long-term relationships with our valued customers. In the event of any issues with the transaction or the received item, we kindly request that you contact us before initiating a case with eBay. Opening a case can have a negative impact on our seller rating, and we are committed to resolving any concerns promptly and fairly.Our primary goal is your complete satisfaction with your purchase, our service, and your overall eBay experience. We strongly encourage you to conduct thorough research to ensure this item aligns with your specific requirements. We strive for positive feedback and 5-star ratings, as we aim to earn your continued business.If you have any questions, please reach out to us through eBay messages. We appreciate your consideration, extend our best wishes, and wish you the best of luck with your bidding. We eagerly anticipate the opportunity to serve you.Please note that we are only available to respond to emails during business hours, which are from 10.00 am to 5 pm EST, Monday to Friday. We regretfully cannot provide support on weekends.

ACURUS 200X3 by Mondial 3-Channel Amplifier 200-Watts X 3 Audio Classics, Ltd. Original MSRP: $1200.00 This Amplifier is in Mint condition and works perfectly. It was very lightly used - never abused Will ship double boxedOn Oct-30-24 at 11:28:50 PDT, seller added the following information: Correction. This is a A200X3

Used Acurus A250 Stereo Power Amplifier 250w x2 (8 ohm) 350w x2 (4 ohm) Mondial Designs Power amp is in excellent working condition. Power light flickers while it’s on. Light scratches on the bottom, not through the paint. Small scratches on the back near the right RCA input. Through the paint. Front and top look great. Power cord permanently attached. Pictures of actual amp for sale. Smoke free we have two cats. “The Acurus A250 is a stunningly transparent amplifier. While rated at 250 Watts per channel, on the test bench it has easily produced 315 watts into an 8 ohm load. Very musical and well nuanced” Power output: 250 watts per channel into 8? (stereo) 350 watts per channel into 4? (stereo) Frequency response: 20Hz to 20kHz Total harmonic distortion: 0.06% Input sensitivity: 1.2V Signal to noise ratio: 110dB 1000 VA toroidal transformer. Glass epoxy circuit boards. Unpacked size 17 wide, 5 high, 12 deep Unpacked weight 35 lbs. I dont have the original box or packing. Shipped double boxed. Packed size 24 x 17 x 9.

Amplify your audio experience with the ACURUS by Mondial 200X3. 200 Watts per Channel 3-Channel Amplifier. This power amplifier boasts RCA audio inputs and outputs, with three channels and three inputs, all in sleek black. Made in the United States. The ACURUS 200X3 is a reliable and high-quality choice for anyone looking to run a surround sound system. Run your large speaker mains and center with this, and let your receiver handle the lower power surround speakers.

Experience high-quality sound with the Acurus Mondial A150 2-Channel Power Amplifier. This black amplifier has stereo L/R RCA audio inputs and banana speaker jacks for audio outputs. With 150 watts per channel, it can drive 8 ohms and has 2 inputs and 2 outputs. The A150 is a reliable and efficient choice for enhancing your home audio experience. This power amplifier is perfect for stereo systems and home audio applications. Its brand, Acurus, is known for producing high-quality audio equipment. The A150 model is designed to provide powerful and clear sound, making it an ideal choice for music lovers and movie enthusiasts alike. One channel is out, the other works fine. On Oct-15-24 at 07:44:12 PDT, seller added the following information: Forgot to add, a few screws are missing from the outer case.

Acurus Preamp Processor Act 3 Works Perfect In Very Very Good Condition Comes with remote Dolby Pro-Logic, Dolby Digital, and DTS Decoding 20 Bit D/As and A/Ds 11 Digital Inputs (8 Coaxial, 3 Toslink), 4 Sets A/V inputs, 4 sets Audio-Only Inputs; Outputs Include 2 Center and 2 Subwoofer Acurus, a division of Mondial, aimed at the entry level market of high end, started shipping the ACT-3 recently, a surround processor/preamplifier equipped with Dolby Pro Logic (DPL), Dolby Digital (DD - AC-3), and DTS decoding. The Audio/Video crowd has anticipated the release of the ACT-3 for some time now. Backorders still filling, I had some difficulty obtaining a product sample, but I would not be deterred from the mission JJ put forth, and yanked a string for a date with this mysterious black box. All the hubbub elicits an interesting point though. Many other manufacturers have already placed similar gadgets on the market, racing to cash in on the craze for the latest available. Mondial, a rather conservative company in statement and design as well as product releases, chose to postpone the ACT-3's birth to the world, making revisions until they felt comfortable with reliability and compatability issues. Since one of the methods Mondial employs to achieve a high value/price ratio lies in long production runs, it becomes all that much more important to nail a design from the get go. In the end, the brainiacs settled on a 5.1 (of course) preamp with DPL, DD, DTS, a handful of generic DSP music modes for stereo material, and most importantly, upgradeable firmware and software. Should any new format emerge, such as a 5.1 music format incorporating Meridian's Lossless Packing (MLP) data stream, the ACT-3 may incorporate the decoding. That in itself doesn't come off as unique. At least five or six processors I know of do that. The fact that the ACT-3 clocks in under two Gs doesn't sacrifice much, if anything, in build quality, and isn't made by a mass market manufacturer distinguishes this critter. Truth be told, despite us gearheads who slobber over the stoic 1/4 thick, anodized, brushed alluminum faceplates of our favorite specialty audio companies, those who cater more to the mainstream (mass market) have a very real advantage when it comes to producing the best raw performance for the dollar . . . if they decide to pursue the course. That aforementioned advantage is, of course, mass production. Because of the resources in place to satisfy the competive requirements of large scale production, the big guys can sell a $1,000 receiver with Dolby Digital for the same price that a specialty manufacturer can offer a separate preamp with the same or even less features. And, the receiver as a processor might even win out in terms of performance in addition to wearing a few extra gizmos. If a Dolby Digital processor/preamp for under a grand fits the shopping criteria, performance-wise, a mass market receiver wages the best bet. Even if a specialized company should choose to stray near the territory of the big kids on the block, not many do for precisely that reason. The little companies, though a scrappy bunch, don't have the facilities or the financial clout to generate products in volume sufficient to set the cost per unit low enough. If they did, they still lack the advertising muscle to grab enough of the market to unload the necessary inventory. They may offer a better quality product in terms of build, but even after streamlining the manufacturing process, it still costs more. Mondial accepted that fact, but chose to skirt the border with the Acurus ACT-3. At $1,799 retail, it fills a nitch above the typical mass market stuff, yet ducks the $2,500-and-up benchmarks that typically swim gill to gill with the biggest fish around (such as the Yamaha DSP-A1, the B&K Ref 20, Lexicon DC-1, and Meridian 565.) Plus, the ACT-3 brings a pedigree to the table. Acurus has previously earned accolades for their power