McIntosh MC275 Amplifier & C22 Preamplifier Combo Review

McIntosh makes top-notch stereo equipment, and the C22 MK V AC preamp and MC275 AC power amp combo is a perfect example. It delivers amazing sound and looks fantastic, all at a price point that isn’t their absolute highest.

The best part? They give you tons of options! With 20 different power amps alone (not counting multi-channel or super high-end ones), you can find the perfect fit for your needs. Even if you just want stereo, there’s still a wide variety to choose from. Plus, they have eleven preamps to match, or you can simplify things with one of their ten integrated amps. It might seem like a lot at first, but it means you can create a custom audio system that sounds incredible.

When it comes to owning a piece of audio equipment, it’s not just about the device itself but the pride that comes with it. Seeing the iconic logo of a company with over 70 years of history, and being surrounded by its signature colors of black, chrome, deep green, and turquoise elevates the experience beyond mere consumerism. As someone who has tested countless amplifiers, some far more expensive than this particular McIntosh combo, I can attest to the unique allure of McIntosh. While many brands excel at their technical functions, McIntosh stands out for its enduring magic.

Spending time with the MC275 and the C22, I’ve come to appreciate why so many music enthusiasts find themselves drawn into the McIntosh fold; it’s not just about the sound quality, but the overall experience that leaves you deeply satisfied and happy. It’s a journey that once embarked upon, often leads to a lifelong devotion to McIntosh.

Turning on the McIntosh C22 MkV preamp and MC275 MkVI amp feels a bit like stepping back to Woodstock. Both use tubes for that classic 1960s sound and guess what? The original Woodstock music festival used McIntosh amps! They had a bunch of the MC3500 model, and some people even say they used the older version of the MC275 you’re looking at here. These amps are built to last – the key part of their design has barely changed since then!

McIntosh MC275 V AC

The combination of the C22 MkV preamp and the MC275 MkVI power amp creates a timeless and visually stunning duo. While they exude a retro aesthetic, they have been updated with modernized technology wherever it enhances sound quality, reliability, and safety. Despite these advancements, the fundamental circuitry and functionality remain unchanged: both the preamp and power amp operate entirely in the analog domain. This includes featuring two complete phono sections in the preamp, catering to both MM and MC systems, and ensuring versatility for vinyl enthusiasts.

The McIntosh power amp continues the tradition of their classic “Unity-Coupled” design, which they invented back in the 1950s. This fancy way of building the amp makes the sound much clearer and richer, but it requires really well-made transformers. McIntosh builds their own special transformers for this purpose, and they also use high-quality tubes to make everything work smoothly. That’s why there are so many tubes inside the amp – they all work together to create the powerful, clean sound that McIntosh is known for.

Certainly, other tube amps may offer easier setup procedures, but few can match the combination of low distortion, high power output, and low output resistance achieved by the MC275. This is largely due to McIntosh’s use of truly massive output transformers and an impressive power supply. These components enable the MC275 to deliver a robust 2 x 75 watts per channel— or even double that when configured as a monoblock. Importantly, when operating in mono, the two channels are not bridged but instead switched in parallel. This configuration not only doubles the power output but also halves the output resistance, which proves advantageous when driving demanding loudspeakers. Additionally, this design choice ensures that the vacuum tubes are not unduly stressed, prolonging their lifespan and maintaining performance quality over time.

Modern iterations of the MC275 are potentially even more reliable, benefiting from advancements in materials and manufacturing processes. High-voltage-resistant capacitors, for example, are not only more durable today but also more compact. Additionally, modern components exhibit greater temperature stability, ensuring that their values remain consistent under varying loads. Consequently, while the listener may drift in consciousness during a listening session, the operating points of their amplifiers remain steadfast.

