Sony TA-F 570 ES specifications

Category : Integrated amplifier

Brand : Sony

General

Connections

Technical Data

Special features

Manufacturer: Sony
Model: TA-F 570 ES
Type: Integrated amplifier
Years of construction: 1991 - 1992
Color: Black
Power consumption: 260 W
Dimensions: 430 x 150 x 375 mm (WxHxD)
Weight: 12 kg
Factory price approx.: 700 DM

8 Inputs:
8 Inputs: Tuner, CD, Direct In, Tape 1,2, Adapter, Aux (150mV, 20 kOhm ), 1x Phono MM/MC (2,5mV, 50KOhm / 0,17mV, 100Ohm )
3 Outputs: Tape 1,2 adapter (150mV, 1 kOhm )
The adapter loop is not separately switchable and must always be be closed. Accordingly, there are two jumpers for this on the rear connection panel.
The switchable direct-in input bypasses the input and rec-out selector

Continuous power (with total harmonic distortion)
- 4 ohms: 2 x 120 W at 0.01%
- 6 ohms: 2 x 95 W at 0.006%
- 8 ohms: 2 x 90 W at 0.004%
Dynamic power (with total harmonic distortion)
- 4 ohms: 2 x 175 W at 0.01%
- 6 Ohm s: 2 x 115 W at 0.006%
- 8 Ohm s: 2 x 100 W at 0.004%
Attenuation factor: 100
Frequency response: 10Hz - 100kHz
Tone control: yes, can be switched off
- Bass: at 100Hz +-7db
- Treble: at 10kHz +-6db
Loudness: no
High Filter : no
Mute: yes, -20db
Direct/ Line-Straight: yes

4 ohms: 2 x 120 W at 0.01%
6 ohms: 2 x 95 W at 0.006%
8 ohms: 2 x 90 W at 0.004%

4 ohms: 2 x 175 W at 0.01%
6 ohms : 2 x 115 W at 0.006%
8 ohms: 2 x 100 W at 0.004%

Bass: at 100Hz +-7db
Treble: at 10kHz +-6db

Phono input (switchable MM or MC)
-Outputs gold-plated
Headphone jack (jack 3.5 mm) Gold-plated
REC-out selector
Case is gloss-matt black and full metal)
The internal structure is designed to be very easy to service.
Lush power supply
Low impedance stable

Other models of the same series:
Sony TA-F 117 R
Sony TA-F 170
Sony TA-F 2 70
Sony TA-F 3 17 R
Sony TA-F 4 17 R
Sony TA-F 4 70
Sony TA-AV 501 R
Sony TA-F 5 70 ES
Sony TA-F 670 ES
Sony TA-F 770 ES
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Picture: Sony TA-F 5 70 ES

The F570ES is a mechanically sound, service-friendly and clean integrated amplifier according to a classic concept. It offers the usual connectivity at the time, with operating features that were quite inconvenient in detail, such as an adapter loop that cannot be switched separately.

The phono preamp was practically taken 1:1 from the top model of the Normal Hifi program, which was garnished as a icing on the cake with two branded electrolytic capacitors in the power supply. However, unlike the middle-class models, the preliminary stage is. If there is usually an opamp as a line amplifier, there is a purely passive pre/ tone control stage in the F570ES. In contrast to the previous models (F550 /F530), the power amplifier front ends in the F570ES are again discreetly designed. However, the output transistors are bipolar types and not power FETs, as in the subsequent models. In fact, the power amplifiers are (almost) a textbook High-FT SEPP Class A/B design. However, with a fairly respectable placement of active elements, as well as separate power supply of the frontend and output stage, which results in very low distortions and rich output power.

Pass ive component assembly is not so intoxicating. Although it is certainly equipped with higher-quality components than in the mid-range range, it does not correspond, for example, to the quality standard that Sony showed in the larger models of the TA-AX series, which is about ten years older. So, something was saved here. On the other hand, the fat Siebelkos directly behind the rectifiers and the very neat cast heat sink were not heated.

The new F570ES was already top-class in terms of sound, at least with high-level sources. And even low-impedance loads do not drive the fat, low-power transistors to work up a sweat as quickly as the rather dainty FETs in later models of this series up to the FA30ES.

However, the ravages of time are mainly gnawing at the cheap electrolytic capacitors in the power amp front ends, which causes a gradual tonal deterioration that becomes more or less obvious depending on the continuous use of the device. So it's no wonder that the F570ES is not uncommon on the used market.

As with all small ES integrated amplifiers, the phono preamp is not equivalent in quality to the power amplifiers. However, anyone who dares to do a little DIY can raise this amplifier a little above the original new device level in terms of sound with about 100 € of components: http://www.vinylengine.com/turntable_forum/viewtopic.php?f=97& ;t=50556&start=45 However, such a renovation does not correspond (!) an electrolytic capacitor refitting according to the casting can principle with so-called "audiophile" components, as well as a simple opamp exchange in the phono preamp, but it already goes a little further.

However, a few weak points become apparent even after a few decades. And this is completely independent of the cosmetic condition of the device.

In the meantime, I have come across several incipient resistors in the voltage supply of the phono equalizer, which, when they die, also like to tear the subsequent longitudinal regulators to death and thus disable the phono preamp. Certainly not important for everyone, but some people still hang a turntable on the entrance. Less often this also happens with the series resistors on the headphone output. Sony has provided 1/2 Watt resistors according to the service manual. However, this is a bit short imho.

Furthermore, the LS relays, the input and rec-out selector switches (dust-open) and the volume potentiometer (Alps) can cause problems with interference noise and /or channel imbalances in the level. To fix this will then be a little more tinkering. The relays can be replaced and the switches cleaned. There is no 1:1 spare part for the Volumepoti (encapsulated Alps 2x60kOhm /2x4polig).

With regard to the elco equipping, it should be said that it consists of United Chem-Com's except for the fat Elna's behind the rectifiers and the two green nichicons behind the longitudinal regulators in the phono part. So solid industrial quality is offered. However, the maximum 2000-3000 operating hours for which the alcohol manufacturers guarantee the component values have long since been exceeded many times over after more than twenty years of operation, and the slow aging process also causes a sonic change in the long run - and not for the better as with wine or whiskey. Either the sound thickens, becomes less contoured and less detailed, or the exact opposite occurs and the sound becomes paler, more two-dimensional and goes in the direction of pseudo-analytical. Depending on where in the circuit which component values have changed the most, it has different consequences for the sound. And that's usually the reason why a 570er goes under the hammer.

So you can assume that without DIY the amp can not be helped to get a sound as good as new. In this respect, the prices for used equipment under the moniker of "ES" = "High End", which have been called up in the meantime, are already quite hefty. Personally, I would by no means invest more like 100 €, because I have to spend the same amount again + a few hours of time to prepare the part again as it came over the counter. Well, ok, maybe in the end even a little better than new.

But this is neither an F570-specific thing, nor a Sony -specific, nor a device-specific. In the rarest of cases, devices with a runtime of 20+ years do not need to be overhauled. You just have to realize that they are mass-produced consumer goods. The "expiration date" is part of the construction. And with integrated amplifiers, this is usually between 10 to 15 years. Then the consumer should become dissatisfied with the article and get something new. So if you are not willing or able to lend a hand yourself, you quickly throw your money out the window and drive better with a new device. For those who dare to renovate, possibly with a targeted component upgrade at important points in electronics: you get a top-class amp for a fraction of the price of a new device. The F570 is definitely better than, for example, the later FA-3s or the topamps from the QS series.

Sony TA-F 570 ES