amplifiers, as well as the predecessor of the ACT-3, the ACT-1. Mondial's Aragon line fronts some heavies in the respective ranks as well. The facade of the ACT-3 makes me think in some ways of a military school cadet. Clean, yet stark, spiffed up but simple, functional but still lean to the point of avante garde, even perhaps attempting an elitist pose. Only a single knob and a handful of diminutive buttons decorate the face plate. Combined with the featured inputs, outputs, ports, and software, the ACT-3 looks dressed to seduce the custom installer as much as the typical A/V geek like myself. Acurus ACT-3 Rear Panel The rear panel sports a collection of inputs that allow eight total sources, each with their own analog and coaxial digital audio jacks. Four composite and two S-Video inputs, as well as three Toslink jacks feed the system, which then spits the typical 5.1 preamplifier outs (two center and two mono subwoofer outputs) as well as two pairs of analog audio outputs, two composite video outputs, and one S-Video output for purposes of recording and monitoring as the user sees fit. In addition, a RS-232 connection, an IR input port, and 5V trigger lend a lot of installation flexibility. The custom software options, accessible only by simultaneously turning up the volume knob and powering on, allows separate On/Off IR commands for Xantecish IR repeaters serving automation systems, as well as an auto On/Off, and programmable input labels (including 8-Track). Get out the Bee Gees! The setup procedure did feel a bit strange. Not bad, just different. Instead of directly accessing the individual parameters, the path took a roundabout way in order to make the process itself simpler. For instance, to set the parameters for a given playback mode (DPL, DD, DTS, etc.), the user must activate that mode through the auto switching feature by feeding software of the specific format, and then enter the programming menu and set delay times, levels, bass management, or whatever. And, in cases like bass management, one can't directly control the state of the 5.1 speakers, but rather choose from five preset configurations available, none of which will not allow the main left and right channels to share the LFE channel with the subwoofer output, nor can the sub level be set with test tone calibration, but must find its groove during listening with program material. Also, even though a configuration exists for five full-range speakers, as well as full-range main and rear speakers, it isn't possible to allow full-range operation of the left, center, and right channels while limiting bass content to the rear. Granted, that's an unlikely scenario, but in situations with perforated screens, it's plausible to have small rear speakers mounted on the side walls with three matching full-range speakers in the front All of these issues may be addressed through external hookup rigging, but it's still a departure from the more common setup procedure that allows more direct access. Once the parameters are set for each mode, they remain as a separate default for each, even when a user adjusts levels to compensate for personal taste with particular program material. Although the setup does diverge from the conventional, it also makes it difficult for the non-techno-inclined to get things really out of whack. Select the source, press play on that source, adjust your volume, and away you go. This in itself will save many users, salesman, and installers the frustration, time, and expense of unnecessary service calls. If you're a hobbyist in the A/V arena, you might wonder how difficult a time a person could have watching a movie through their stereo. If so, you might be shocked. I've seen customers walk into a store, steaming mad, convinced that a receiver was defective only because they thought the effort to open the manual to the trouble-shooting section and follow the suggestion to press the Tape Monitor button too inconvenient. Acurus ACT-3 Remote ControlThe programmable IR remote operates most major brands of equipment, but cannot learn IR commands from other sources. I found codes to operate the basic functions of my own stuff, but couldn't get a code to operate an ancient RCA television perched in my parents' entertainment center. Four Macro buttons allow up to eight steps of the programmed commands. A fully learnable remote with more IR codes, or at least a more documented brand listing in the manual would have offered a more complete package, but the ACT-3's price requires a lean budget, and anyone can spend another $139 on a remote which will do just that. Here it comes, the place for statements of drama and astonishment, classically reserved for a writer to exchange hyperbole for fame by means of an advertisement quote in some glossy rag. Keep waiting dudes. If you want glossy, polish your screen. We began the engagement with a two-channel shootout between the level-matched (within 0.5 dB) output of the ACT-3 and the older but excellent JVC XLZ-1050 CD Player which I also used as a transport to test the DACs in the ACT-3, compared to the DACs in the player itself. Switching between the two with a passive controller, I did this test primarily to evaluate the performance of the ACT-3's onboard DACs and analog output stages by themselves, reasoning that they would ultimately become the limiting factor in any surround mode. Except for proprietary DSP processing on some models, Dolby Digital and DTS decoding chips are primarily routing data. Stereo, by its limited nature, can show subtleties in the chain of reproduction to a flawed extent. What 5.1 recordings can potentially do by brute force, stereo must accomplish by nuanced trickery. Besides, even though I believe that more than two channels are necessary to significantly advance the state of the art of music reproduction, 5.1 recording in general hasn't standardized, let alone matured. Currently, 5.1 mixes reside primarily in the realm of cinema, a world that often seems oblivious to the virtues of fidelity. With most recordings of average quality, the difference between the ACT-3 and the JVC was slight or nil. The most revealing turns came with material such as Mars Lasar's Eleventh Hour. With Q-sound and Head Related Transfer Function techniques, the music can either immerse the listener in an ocean of dimension, or simply shimmer some sounds around the old bean. Using the JVC as the analog source, I could only sink a smile into the sheer ridiculous but convincing unbelievability - thunderstorms, wolves, and little infant girls dance though my mind to the cadence of some mad magician. Using the ACT-3 essentially as an outboard DAC, all the performers showed up, but couldn't make me shudder. Bass still had good presence. Midrange and treble avoided any irritating hash, but couldn't open up the miracle I have come to lust after. To be fair, the ACT-3 isn't an outboard dedicated two-channel DAC, and I haven't heard a surround processor that could function well as one until they move over that $2,500 mark, but hey, I can hope can't I? A variety of movies in Pro Logic and Dolby Digital slammed through the ACT-3. The Dolby Digital soundtrack of Toy Story wrapped me up with little Maggie (my daughter) on the lap - a father and daughter enjoying the sweet spot while mom had to sit to the side. Throughout our moony session, the ACT-3 followed instructions to the T, allowing our enjoyment to jump along without impairment. DTS music discs such as Alan Parson's On Air alluded to the impressive possibilites of 5.1 music recordings, but didn't quite knock me on my tail. All in all, the processing surpassed