Join me again as we examine another classic baby amplifier and true baby, the Sansui AU-101 integrated amp.
Do we love these babies? Yes, we do! Welcome back, everyone. That said, and so that I don’t bore some of you to death, I’m going to cap it at four baby amplifiers articles for now, with more to come as needed. What better subject for article number four, though, than one of the most classic and archetypal baby amplifiers, the diminutive Sansui AU-101!
Background
For a baby amplifier primer, have a read of my first article on the Kenwood KA-4002A. It’s clear that with a power output of just 15 Watts per channel and a diminutive mass of 5.9kg, the Sansui AU-101 integrated is a true baby amplifier.
Sansui made a few baby amplifier models, and some receivers like the Sansui 661 I’ve mentioned, and one of the last of the baby amplifier legends was the classic Sansui AU-117, baby brother of the Sansui AU-317, my test amplifier and one you’ve probably seen on my bench.
Back in the 1970s, there were a ton of baby amplifiers around because hi-fi systems were a little different, use-cases were often less demanding, and speakers were often more sensitive, by virtue of high magnetic flux motors utilising AlNiCo, for example. Why did they stop using AlNiCo? Ferrite is far cheaper, but definitely not as good.
Amplifiers like the AU-101 sold like hotcakes, and the incredible thing is, there are still a ton of them around. Why? Because they were well-made, reliable and sounded great. They still do! Here’s another super-baby amplifier you might not have seen before, the beautiful Pioneer SA-5300:
Sansui AU-101 Features
It’s worth noting that the Sansui AU-101 is part of the series that features the much-loved Sansui AU-555A, another baby with a slightly greater 25 Watts per channel. The AU-101 outputs just 15 Watts per channel and being the actual baby of the range, she is pretty basic, as you can see from the front panel.
The AU-101 still features all metal and wood construction, but just three inputs courtesy of the rotary switch, with a fourth switchable tape input below it. There is the mandatory ’70s microphone input, plus a headphone jack, of course. Beyond that, there are tone and balance controls, a loudness switch, and that’s it.
The phono input is discrete and sounds great, as one would expect of a good vintage amplifier. You are limited to moving magnet cartridges, though, in keeping with where this amplifier is positioned in the market. The only thing to note is that these older phono stages can be a bit noisy, but this can be improved if desired. This is not a high-end integrated. It’s best to appreciate it for what it is.
What you do get with the AU-101 and most other period amplifiers, though, is discrete component construction, shielded sections, super-easy servicability, no repair show-stoppers even 50 years on, and simple, reliable construction that very clearly stands the test of time.
Sansui AU-101 Specifications
Courtesy of HiFi Engine
Power output: 15 watts per channel into 8Ω (stereo)
Frequency response: 20Hz to 60kHz
Total harmonic distortion: 0.8%
Input sensitivity: 4mV (mic), 3mV (MM), 200mV (DIN), 200mV (line)
Signal-to-noise ratio: 65dB (MM), 75dB (line)
Channel separation: 45dB (MM), 45dB (line)
Output: 200mV (line), 30mV (DIN)
Speaker load impedance: 4Ω to 16Ω
Semiconductors: 18 x transistors, 4 x diodes
Dimensions: 407 x 115 x 278mm
Weight: 5.9kg
Year: 1973
Service
This Sansui AU-101 came to me via a lovely new customer, Michael, in 2023. Michael brought me four Sansui amplifiers in a row to repair and service for him, plus some other stuff, all completed in about a week, as I recall.
The amplifiers included the ‘Suntanned’ AU-317 I wrote about, which had been given up on and referred to me thanks to its very unhappy previous owner. I meant to write about that whole series of amplifiers back then, but as so often happens, my time and energy ran out. At least I’m writing about the AU-101 now!
Checking back over the invoice for this unit (I have all my customer invoices dating back to 2009!), this AU-101 needed light service work, cleaning and adjustment, typical of pieces like this that have not been abused or recapped and damaged in the process.
Results
Another simple winner with nothing else required in terms of explanations. This Sansui AU-101 ran better, sounded warmer and smoother and operates flawlessly now for her owner. Actually, I don’t know if Michael still has this beauty, as this job was three years ago now, but I hope he does. Hi Michael, if you are reading this!
I think my sentiments about each of the four baby amplifiers weve looked at so far are the same. Each of these models is reliable, sounds great and can be passed on through the generations. Assuming people are still listening to music in 50 years and appreciate the virtues of vintage equipment, there’s no reason amplifiers like this Sansui AU-101 won’t be powering those little systems!
Thanks!
As always, thank you for visiting and supporting my very small Perth-based business. The goal is always to showcase the best hi-fi equipment and technical care. If you enjoy these articles, please consider liking, sharing and subscribing for updates by email.
Naturally, if you’d like me to care for your Sansui AU-101 or any other lovely baby amplifier, you need only get in touch via our contact page. I am fully booked at present, but I always endeavour to take care of customers who don’t mind waiting a little bit!
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Another fun article, and good to see Toshi approves!
A few Sansuiphiles may take exception to your comment that the AU-117 was ” the last good baby amplifier Sansui made”, but I note your definition of a “baby amplifier ” has a ceiling at 30 watts, rather than a small physical footprint.
