McIntoshMEN220 Room Correction SystemusedMcIntosh MEN220 Room Correction SystemThis McIntosh MEN220 unit is in excellent condition. All original mfg items are included with this unit. It is excellent working order. I had it connected between my PS Audio BHK Signature prea...1995.00

McIntosh MEN220 Room Correction System [Expired]

no longer for sale

This McIntosh MEN220 unit is in excellent condition.   All original mfg items are included with this unit.  It is excellent working order.  I had it connected between my PS Audio BHK Signature preamp and Bel Canto REF 600M amps powering Wilson Audio Duettes.  Simply amazing what the MEN220 does for improved clarity and sound stage dimensions.  Even when not in the sweet spot the improvement to the sound in the room is VERY noticeable.  I am selling due to a change to my system and no longer have a need for this unit.  The listed price includes free shipping to any of the contiguous 48 states and I pay any paypal fees.  This price is much lower than the other units listed on the internet to facilitate a fast sale.  I am a longtime Audiogon member with excellent feedback.


ToneAudio review of MEN220

Room Challenges

We put the MEN220 through its paces in a few different environments to judge its effectiveness in a treated room, a relatively inert, non-treated room and our publisher Jeff Dorgay’s living room, which has to be one of the worst-sounding rooms anyone on our staff has experienced, with major anomalies in the bass and midrange regions.  The MEN220 made a minimal difference in Jeff’s treated room with full range speakers, but in the other two environments, the 220 achieved significant gains in terms of clarity and coherence.


When using the 220, more inner detail becomes instantly apparent.  The 24-bit remaster of the Beatles’ “She Came in Through the Bathroom Window” from the Abbey Road album, startles with the level of clarity now present in this recording.  The corrections made Paul’s bass line much easier to follow, gave Ringo’s percussion its own space and elevated the backup vocals that were buried in the mix.  After the first of many test tracks, everyone was stunned at how much of a difference the 220 makes.

The piano hidden deep in the background of “Bang and Blame” (from the HDtracks download of the R.E.M. album Monster) now has much more airiness lingering well behind the right speaker, again exhibiting more clarity throughout the frequency range, with the bonus of additional dynamic information.

The wood block in the tune “Rich Woman,” which Robert Plant and Alison Krauss released in 2007 on their Raising Sand collaborative albumjumps out of the speakers.  With an almost surreal effect, it now sounds like someone is whacking the wood block about a foot in front of the listening chair.  Where was this thing in the 1970s when we all got really high listening to music?

Any thoughts of altered reality wouldn’t be complete without listening to some Doors.  “Riders on the Storm” was beyond psychedelic.  Again, the amount of bass resolution now on tap thanks to the 220 is stunning.  The piano floats wistfully in the air, instead of just being locked in between the speakers as it was before engaging the 220.

Like an eight-year-old boy, Jeff determined not to eat what’s on his plate.  He didn’t want to like the MEN220—because it’s sooo un-purist, sooo un-audiophile.  (Perhaps non-20th-century audiophile is more accurate.)  But with enough computer power under the hood to launch a spaceship, the 220 quickly converts the non-believers.  Then staff member Jerold O’Brien’s girlfriend asked the fateful question: “We can get rid of all that stuff hanging on the walls if you have this box, right?”  Like watching Wile E. Coyote scheming on how to catch the Road Runner, you could see O’Brien’s gears turning.  He looked nervous and made a quick exit.


Vintage O-rama

Sure, the MEN220 did a great job with the $8,500-per-pair Dynaudio Confidence C1s, and it was spectacular with the $23,000 Sonus faber Elipsa SEs, but it was time to try something way off base.  So we hauled out the circa-1970s JBL L-100 speakers.  And, as crazy and as “un-audiophile” as this seems, the JBLs underwent the most miraculous transformation of all.

The L-100s are fun speakers, but their sound is decidedly vintage, even with world-class electronics powering them.  After a quick set of measurements, they sounded like a pair of speakers that you’d expect to cost a lot more.  The JBLs still had their limitations—the upper register is still slightly grainy and there is a touch of bass bloat that even the EQ can’t fix—but they now have natural midrange and throw a huge soundstage with some serious pinpoint imaging.  Don’t believe us?  Stop by our room at the Rocky Mountain Audio Fest this October ( and have a listen.  We’ll be showcasing the MEN220 with the JBL-L100s in the TONEAudio “Chill Out” room.

Of course, running the 220 with the JBLs triggered a major classic-rock listening session.  Christine McVie’s voice on “Songbird” from Fleetwood Mac’s Rumours floated whimsically in the air between the speakers.  As easily as with any pair of audiophile-approved loudspeakers, the massive increase in system resolution enabled us to readily discern between high-resolution and standard digital files playing through the JBLs.  The 220 transformed the title track of Bowie’s Young Americans (again in 24/96) into an eerily immersive experience.  We could not believe this was the same pair of speakers purchased on eBay a few years ago for relatively little money.  Listening to the DVD-Audio rip of the Grateful Dead’s American Beauty was much trippier, thanks to the MEN220—not an acid flashback or all the Dead karma coming back from the days when the band used McIntosh amplification for their live show. Either way, it really enhanced the listening experience.

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