the older Yamaha DDP-1 DD Decoder, and pulled in closely to the Millenium 5.1 DTS Decoder, though the differences each way weren't vast. Considering that a good Dolby Digital receiver and an outboard DTS decoder such as the Millenium would run about the same as the ACT-3, that's actually pretty good. The ACT-3's built-in digital surround decoding modes DD and DTS) mean less cable, less space, and a more attractive, more solidly built product. Should internal amps and extra features like tone controls add value for the prospective purchaser, the receiver combo becomes more attractive. However, if somebody doesn't want non-critical controls or internal amplifiers, the ACT-3 acquires top billing. Though features tend to take a back seat in high-end applications, many of them do come in handy. Personally, I would have liked the option of stereo subwoofer outs such as those on the Yamaha DSP-A1, perhaps presets, and adjustable subwoofer crossover with a variety of slopes and crossover points to choose from. A digital five-band adjustable parametric EQ wouldn't hurt either. Still, I can't expect a beverage to taste like good Scotch but have the price tag of a 40 oz. bottle of King Cobra. Nothing can be everything to everyone. Any attempt to do so always leads to failure in more respects, and at under $2,000 for a product like the ACT-3, such compromise would be suicidal. Acurus left the gizmos off to keep the costs down and build quality up, and the build quality is really something. It's not of the same caliber as Mondial's own Aragon line, Krell's KAV products, or the beautifully sculpted Balanced Audio Technology gear in terms of finish, but the chassis does resist flexing remarkably well, exuding a solid and trustworthy feel to the touch. With quality of this kind, one may often take a bit of pride, and a sliver of satisfaction during operation. There is value in the tactile experience of audio equipment. It is, after all, the whole experience that shapes the curvature of the lips at the end of the bout. Now before anyone goes running out with a checkbook flapping from the pocket, be aware of a couple quirks that we should address: Since the processor controls each channel's analog volume control digitally, with 70 discrete steps, at very quiet listening levels, the user can't adjust the front-to-back and left-to-right levels very far before losing all sound on one side, because the processor can't turn the levels down any more without muting them, which it does. This fact isn't crippling, but a little annoying if you're trying to listen to surround material late at night with a kiddy in a nearby bed. No one I know has ever listened to movies that low, so for typical situations it probably won't ever arise. The noise floor of the ACT-3 is substantial, both electronically in the form of a background hiss, and mechanically through transformer hum. The effects in use will depend not only on the ambient noise levels in your listening room, but the gain/sensitivity of your amp/speaker combination. The electronic noise is constant regardless of volume up to unity (gain =1), which would overload most amplifiers, and then increases when the volume is set above that. Level controls available with some amps can alleviate the problem, maximizing the S/N ratio between the preamp output and amplifier intput. With my Aragon 8008BB, which has a voltage gain of 28 dB, and Infinitys which have a voltage sensitivity of 87dB/2.83 volts/1 meter, I could hear the electronic noise two meters away. Farther than that, the electronic noise became lost underneath the slight mechanical hum of the ACT-3's transformer. Since I sit about 3 meters away, hiss from the front wasn't much of an issue. With a Sunfire amp (the two channel, 300 w/ch version) though, driving M&K satellites to the rear, about two meters away from my head, I could hear noise in the rear channels during low-level playback, which did bug me a little. It didn't bother me enough to construct attenuator pads for the rear channel amp inputs, which would have lessened the effect substantially. To put it in context, a computer in the same room would mask all of the above. The only time that this might become a really serious issue is with very sensitive speakers placed very close to listeners in a quiet room at low listening levels. Otherwise, the noise you don't want to hear will get lost in the noise you do. Summary The Acurus ACT-3 has stacks of competition from above and below in terms of price. In my opinion, it will appeal mostly to those who don't want to play with their food, but simply eat it. The ACT-3 is a set, forget, and romp style brick. It looks pretty nice, sounds pretty nice, and is difficult to screw up. Couple that to the upgradeable architecture and price tag, I'd venture to say it's a fair deal.

I am the original owner of this Mondial Acurus 200X3. She was used to power the center channel and front left and right front speakers of my surround sound system. The amp has been in climate controlled storage for about 5 years. Before listing it here on eBay I had it bench tested and as expected she performed flawlessly. Also included is a paper copy of the 3 page owners manual. Specifications: Rated Power200 watts per channel continuous,three channels driven into 8 OHMS20 Hz to 20,000 Hz at no more than 0.06% THD 250 watts per channel continuous,three channels driven into 4 OHMS20 Hz to 20,000 Hz at no more than 0.06% THD Input Impedance20K ohms Input Sensitivity1.1 volts for full output Signal to Noise Ratio:110dB A Weighted The amplifier itself weighs approximately 40 lbs. The included factory carton weighs approximately 8 lbs. The amplifier and its original carton will be sent inside another outer shipping carton with the appropriate packing material to fully protect the amp. The total weight of the shipped package will be approximately 55 lbs. It will be shipped either by FedEx Ground/Home Delivery or UPS Ground. Keep in mind that further away you are from south Florida, the higher the shipping cost will be. Please dont hesitate to reach out to me with any questions. Please check my excellent feedback earned over 25 years on eBay. Thanks for stopping by and best of luck to all bidders! On Oct-12-24 at 17:08:02 PDT, seller added the following information: I added a photo of the speaker binding posts to show that they accept bi-wiring of you speakers.On Oct-12-24 at 17:09:37 PDT, seller added the following information: That should said your speakers! :)