The critical output transformers, integral to the amplifier’s sound quality, have also seen improvements. They are not only of higher quality today but also more resilient, thanks to advancements in enameled wire coatings that enhance their resistance to damage. Furthermore, modern MC275 models are equipped with electronic protection circuits that monitor output currents and power tubes. In the event of any parameter going out of control, the amplifier will automatically shut down, with LEDs indicating which tube is experiencing issues. The LED lighting of the input tubes changes from green to red beside the affected KT88 tube, providing clear feedback to the user. Additionally, a brief amber-orange color signifies the warm-up and stabilization phase after switching on, serving as a less alarming signal during normal operation.

The design of the MC275 amplifier is quite unique. It doesn’t have a clear front or back, and no matter how you place it, cables and switches can be in unexpected and sometimes inconvenient positions. When you stand the power amp sideways, you can see its cool name engraved into solid metal in an old-fashioned steampunk style. Behind that are the pre-tubes, then the end tubes, and at the back, there are three big transformers. All the audio connections, switches for mono, standby, and input are on the left side of the case. On the right side, you’ll find the power socket, fuse, and switch for energy-saving auto standby.

On and around this amplifier, you’ll find all the technical details printed in black on stainless steel. A lot is happening with this amp, and that’s a good thing. It’s reminiscent of the engine compartment of a 1960s sports car, where everything wasn’t neatly packed in plastic like it is today. Despite the complexity, the power amplifier looks impressive from every angle. Its top surface is now polished stainless steel (originally chrome-plated sheet steel, which could rust over time), while the chassis, transformers, and tube protective cage are painted in clean black. The only thing missing is the iconic blue gauges, which first appeared on a McIntosh power amp in 1967 and would have looked great on the MC275.

The control and connection panel on what used to be the left side wall is quite busy. The upper half, angled backward for easy access, features eight solid connection terminals. These terminals can be tightened or loosened using a 15 mm socket or open-end wrench, though it’s advised not to overdo it. Audiophiles tend to have a lot of strength when using leverage, so caution is advised. Banana plugs can also be inserted from above, which is more practical for finding the best sound connections.

On the lower vertical part of the stainless steel wall, there are two small jack sockets for trigger voltage for remote switching on the far left. Following these are the mono switch and the input selector, which allows you to choose between XLR and RCA socket pairs. The balanced input bypasses the first tube gain stage, making it 6dB quieter than RCA. If you happen to misplace the manual after 25 years, you can also find the information on the right side wall.

Regarding input sensitivity, from 1.7 volts via RCA, it increases. This means that the input voltage required for full modulation is then just 3.4 volts. When using the C22 as the source, we found that the unbalanced connection worked better in a direct comparison. However, in cases of very long connections, the balanced option may be preferred due to its superior interference rejection capabilities.

McIntosh C22 Mk V AC Preamp

The reason why the C22 MkV doesn’t typically sound any better via XLR than via RCA becomes evident when you examine the preamplifier’s block diagram. Essentially, the C22 operates asymmetrically, requiring an additional (semiconductor) amplifier to balance the tube signal for XLR connections. You don’t need to dig through any service manuals to find this information; it’s conveniently displayed on the device cover. In true McIntosh fashion, the signal path through the device is sketched in gold on black behind a real glass pane in A5 landscape format. It exudes style, particularly because the lower third of the glass window showcases the six tubes that play the primary role in the preamplifier’s signal path. These tubes, all double triodes, include five 12AX7s and a low-impedance 12AT7 as the output driver. Of the five 12AX7 tubes, only one is allocated to the line stage, while the others are dedicated to the two phono stages of the C22.

Now it becomes clear that even with McIntosh preamps, there are distinct user profiles, making the selection process less confusing. For instance, the C22 MK V AC seems tailored to my needs: it’s a purely analog preamp with two fully configurable phono inputs, specializing in MM and MC pickups. Its roots trace back to the early sixties, evident in its visual resemblance to the C22 archetype.

The six tubes in the C22 MK V were also present in the MkI, though with more diverse tasks that modern preamps don’t need to handle. For example, tape inputs with variable equalization for tape machines without their electronics. Now, there are two phono inputs, each separately run until the signal reaches full line level and undergoes RIAA equalization. This may seem like a waste, but it allows for specialization for each input’s respective task. Furthermore, all switching processes, from input selection to tone controls, are managed by hermetically sealed, long-term stable, and extremely contact-safe reed relays, indicated by a soft ticking sound.