On the Japanese Domestic Market in the 1990s Sansui sold the Alpha A7, A9 and “aelf” small footprint amps, and matching CD players and tuners. They are said to have good late-era clean Sansui sound but above your 30-eatt “baby threshold”) and to be well constructed, but sadly like almost all the Big Daddy Sansui Alpha amps they were never sold outside Japan. They show up in a search on eBay and the Japanese hifi auction sites. A few US Sansuiphiles have described their experiences with these very cute but capable JDM amps over in the Sansui forum in AudioKarma, if any of your readers are interested.
Thanks Rob, glad you enjoyed this one, and you are correct regarding the ‘extra’ models available in Japan. I like the ‘new logo’ Sansui equipment from the 90s quite a bit less than the earlier stuff, but that’s just me. I know many folks love this later-era stuff! Thanks for commenting as always!
Congrats on another successful repair & later article of another “baby” amplifier. I enjoyed this for the most part except for the Toshi photo as it frustrated me no end because I want to rub Toshi’s tummy & I can’t due to logistical issues. LOL!
On another note, I’m hoping all this tiny amplifier work has made you Mike ready for a bigger challenge as my go-to workshed “fully grown man” receiver a 140 watt per channel dual mono 23.5kg Sanyo JCX 2900 has an issue that needs service & I’m getting kind of eager to ship it all the way down to Perth from East Coast USA so I’ll know the service will be done right. It may just be some grown cold soldier joints as the main issue is the audio cutting in and out accompanied by thumps from my woofers for about the 1st 30 minutes of operation until the unit is warmed up. After that she plays just fine like always for the last 10 years or so. Whaddya say Mike? Is this IYO worthwhile for you to tackle given that I’m fine with all the shipping costs I’ll have to cough up, up front? Also, this is neither here nor there but I’ve had an aural fantasy pop into my brain unsolicited wherein once you’ve got one of these “baby” amplifiers up & running you exclaim aloud ala Mike Myer’s Austin Power’s character,
“Yeah baby yeah!” LOL#2
Ha ha, thank you Tim, I’ll give Toshi a tummy rub for you! Wow, I’ve never seen a Sanyo JCX 2900. I’d love to help with this but don’t take on overseas jobs involving big, heavy pieces because of the risks and high packing and shipping costs involved. I’m hoping there will be a good local tech you can ask to take this one on for you. It sounds like you just need the right person for this, and there will be one over there for sure. Oh, and I’ve said many Austin Powers lines over the years!!
I have an AU 517 – just been rebuilt to address the corrosive glue problem. Will never part with it for the reasons you mentioned – well built, smooth performance and it can be repaired. Great amps and 50 years later still performing at manufacturers specs. How good is that!
All very good reasons to own such equipment Michael, thanks for sharing!
Hi Mike, your article rang a few bells for me. I remember both John and Frank, and certainly agree with your opinion of them. Audio Equip was in Shields Crescent, Booragoon at the time, and John sold me a lovely Denon PMA-777 integrated amp and AR speakers. I really enjoyed those until some low-life broke in and stole my entire system and CD collection. I replaced them with Marantz gear and B&W speakers from Frank, although mainly assisted by David at that time. (I’d have taken a new PMA-777 at the drop of a hat had they still been available). I used to get CDs from Frank when he was at Alberts in Murray Street, too. In addition, the SA-5300 was my first “proper” amplifier, albeit a baby one. Good memories.
Cheers
Steve
Hi Steve, I’m glad you knew these gentlemen too, lovely fellows. I used to ride my bicycle down to Shields Crescent and sometimes ride home with a baby amplifier in my backpack. John would let me trade each thing in for something slightly better, and he used to clean records for me with a Keith Monks machine, I think. That was just before I rented my first CD player from Radio Rentals. I was the only kid at school with a CD player, around year 10, from memory! Frank also sold me some wonderful gear, and I later briefly worked with Frank and Dave at Frank Prowse HiFi. Fantastic that you owned an SA-5300, great memories indeed!
Hello Mike, and everyone who may read this comment. A great job of dissemination and professional excellence. It just so happens I’m conducting the first listening test of a 7/10 watt per channel “baby.” It’s a Philips GH943 with germanium transistors. It really sounds amazing (if you can say that). I’ve paired them with some fairly sensitive Philips RH427 speakers. I’ve already covered almost every genre, and the dynamics stand out with classical and rock…? The vocals with Sarah Vaughan are warm and caressing. You have to let it warm up; 56 years later, it works and sounds better than some of today’s expensive equipment. Greetings from the sunny Mediterranean coast of Valencia. Addendum: Not us, but others will continue to take care of these irons
Hello Gabi, and thank you for sharing this. Germanium really does have its own unique sound, and many of these early solid-state pieces sound wonderful. The RH427 speakers I remember well, and they are lovely. Many incorrectly assume that the newest Cambridge Audio or NAD amp must somehow sound better because it is new. Ironically, this new gear often sounds worse for many different reasons. Greetings from Perth. Keep enjoying that lovely Philips system!