Acurus Preamp Processor Act 3 Works Perfect In Very Very Good Condition Comes with remote Dolby Pro-Logic, Dolby Digital, and DTS Decoding 20 Bit D/As and A/Ds 11 Digital Inputs (8 Coaxial, 3 Toslink), 4 Sets A/V inputs, 4 sets Audio-Only Inputs; Outputs Include 2 Center and 2 Subwoofer Acurus, a division of Mondial, aimed at the entry level market of high end, started shipping the ACT-3 recently, a surround processor/preamplifier equipped with Dolby Pro Logic (DPL), Dolby Digital (DD - AC-3), and DTS decoding. The Audio/Video crowd has anticipated the release of the ACT-3 for some time now. Backorders still filling, I had some difficulty obtaining a product sample, but I would not be deterred from the mission JJ put forth, and yanked a string for a date with this mysterious black box. All the hubbub elicits an interesting point though. Many other manufacturers have already placed similar gadgets on the market, racing to cash in on the craze for the latest available. Mondial, a rather conservative company in statement and design as well as product releases, chose to postpone the ACT-3's birth to the world, making revisions until they felt comfortable with reliability and compatability issues. Since one of the methods Mondial employs to achieve a high value/price ratio lies in long production runs, it becomes all that much more important to nail a design from the get go. In the end, the brainiacs settled on a 5.1 (of course) preamp with DPL, DD, DTS, a handful of generic DSP music modes for stereo material, and most importantly, upgradeable firmware and software. Should any new format emerge, such as a 5.1 music format incorporating Meridian's Lossless Packing (MLP) data stream, the ACT-3 may incorporate the decoding. That in itself doesn't come off as unique. At least five or six processors I know of do that. The fact that the ACT-3 clocks in under two Gs doesn't sacrifice much, if anything, in build quality, and isn't made by a mass market manufacturer distinguishes this critter. Truth be told, despite us gearheads who slobber over the stoic 1/4 thick, anodized, brushed alluminum faceplates of our favorite specialty audio companies, those who cater more to the mainstream (mass market) have a very real advantage when it comes to producing the best raw performance for the dollar . . . if they decide to pursue the course. That aforementioned advantage is, of course, mass production. Because of the resources in place to satisfy the competive requirements of large scale production, the big guys can sell a $1,000 receiver with Dolby Digital for the same price that a specialty manufacturer can offer a separate preamp with the same or even less features. And, the receiver as a processor might even win out in terms of performance in addition to wearing a few extra gizmos. If a Dolby Digital processor/preamp for under a grand fits the shopping criteria, performance-wise, a mass market receiver wages the best bet. Even if a specialized company should choose to stray near the territory of the big kids on the block, not many do for precisely that reason. The little companies, though a scrappy bunch, don't have the facilities or the financial clout to generate products in volume sufficient to set the cost per unit low enough. If they did, they still lack the advertising muscle to grab enough of the market to unload the necessary inventory. They may offer a better quality product in terms of build, but even after streamlining the manufacturing process, it still costs more. Mondial accepted that fact, but chose to skirt the border with the Acurus ACT-3. At $1,799 retail, it fills a nitch above the typical mass market stuff, yet ducks the $2,500-and-up benchmarks that typically swim gill to gill with the biggest fish around (such as the Yamaha DSP-A1, the B&K Ref 20, Lexicon DC-1, and Meridian 565.) Plus, the ACT-3 brings a pedigree to the table. Acurus has previously earned accolades for their power amplifiers, as well as the predecessor of the ACT-3, the ACT-1. Mondial's Aragon line fronts some heavies in the respective ranks as well. The facade of the ACT-3 makes me think in some ways of a military school cadet. Clean, yet stark, spiffed up but simple, functional but still lean to the point of avante garde, even perhaps attempting an elitist pose. Only a single knob and a handful of diminutive buttons decorate the face plate. Combined with the featured inputs, outputs, ports, and software, the ACT-3 looks dressed to seduce the custom installer as much as the typical A/V geek like myself. Acurus ACT-3 Rear Panel The rear panel sports a collection of inputs that allow eight total sources, each with their own analog and coaxial digital audio jacks. Four composite and two S-Video inputs, as well as three Toslink jacks feed the system, which then spits the typical 5.1 preamplifier outs (two center and two mono subwoofer outputs) as well as two pairs of analog audio outputs, two composite video outputs, and one S-Video output for purposes of recording and monitoring as the user sees fit. In addition, a RS-232 connection, an IR input port, and 5V trigger lend a lot of installation flexibility. The custom software options, accessible only by simultaneously turning up the volume knob and powering on, allows separate On/Off IR commands for Xantecish IR repeaters serving automation systems, as well as an auto On/Off, and programmable input labels (including 8-Track). Get out the Bee Gees! The setup procedure did feel a bit strange. Not bad, just different. Instead of directly accessing the individual parameters, the path took a roundabout way in order to make the process itself simpler. For instance, to set the parameters for a given playback mode (DPL, DD, DTS, etc.), the user must activate that mode through the auto switching feature by feeding software of the specific format, and then enter the programming menu and set delay times, levels, bass management, or whatever. And, in cases like bass management, one can't directly control the state of the 5.1 speakers, but rather choose from five preset configurations available, none of which will not allow the main left and right channels to share the LFE channel with the subwoofer output, nor can the sub level be set with test tone calibration, but must find its groove during listening with program material. Also, even though a configuration exists for five full-range speakers, as well as full-range main and rear speakers, it isn't possible to allow full-range operation of the left, center, and right channels while limiting bass content to the rear. Granted, that's an unlikely scenario, but in situations with perforated screens, it's plausible to have small rear speakers mounted on the side walls with three matching full-range speakers in the front All of these issues may be addressed through external hookup rigging, but it's still a departure from the more common setup procedure that allows more direct access. Once the parameters are set for each mode, they remain as a separate default for each, even when a user adjusts levels to compensate for personal taste with particular program material. Although the setup does diverge from the conventional, it also makes it difficult for the non-techno-inclined to get things really out of whack. Select the source, press play on that source, adjust your volume, and away you go. This in itself will save many users, salesman, and installers the frustration, time, and expense of unnecessary service calls. If you're a hobbyist in the A/V arena, you might wonder how difficult a time a person could have watching a movie through their stereo. If so, you might be shocked. I've seen customers walk into a store, steaming mad, convinced that a receiver was defective only because they thought the effort to open the manual to the trouble-shooting section and follow the suggestion to press the Tape Monitor button too inconvenient. Acurus ACT-3 Remote ControlThe programmable IR remote operates most major brands of equipment, but cannot learn IR commands from other sources. I found codes to operate the basic functions of my own stuff, but couldn't get a code to operate an ancient RCA television perched in my parents' entertainment center. Four Macro buttons allow up to eight steps of the programmed commands. A fully learnable remote with more IR codes, or at least a more documented brand listing in the manual would have offered a more complete package, but the ACT-3's price requires a lean budget, and anyone can spend another $139 on a remote which will do just that. Here it comes, the place for statements of drama and astonishment, classically reserved for a writer to exchange hyperbole for fame by means of an advertisement quote in some glossy rag. Keep waiting dudes. If you want