I have for sale a mint Modwright KWI 200 integrated amplifier. It comes from a smoke and pet free home. It is in absolutely beautiful condition. It does not have the phono module, but that can be added. It works perfectly and would be very difficult to tell from new. I am the original owner and purchased the unit new in late January 2017 from an authorized dealer. So, this beauty is just over 8 months old. You would have to spend several times this price to exceed it's performance. It is built like a tank. Serial number is 2000314. Comes with manual, metal remote, and original factory packaging. Sale in lower 48 states USA only. Please see the reviews describing it's gorgeous sound.
From Six Moons:" So how did the KWI200 sound? Like a ModWright. All of Dan’s amps are class AB solid-state but they sound more like tubes or perhaps class A transistors to become very likeable to tube fans like yours truly. The sonic attributes which make that happen are a slightly warm rich and smooth midrange; punchy well-extended somewhat rotund bass; and last but not least an open detailed strong treble that’s crisp without any hint of brightness unless one plays bad recordings. Working one’s way up inside ModWright’s catalogue, each amp seems endowed with the same attributes and simply adds goodness to make the sound more and more sophisticated and liquid. Vocals have beautifully natural timbres and textures to highlight their emotional charge which becomes quite life-like. A related bonus is not having to dread sibilants. Whilst the ModWright won’t eliminate them, it draws them more likeable or less disturbing. Another strength is the large well-layered soundstage with lots of air surrounding precisely placed three-dimensional images. It takes spending twice or thrice to get better 3D definition and body from solid state. Most important to me was the liquid delivery whose friendly relaxed effortlessness was almost tube like. Perhaps this might discourage certain solid-state supporters but this really isn’t a ‘classical’ transistor sound. The music flows freely and breathes. There are fast attacks and wonderful decays in nicely feathered-out acoustics. I really appreciated how the amp presented small subtleties which often are obscured behind the main action but nonetheless remain important contributors to the total presentation. This was true regardless of whether such secondary material was upfront or placed deeply hidden within the stage. And unlike with many other machines of its kind, this transistor device never got dry which tends to annoy me a lot."
The Absolute Sound: "If anyone hasn’t noticed from the listings of exhibitors at Rocky Mountain Audio Fest in the last couple of years or RMAF write-ups, ModWright electronics are among the most frequently used by many exhibitors. There are good reasons for this: Dan Wright is a supportive and approachable guy, and, more importantly, ModWright gear sounds good and partners well with other brands’ wares.. From the start, this amp sounded full-bodied and powerful. With a 1.5kVA toroidal transformer and 234,000uF of total power-supply capacitance, this integrated has the kind of power that simply commands typical speakers. The KWI 200’s bass grip extended deeply, tunefully, and convincingly when paired with three different speakers: the YG Kipod signature II Passive, the Aerial 7T, and the Dynaudio C1 II. It has a rock-solid, gutsy presentation that underpins music with any bass or dynamic force behind it. The opening didgeridoo passage on Dead Can Dance’s “song of the stars” [Spirit Chaser
, 4AD] had fantastic power and wee how we perceive basic speaker performance limitations. As alluded to briefly already, music with dynamic power is backed up with fantastic control and poise, which helps create a sensation of ease and lack of restriction. “Breathing room,” if you will. Frequency extension at the upper end of the spectrum was also very good. I never felt as though I were missing some extra energy or “presence” because of a reigned-in top end. Along those lines, the KWI-200 had a “quick” upper-midrange and lower-treble presentation that allowed much of the natural swing or verve of live music to come through at satisfying levels. This upper-midrange snap, coupled with solid, sure-footed bass, helped bring out the momentum in heavily beat-based music."