The volume and balance control, employing an integrated resistance network component, operates silently and seamlessly. Unlike past decades’ C22 examples, the current MkV utilizes digital controls with an ARM processor and updateable operating system, paradoxically offering an analog feel.

Both phono inputs can be paralleled and adapted directly from the front panel, without needing to access the rear or dismantle the preamp. An aluminum rotary knob, in classic McIntosh style, offers MM users seven capacitance values between 50 and 350 picofarads, while MC users can select from seven resistances ranging from 25 ohms to one kilohm, providing ample flexibility for correct pickup termination and fine-tuning to personal preferences.

Both phono inputs operate with minimal noise, even with quiet systems like a Denon DL-103R in the FX512 twelve-inch arm on the Funk Super Deck Grande. The inherent noise of the electronics remains well below the groove noise, even at high volume levels. This indicates either the use of input transformers or, as in this case, an MC-optimized, very low-noise transistor amplification stage, effectively amplifying the sensitive currents from the moving micro-coils.

It’s important to highlight that the phono inputs on the C22 deliver outstanding sound quality, making an external phono preamp unnecessary. It would be illogical, as the C22 in its current form already serves as a fully equipped phono preamp. This reflects the historical significance of preamps, many of which were initially designed primarily for vinyl playback, given that LPs were the predominant medium for music consumption.

Beyond its exceptional phono capabilities, the C22 features five line inputs in both RCA and balanced XLR formats, along with four sets of level-controlled stereo outputs. This flexibility allows for convenient integration of complex setups, such as bi-amping and subwoofers. Additionally, the C22 includes a headphone output with a dedicated powerful amplifier that delivers excellent sound quality, capable of driving high-end headphones like Audeze and quad magnetostats. The McIntosh specialty HXD can be activated, offering a crossfeed process intended to enhance headphone listening by providing spatial depth and a speaker-like stage. However, the effectiveness of HXD can vary significantly depending on individual preferences and the specific headphones used. While it may not have worked as expected with certain headphones, it could provide an unparalleled listening experience with different models.

As a true McIntosh, the C22 comes equipped with classic features that many other preamps lack: bass and treble controls, for instance, with a ±10dB range adjustable in precise 2dB increments, which can be toggled off if desired. Additionally, it features a volume control with a clear LED status display visible from a distance, offering a lightning-fast response. Adjusting the volume is effortless; you don’t need to crank it like an old coach’s steering wheel. Instead, the electronic control responds directly, providing a smooth and even adjustment.

A quick press on the input selection button mutes the signal, while a slight turn of the volume wheel temporarily activates the balance control. Furthermore, a system remote control is included, capable of controlling other McIntosh devices thanks to data ports on the rear of the C22, even if they are obstructed from the infrared signal.

Although it may be hard to imagine someone hiding their McIntosh equipment and thus needing these controls, it might happen occasionally. However, in my listening room, the preamp and power amp were prominently displayed on a Tabula Rasa lowboard, within easy reach. Operating the C22 manually adds an extra layer of aesthetic pleasure, and controls like tone adjustments, balance, and phono settings are not dictated by infrared signals anyway.

Hearing test McIntosh C22 MK V/MC 275

The McIntosh amplifiers achieve something that only the finest amplifier combinations can: they transform the intricate complexity of nearly a hundred feet of electronics into an abbreviated representation of the music signal—a shedding of ballast that allows the notes to dance freely. When a high-quality digital player like the Rega Saturn Mk3 feeds into the line input of the C22 Mk V AC, the MC275 produces an expansive, finely defined, and lively soundstage.