glossy, polish your screen. We began the engagement with a two-channel shootout between the level-matched (within 0.5 dB) output of the ACT-3 and the older but excellent JVC XLZ-1050 CD Player which I also used as a transport to test the DACs in the ACT-3, compared to the DACs in the player itself. Switching between the two with a passive controller, I did this test primarily to evaluate the performance of the ACT-3's onboard DACs and analog output stages by themselves, reasoning that they would ultimately become the limiting factor in any surround mode. Except for proprietary DSP processing on some models, Dolby Digital and DTS decoding chips are primarily routing data. Stereo, by its limited nature, can show subtleties in the chain of reproduction to a flawed extent. What 5.1 recordings can potentially do by brute force, stereo must accomplish by nuanced trickery. Besides, even though I believe that more than two channels are necessary to significantly advance the state of the art of music reproduction, 5.1 recording in general hasn't standardized, let alone matured. Currently, 5.1 mixes reside primarily in the realm of cinema, a world that often seems oblivious to the virtues of fidelity. With most recordings of average quality, the difference between the ACT-3 and the JVC was slight or nil. The most revealing turns came with material such as Mars Lasar's Eleventh Hour. With Q-sound and Head Related Transfer Function techniques, the music can either immerse the listener in an ocean of dimension, or simply shimmer some sounds around the old bean. Using the JVC as the analog source, I could only sink a smile into the sheer ridiculous but convincing unbelievability - thunderstorms, wolves, and little infant girls dance though my mind to the cadence of some mad magician. Using the ACT-3 essentially as an outboard DAC, all the performers showed up, but couldn't make me shudder. Bass still had good presence. Midrange and treble avoided any irritating hash, but couldn't open up the miracle I have come to lust after. To be fair, the ACT-3 isn't an outboard dedicated two-channel DAC, and I haven't heard a surround processor that could function well as one until they move over that $2,500 mark, but hey, I can hope can't I? A variety of movies in Pro Logic and Dolby Digital slammed through the ACT-3. The Dolby Digital soundtrack of Toy Story wrapped me up with little Maggie (my daughter) on the lap - a father and daughter enjoying the sweet spot while mom had to sit to the side. Throughout our moony session, the ACT-3 followed instructions to the T, allowing our enjoyment to jump along without impairment. DTS music discs such as Alan Parson's On Air alluded to the impressive possibilites of 5.1 music recordings, but didn't quite knock me on my tail. All in all, the processing surpassed the older Yamaha DDP-1 DD Decoder, and pulled in closely to the Millenium 5.1 DTS Decoder, though the differences each way weren't vast. Considering that a good Dolby Digital receiver and an outboard DTS decoder such as the Millenium would run about the same as the ACT-3, that's actually pretty good. The ACT-3's built-in digital surround decoding modes DD and DTS) mean less cable, less space, and a more attractive, more solidly built product. Should internal amps and extra features like tone controls add value for the prospective purchaser, the receiver combo becomes more attractive. However, if somebody doesn't want non-critical controls or internal amplifiers, the ACT-3 acquires top billing. Though features tend to take a back seat in high-end applications, many of them do come in handy. Personally, I would have liked the option of stereo subwoofer outs such as those on the Yamaha DSP-A1, perhaps presets, and adjustable subwoofer crossover with a variety of slopes and crossover points to choose from. A digital five-band adjustable parametric EQ wouldn't hurt either. Still, I can't expect a beverage to taste like good Scotch but have the price tag of a 40 oz. bottle of King Cobra. Nothing can be everything to everyone. Any attempt to do so always leads to failure in more respects, and at under $2,000 for a product like the ACT-3, such compromise would be suicidal. Acurus left the gizmos off to keep the costs down and build quality up, and the build quality is really something. It's not of the same caliber as Mondial's own Aragon line, Krell's KAV products, or the beautifully sculpted Balanced Audio Technology gear in terms of finish, but the chassis does resist flexing remarkably well, exuding a solid and trustworthy feel to the touch. With quality of this kind, one may often take a bit of pride, and a sliver of satisfaction during operation. There is value in the tactile experience of audio equipment. It is, after all, the whole experience that shapes the curvature of the lips at the end of the bout. Now before anyone goes running out with a checkbook flapping from the pocket, be aware of a couple quirks that we should address: Since the processor controls each channel's analog volume control digitally, with 70 discrete steps, at very quiet listening levels, the user can't adjust the front-to-back and left-to-right levels very far before losing all sound on one side, because the processor can't turn the levels down any more without muting them, which it does. This fact isn't crippling, but a little annoying if you're trying to listen to surround material late at night with a kiddy in a nearby bed. No one I know has ever listened to movies that low, so for typical situations it probably won't ever arise. The noise floor of the ACT-3 is substantial, both electronically in the form of a background hiss, and mechanically through transformer hum. The effects in use will depend not only on the ambient noise levels in your listening room, but the gain/sensitivity of your amp/speaker combination. The electronic noise is constant regardless of volume up to unity (gain =1), which would overload most amplifiers, and then increases when the volume is set above that. Level controls available with some amps can alleviate the problem, maximizing the S/N ratio between the preamp output and amplifier intput. With my Aragon 8008BB, which has a voltage gain of 28 dB, and Infinitys which have a voltage sensitivity of 87dB/2.83 volts/1 meter, I could hear the electronic noise two meters away. Farther than that, the electronic noise became lost underneath the slight mechanical hum of the ACT-3's transformer. Since I sit about 3 meters away, hiss from the front wasn't much of an issue. With a Sunfire amp (the two channel, 300 w/ch version) though, driving M&K satellites to the rear, about two meters away from my head, I could hear noise in the rear channels during low-level playback, which did bug me a little. It didn't bother me enough to construct attenuator pads for the rear channel amp inputs, which would have lessened the effect substantially. To put it in context, a computer in the same room would mask all of the above. The only time that this might become a really serious issue is with very sensitive speakers placed very close to listeners in a quiet room at low listening levels. Otherwise, the noise you don't want to hear will get lost in the noise you do. Summary The Acurus ACT-3 has stacks of competition from above and below in terms of price. In my opinion, it will appeal mostly to those who don't want to play with their food, but simply eat it. The ACT-3 is a set, forget, and romp style brick. It looks pretty nice, sounds pretty nice, and is difficult to screw up. Couple that to the upgradeable architecture and price tag, I'd venture to say it's a fair deal.

