The Antique Collector Installment 4 - More on H.H. Scott

Posted by: Steven Stone at 1:01 pm, June 21st, 2009

        
 
Soundstage characteristics are rather nice.  The stage width and depth are miniaturized, but the proportions within the stage are accurate.  While there is a noticeable lack of "air", focus is surprisingly good, and instruments are easy to locate within the soundstage.  While there is negligible grain, there is a liquid smokiness in the spaces between the music.

        
 
While no one would claim that Scott integrated amps are paragons of neutrality, they can be matched with any number of little speakers whose upper frequencies predominate and skew the harmonic balance toward the thin, bright side.  ProAc Tablettes, Spectrum 108s, ADS minis, and other speakers with "hot" top ends mate quite beautifully with old Scott integrated amplifiers.  The top end roll-off characteristics of the Scotts inversely mirror
the rising top ends of these mini-monitors.  The result is approximate harmonic neutrality, making the unlistenable with modern equipment, quite pleasant with old Scotts.

        
 
The best sounding Scott integrated amplifier I've ever heard was a LK-72 assembled by Ampex in their factory.  I mentioned this unit in my last column, so I wont go into any redundant physical descriptions.  It had far less of the "fudge" coloring than other Scott units, with more extended top end response, less midbass warmth, and greater dynamic contrast.  While I could detect no parts changes or circuit modifications, it is hard to believe that just the assembly quality could account for its' sonic superiority.  Perhaps the guys at Ampex were using an ancestor of "wonder solder"?

 
SCOTT 272 AMPLIFIER
 
This beast, featuring 14 lb. output transformers, and 36 watts per channel RMS, was made from July 1960 through the end of 1961.  Its' tube complement consisted of 6 12AX7 tubes, 1 6AV6 tube, 2 6BL8 tubes, 4 EL©34 power tubes, and 1 5AR4 tube.  Its' front panel dimensions are 6" high by 16" wide, and was available nude, or in either "Walnut Blond" or "Mahogany" wooden cases. 

 
The Scott 272 resembles a stocky 299; with a few more front panel features such as phono level controls, a dynamic noise suppressor knob, and center channel level control.  Other touted features on the 272 are one low level magnetic stereo input, two high level magnetic stereo inputs, and three line level inputs, with the ability to use the 272s tone controls in such a way as to allow its use as an electronic crossover (I didn't make that last thing up , it's right here in blue ink on a one page product release sheet from Scott).

 
The 272 was not on the market very long.  The 296 in 1962 replaced it.  I've never seen a 272, and I suspect they are rather rare.  It was expensive at $274.95, almost twice the price of the diminutive 12-watt RMS per side model 222.  The 272 has enough beef at 36 watts RMS per side, to drive most contemporary small speakers in small rooms to adequate volumes while not exceeding its published spec of .8% harmonic distortion.  If you purchase a 272 without a case, locating one may prove about as fruitful as the search for that ancient cup that preoccupied old King Arthur.

 
SCOTT 296 AMPLIFIER
 
This unit was on the market from January 1962 to July 1963. Its published specs boasted of 40 watts RMS, which was probably on the conservative side considering its two EL-34 power output tubes, and massive transformers.  While I haven't weighed the 296 I have on hand, it is heavy enough to require good power-lifting technique (lift with the legs, not the back).

         Unfortunately my loaner 296 has something seriously wrong with one channel, so mono listening was all that I could manage. The 296 was able to drive a Monitor Audio 852 to substantial volume levels in a large room.  The sound was classic Scott integrated amplifier - punchy bass courtesy of a bass hump at 60 cycles, dark but musical midrange, and rolled of top end giving the top end a "hooded" effect.  The Scott 296 is perfect for the owners of ProAc Tablettes who wish they'd bought Celestion SL6s; hook up your ProAcs to this baby, and they'll suddenly loose their top octave.
 
Hooked up to speakers of its' own era, the 296 must have been dark sounding indeed, perhaps that's why it only lasted slightly over a year in production.  Its cost © $299.95, was probably the primary factor in its limited longevity.  Most audiophiles, who were willing to spend that kind of money, needing that kind of power, usually bought separate pre and power amps rather than integrated units.  The combined or integrated amplifier has almost from its' inception been a compromise device that appealed more to music lovers than serious audiophiles.