The fact that this is a complete tube chain is only noticeable in a positive sense. The freedom, speed, and immediacy typically associated with puristic, low or no negative feedback, and often underpowered tube amps characterize the sound of the MC275. Remarkably reminiscent of such straightforward designs, the MC275 delivers performance nearly to its limit, even with speakers that are not traditionally considered “tube-friendly.” It exhibits minimal—almost negligible for tube standards—reactions to the impedance curve of the speakers and maintains a friendly, low-distortion performance even at high volumes. It’s not just a single feature that justifies the MC275’s price; it’s the overall experience it delivers.

Albums

Listening to albums like “Thriller” by Michael Jackson, the amplifier combo showcases its ability to handle lustily mastered electro basslines with finesse. Deliberately pushing it to its limits might soften up the basslines a bit, but in everyday listening, what truly impresses is the amplifier combo’s juicy, full, and physical playing style, benefiting all genres of music equally. Despite its magnificent breadth and transparency, the sound always retains a warm, almost creamy quality, which doesn’t compromise transparency but rather enhances naturalness.

This characteristic is particularly evident with the phono inputs. For instance, “Promises” by Floating Points, Pharoah Sanders, and the London Symphony Orchestra demands the utmost transparency—an LP-long jazz meditation featuring diverse keyboards, orchestral arrangements, and, of course, Sanders’ saxophone, all set in the expansive acoustics of the Air Lyndhurst Hall Studios. With the McIntosh amplifiers, the music takes on a provocative breadth, with fabulously fine structuring and nuanced tutti accents. It’s as if the myriad of stimuli captured by the microphones in such a setting undergo a long journey, from the recording studio to the mastering process, pressing, and finally reaching the listener’s ears. It’s like a wormhole has opened up, transporting the listener directly into the heart of the music’s creation, imbuing each listening experience with a sense of nostalgia and familiarity.

The Denon DL-103, McIntosh C22, and MC275 all entered the market around the same time in Japan and the USA. While their compatibility and synergy back then are unknown, today, anyone seeking to push the rich, hearty McIntosh sound to its limits will find a perfect match in the R version of the MC classic. The system sounds fuller on the C22 than on other top phono stages, but also more gripping emotionally, with a wonderfully creamy midrange and a robust, healthy bass driving the whole experience. It’s not just powerful but dynamic and lively.

One doesn’t need audiophile masterpieces to captivate music fans. Artists like the Söderberg sisters from First Aid Kit achieve this with their album “Palomino,” despite its compact pop production. Their great songwriting and beautiful vocals, combined with the McIntosh gear’s ability to lovingly lift their voices out of the mix and project them even closer to the listener, are enough to captivate even the most indifferent listener.

While the Denon DL103R is lively in the presence and brilliance range, it may be somewhat limited at the top end. To avoid misattributing the preamplifier’s sound to the system, I’ve also listened to very modern systems like the Rega Ania Pro or the Lyra Delos, which offer broad bandwidth even for bats and dogs. The openness and transparency of the C22 make such comparisons crystal clear and provide a wider framework than even top pickups can fill. This holds for headphones as well as for the power amplifier and good speakers.

Conclusion

the McIntosh C22 MK V AC and MC275 AC form a wonderfully subtle yet grippingly dynamic amplifier combination. Despite their retro appeal, they sound fresh, cutting-edge, and ultra-modern. With outstanding craftsmanship and future-proof construction, they are sure to deliver exceptional performance for many years to come. Moreover, vinyl enthusiasts will find that the C22 exhausts the topic of phono preamps, making the investment even more worthwhile. This perspective also puts the price of the setup into a friendlier light, especially since it can satisfy amplifier needs for a very long time, if not indefinitely.


Considering a power amplifier that has remained in the lineup for so many years naturally raises the question of whether the current version is necessary. The answer is a resounding yes. While there may not be significant changes in appearance, there are substantial improvements in terms of technology. The MkVI version boasts better transformers, operating at higher voltages, resulting in lower distortion compared to any previous iteration. Additionally, thanks to an intelligent protective circuit, it offers enhanced reliability, making it a worthwhile investment over earlier models.

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