Made in USA ???????????????? Acurus A250 Stereo Power Amplifier 250w x2 (8 ohm) 350w x2 (4 ohm) Mondial Designs “The Acurus A250 is a stunningly transparent amplifier. While rated at 250 Watts per channel, on the test bench it has easily produced 315 watts into an 8 ohm load. Very musical and well nuanced” Power output: 250 watts per channel into 8? (stereo) Frequency response: 20Hz to 20kHz Total harmonic distortion: 0.06% Input sensitivity: 1.2V Signal to noise ratio: 110dB Power amp is in excellent working condition. Only issue is the power light flickers while it’s on. Amplify your audio experience with the Acurus A250 Power Amplifier. This black, 2-channel amplifier features stereo L/R RCA audio inputs and banana speaker jacks as audio outputs. With a power output of 250 W, this amplifier is perfect for enhancing your home audio and delivering a powerful sound experience. The A250 also has 2 inputs and 2 outputs, making it easy to connect to your audio system. Whether you're a music enthusiast or a movie buff, this power amplifier is a must-have for any home audio setup.

Normal 0 21 false false false DE X-NONE X-NONE Acurus P10 Phono voRverstärker preamplifier preamp Mondial Designs Aufgrund schlechter Erfahrungen in den letzten Monaten mit Bietern aus China (Nichtbezahlung gewonnener Auktionen, Verhandlungen wegen Versandkosten und Versandunternehmen nach dem Zuschlag, unzählige und unnötige Fragen zu bereits beschriebenen Merkmalen meiner Artikel, Vortäuschung angeblich deutscher Lieferadressen in chinesischen Accounts bzw. Multi-Accounts vom gleichen Bieter) schließe ich Bieter mit Sitz in China hiermit von meinen Auktionen aus: Angeboten wird ein Acurus P10 Phono Vorverstärker. Es handelt sich bei dem Gerät um die schmale Version dieses Verstärkers, also nicht die 19 Zoll-Version, die ich kürzlich verkauft habe. Der Verstärker wurde getestet und funktioniert einwandfrei. Wie bei vielen anderen amerikanischen Geräten ist ein ganz leises Transformator-Brummen zu hören wenn man mit dem Ohr ganz nahe ans Gerät geht. Optischer Zustand: dieser ist sehr gut, Details siehe Fotos. Weltweiter Versand. DHL 10 kg-Paket versichert z. B. - Deutschland: 10,49 Euro - EU (DHL Zone 1, z. B. Italien): 21,49 Euro -Schweiz: 34,99 Euro Sonstige Länder: bitte für Ihr Land erfragen, Angaben von ebay sind hier nicht zutreffend. Bitte beachten Sie auch meine anderen Auktionen. Verkauf von Privat aus privater Sammlung (Nichtraucher). ----------------------------------- Due to bad experiences in the last months with bidders from China (non-payment of won auctions, negotiations about shipping costs and shipping companies after winning the bid, countless and unnecessary questions about already described features of my items, pretense of German delivery addresses in Chinese accounts or multi-accounts from the same bidder) I hereby exclude bidders based in China from my auctions. I offer an Acurus P10 phono preamplifier. This is the narrow version of this amplifier, not the 19 inch version that I sold recently. The amplifier has been tested and is in good working order. As with many other American devices, a very low transformer hum can be heard if you get your ear very close to the amp. Optical condition: this is very good, see photos for details. Worldwide shipping via DHL incl. insurance e. g. - Germany: 10,49 Euro - EU (DHL zone 1, e. g. Italy): 21,49 Euro - Switzerland, UK: 34,99 Euro Other countries: please ask for shipping fees to your country; shipping fees displayed by ebay are not applicable. Please also note my other offers. Sale from private collection (non-smoker). ----------------------------------- GEWÄHRLEISTUNG AUSSCHLUSS Als Privatperson schließe ich Garantie und Gewährleistung aus. Die Ware wird unter Ausschluss jeglicher Gewährleistung verkauft. Alle Angebote sind privater, nicht gewerblicher Natur. Informieren Sie sich bitte im Voraus bei Ihrem Finanzamt oder Ihrer Zollbehörde, ob bei der Einfuhr in Ihr Heimatland weitere Gebühren, Steuern oder Zölle anfallen. Für Transportschäden und Verlust der Ware beim Versand haftet der Käufer (BGB § 447 Gefahrenübergang beim Versendungskauf). Sie haben kein Widerrufs- und Rückgaberecht für die von Ihnen gekauften Waren (BGB § 312 Widerrufsrecht bei Haustürgeschäften). Sie haben auch kein Widerspruchsrecht per Fernabsatzgesetz und auch keine EU 6-Monats-Garantie für gebrauchte Güter. EXCLUSION OF WARRANTY As a private person I exclude guarantee and warranty. The goods are sold under exclusion of any warranty. All offers are of a private, non-commercial nature. Please find out in advance from your tax office or customs authority whether additional fees, taxes or customs duties will be incurred when importing into your home country. The buyer is liable for transport damage and loss of the goods during shipment (BGB § 447 transfer of risk in the case of sale by dispatch). You have no right of revocation or return for the goods you have purchased (BGB § 312 right of revocation for door-to-door sales). You also have no right of withdrawal under the Distance Selling Act and no EU 6-month guarantee for used goods.

Acurus Preamp Processor Act 3 Works Perfect In Very Very Good Condition Comes with remote Dolby Pro-Logic, Dolby Digital, and DTS Decoding 20 Bit D/As and A/Ds 11 Digital Inputs (8 Coaxial, 3 Toslink), 4 Sets A/V inputs, 4 sets Audio-Only Inputs; Outputs Include 2 Center and 2 Subwoofer Acurus, a division of Mondial, aimed at the entry level market of high end, started shipping the ACT-3 recently, a surround processor/preamplifier equipped with Dolby Pro Logic (DPL), Dolby Digital (DD - AC-3), and DTS decoding. The Audio/Video crowd has anticipated the release of the ACT-3 for some time now. Backorders still filling, I had some difficulty obtaining a product sample, but I would not be deterred from the mission JJ put forth, and yanked a string for a date with this mysterious black box. All the hubbub elicits an interesting point though. Many other manufacturers have already placed similar gadgets on the market, racing to cash in on the craze for the latest available. Mondial, a rather conservative company in statement and design as well as product releases, chose to postpone the ACT-3's birth to the world, making revisions until they felt comfortable with reliability and compatability issues. Since one of the methods Mondial employs to achieve a high value/price ratio lies in long production runs, it becomes all that much more important to nail a design from the get go. In the end, the brainiacs settled on a 5.1 (of course) preamp with DPL, DD, DTS, a handful of generic DSP music modes for stereo material, and most importantly, upgradeable firmware and software. Should any new format emerge, such as a 5.1 music format incorporating Meridian's Lossless Packing (MLP) data stream, the ACT-3 may incorporate the decoding. That in itself doesn't come off as unique. At least five or six processors I know of do that. The fact that the ACT-3 clocks in under two Gs doesn't sacrifice much, if anything, in build quality, and isn't made by a mass market manufacturer distinguishes this critter. Truth be told, despite us gearheads who slobber over the stoic 1/4 thick, anodized, brushed alluminum faceplates of our favorite specialty audio companies, those who cater more to the mainstream (mass market) have a very real advantage when it comes to producing the best raw performance for the dollar . . . if they decide to pursue the course. That aforementioned advantage is, of course, mass production. Because of the resources in place to satisfy the competive requirements of large scale production, the big guys can sell a $1,000 receiver with Dolby Digital for the same price that a specialty manufacturer can offer a separate preamp with the same or even less features. And, the receiver as a processor might even win out in terms of performance in addition to wearing a few extra gizmos. If a Dolby Digital processor/preamp for under a grand fits the shopping criteria, performance-wise, a mass market receiver wages the best bet. Even if a specialized company should choose to stray near the territory of the big kids on the block, not many do for precisely that reason. The little companies, though a scrappy bunch, don't have the facilities or the financial clout to generate products in volume sufficient to set the cost per unit low enough. If they did, they still lack the advertising muscle to grab enough of the market to unload the necessary inventory. They may offer a better quality product in terms of build, but even after streamlining the manufacturing process, it still costs more. Mondial accepted that fact, but chose to skirt the border with the Acurus ACT-3. At $1,799 retail, it fills a nitch above the typical mass market stuff, yet ducks the $2,500-and-up benchmarks that typically swim gill to gill with the biggest fish around (such as the Yamaha DSP-A1, the B&K Ref 20, Lexicon DC-1, and Meridian 565.) Plus, the ACT-3 brings a pedigree to the table. Acurus has previously earned accolades for their power amplifiers, as well as the predecessor of the ACT-3, the ACT-1. Mondial's Aragon line fronts some heavies in the respective ranks as well. The facade of the ACT-3 makes me think in some ways of a military school cadet. Clean, yet stark, spiffed up but simple, functional but still lean to the point of avante garde, even perhaps attempting an elitist pose. Only a single knob and a handful of diminutive buttons decorate the face plate. Combined with the featured inputs, outputs, ports, and software, the ACT-3 looks dressed to seduce the custom installer as much as the typical A/V geek like myself. Acurus ACT-3 Rear Panel The rear panel sports a collection of inputs that allow eight total sources, each with their own analog and coaxial digital audio jacks. Four composite and two S-Video inputs, as well as three Toslink jacks feed the system, which then spits the typical 5.1 preamplifier outs (two center and two mono subwoofer outputs) as well as two pairs of analog audio outputs, two composite video outputs, and one S-Video output for purposes of recording and monitoring as the user sees fit. In addition, a RS-232 connection, an IR input port, and 5V trigger lend a lot of installation flexibility. The custom software options, accessible only by simultaneously turning up the volume knob and powering on, allows separate On/Off IR commands for Xantecish IR repeaters serving automation systems, as well as an auto On/Off, and programmable input labels (including 8-Track). Get out the Bee Gees! The setup procedure did feel a bit strange. Not bad, just different. Instead of directly accessing the individual parameters, the path took a roundabout way in order to make the process itself simpler. For instance, to set the parameters for a given playback mode (DPL, DD, DTS, etc.), the user must activate that mode through the auto switching feature by feeding software of the specific format, and then enter the programming menu and set delay times, levels, bass management, or whatever. And, in cases like bass management, one can't directly control the state of the 5.1 speakers, but rather choose from five preset configurations available, none of which will not allow the main left and right channels to share the LFE channel with the subwoofer output, nor can the sub level be set with test tone calibration, but must find its groove during listening with program material. Also, even though a configuration exists for five full-range speakers, as well as full-range main and rear speakers, it isn't possible to allow full-range operation of the left, center, and right channels while limiting bass content to the rear. Granted, that's an unlikely scenario, but in situations with perforated screens, it's plausible to have small rear speakers mounted on the side walls with three matching full-range speakers in the front All of these issues may be addressed through external hookup rigging, but it's still a departure from the more common setup procedure that allows more direct access. Once the parameters are set for each mode, they remain as a separate default for each, even when a user adjusts levels to compensate for personal taste with particular program material. Although the setup does diverge from the conventional, it also makes it difficult for the non-techno-inclined to get things really out of whack. Select the source, press play on that source, adjust your volume, and away you go. This in itself will save many users, salesman, and installers the frustration, time, and expense of unnecessary service calls. If you're a hobbyist in the A/V arena, you might wonder how difficult a time a person could have watching a movie through their stereo. If so, you might be shocked. I've seen customers walk into a store, steaming mad, convinced that a receiver was defective only because they thought the effort to open the manual to the trouble-shooting section and follow the suggestion to press the Tape Monitor button too inconvenient. Acurus ACT-3 Remote ControlThe programmable IR remote operates most major brands of equipment, but cannot learn IR commands from other sources. I found codes to operate the basic functions of my own stuff, but couldn't get a code to operate an ancient RCA television perched in my parents' entertainment center. Four Macro buttons allow up to eight steps of the programmed commands. A fully learnable remote with more IR codes, or at least a more documented brand listing in the manual would have offered a more complete package, but the ACT-3's price requires a lean budget, and anyone can spend another $139 on a remote which will do just that. Here it comes, the place for statements of drama and astonishment, classically reserved for a writer to exchange hyperbole for fame by means of an advertisement quote in some glossy rag. Keep waiting dudes. If you want glossy, polish your screen. We began the engagement with a two-channel shootout between the level-matched (within 0.5 dB) output of the ACT-3 and the older but excellent JVC XLZ-1050 CD Player which I also used as a transport to test the DACs in the ACT-3, compared to the DACs in the player itself. Switching between the two with a passive controller, I did this test primarily to evaluate the performance of the ACT-3's onboard DACs and analog output stages by themselves, reasoning that they would ultimately become the limiting factor in any surround mode. Except for proprietary DSP processing on some models, Dolby Digital and DTS decoding chips are primarily routing data. Stereo, by its limited nature, can show subtleties in the chain of reproduction to a flawed extent. What 5.1 recordings can potentially do by brute force, stereo must accomplish by nuanced trickery. Besides, even though I believe that more than two channels are necessary to significantly advance the state of the art of music reproduction, 5.1 recording in general hasn't standardized, let alone matured. Currently, 5.1 mixes reside primarily in the realm of cinema, a world that often seems oblivious to the virtues of fidelity. With most recordings of average quality, the difference between the ACT-3 and the JVC was slight or nil. The most revealing turns came with material such as Mars Lasar's Eleventh Hour. With Q-sound and Head Related Transfer Function techniques, the music can either immerse the listener in an ocean of dimension, or simply shimmer some sounds around the old bean. Using the JVC as the analog source, I could only sink a smile into the sheer ridiculous but convincing unbelievability - thunderstorms, wolves, and little infant girls dance though my mind to the cadence of some mad magician. Using the ACT-3 essentially as an outboard DAC, all the performers showed up, but couldn't make me shudder. Bass still had good presence. Midrange and treble avoided any irritating hash, but couldn't open up the miracle I have come to lust after. To be fair, the ACT-3 isn't an outboard dedicated two-channel DAC, and I haven't heard a surround processor that could function well as one until they move over that $2,500 mark, but hey, I can hope can't I? A variety of movies in Pro Logic and Dolby Digital slammed through the ACT-3. The Dolby Digital soundtrack of Toy Story wrapped me up with little Maggie (my daughter) on the lap - a father and daughter enjoying the sweet spot while mom had to sit to the side. Throughout our moony session, the ACT-3 followed instructions to the T, allowing our enjoyment to jump along without impairment. DTS music discs such as Alan Parson's On Air alluded to the impressive possibilites of 5.1 music recordings, but didn't quite knock me on my tail. All in all, the processing surpassed the older Yamaha DDP-1 DD Decoder, and pulled in closely to the Millenium 5.1 DTS Decoder, though the differences each way weren't vast. Considering that a good Dolby Digital receiver and an outboard DTS decoder such as the Millenium would run about the same as the ACT-3, that's actually pretty good. The ACT-3's built-in digital surround decoding modes DD and DTS) mean less cable, less space, and a more attractive, more solidly built product. Should internal amps and extra features like tone controls add value for the prospective purchaser, the receiver combo becomes more attractive. However, if somebody doesn't want non-critical controls or internal amplifiers, the ACT-3 acquires top billing. Though features tend to take a back seat in high-end applications, many of them do come in handy. Personally, I would have liked the option of stereo subwoofer outs such as those on the Yamaha DSP-A1, perhaps presets, and adjustable subwoofer crossover with a variety of slopes and crossover points to choose from. A digital five-band adjustable parametric EQ wouldn't hurt either. Still, I can't expect a beverage to taste like good Scotch but have the price tag of a 40 oz. bottle of King Cobra. Nothing can be everything to everyone. Any attempt to do so always leads to failure in more respects, and at under $2,000 for a product like the ACT-3, such compromise would be suicidal. Acurus left the gizmos off to keep the costs down and build quality up, and the build quality is really something. It's not of the same caliber as Mondial's own Aragon line, Krell's KAV products, or the beautifully sculpted Balanced Audio Technology gear in terms of finish, but the chassis does resist flexing remarkably well, exuding a solid and trustworthy feel to the touch. With quality of this kind, one may often take a bit of pride, and a sliver of satisfaction during operation. There is value in the tactile experience of audio equipment. It is, after all, the whole experience that shapes the curvature of the lips at the end of the bout. Now before anyone goes running out with a checkbook flapping from the pocket, be aware of a couple quirks that we should address: Since the processor controls each channel's analog volume control digitally, with 70 discrete steps, at very quiet listening levels, the user can't adjust the front-to-back and left-to-right levels very far before losing all sound on one side, because the processor can't turn the levels down any more without muting them, which it does. This fact isn't crippling, but a little annoying if you're trying to listen to surround material late at night with a kiddy in a nearby bed. No one I know has ever listened to movies that low, so for typical situations it probably won't ever arise. The noise floor of the ACT-3 is substantial, both electronically in the form of a background hiss, and mechanically through transformer hum. The effects in use will depend not only on the ambient noise levels in your listening room, but the gain/sensitivity of your amp/speaker combination. The electronic noise is constant regardless of volume up to unity (gain =1), which would overload most amplifiers, and then increases when the volume is set above that. Level controls available with some amps can alleviate the problem, maximizing the S/N ratio between the preamp output and amplifier intput. With my Aragon 8008BB, which has a voltage gain of 28 dB, and Infinitys which have a voltage sensitivity of 87dB/2.83 volts/1 meter, I could hear the electronic noise two meters away. Farther than that, the electronic noise became lost underneath the slight mechanical hum of the ACT-3's transformer. Since I sit about 3 meters away, hiss from the front wasn't much of an issue. With a Sunfire amp (the two channel, 300 w/ch version) though, driving M&K satellites to the rear, about two meters away from my head, I could hear noise in the rear channels during low-level playback, which did bug me a little. It didn't bother me enough to construct attenuator pads for the rear channel amp inputs, which would have lessened the effect substantially. To put it in context, a computer in the same room would mask all of the above. The only time that this might become a really serious issue is with very sensitive speakers placed very close to listeners in a quiet room at low listening levels. Otherwise, the noise you don't want to hear will get lost in the noise you do. Summary The Acurus ACT-3 has stacks of competition from above and below in terms of price. In my opinion, it will appeal mostly to those who don't want to play with their food, but simply eat it. The ACT-3 is a set, forget, and romp style brick. It looks pretty nice, sounds pretty nice, and is difficult to screw up. Couple that to the upgradeable architecture and price tag, I'd venture to say it's a fair deal.