SONY CFD-900 (1990) | DoDeCa HORN CD

 

The Dodecahorn XL system from Sony achieves advanced sound quality performance comparable to home audio. Furthermore, it incorporates Sony's pioneering digital technology, born from its experience in CD development. A remarkably intelligent sound machine has arrived in 1990. The sheer power of the Dodeca Horn resonator produces a robust, deep bass sound. The new resonator (resonant tube) further refines the deep bass of the Dodeca Horn. Thus frequency peaks that disrupt the sound balance are ... Discover More on BOOMBOXCITY here.

AKAI GX COMPO 930 (1988) | DOISYS Interface

The AKAI GX COMPO 930. A luxurious system meticulously crafted down to the smallest detail, designed to create an ideal sonic paradise. The GX COMPO's top-of-the-line MU-930 is a luxurious collection of components, each boasting a high level of perfection. The speakers, in particular, feature an unparalleled design of resonance-free and high rigidity. The side wood used in all components not only adds elegance and sophistication befitting a high-end system, but also serves as part of the highly rigid construction aimed at even more effective vibration dispersion. But perhaps the most luxurious feature is the inclusion of a digital and optical interface system. Beyond the crystal-clear digital sound reproduced by a transmission method that eliminates any sound degradation, one can almost hear the exhilaration of the performers' spirits. The ideal transmission method for preserving the purity of digital signals: Digital & Optical Interface System. Conventional analog transmission methods inevitably suffer from sound quality degradation due to distortion caused by cable materials and connected devices, and deterioration of phase characteristics due to capacitors. Therefore, digital transmission, which converts signals into a simple combination of 1s and 0s, emerged. However, as long as coaxial cables are used, the problems of unwanted radiation and external noise induction remain unresolved. Furthermore, in simultaneous analog/digital connection methods, complete electrical isolation is not achieved due to coexistence with analog circuits, and signal influence via ground lines, etc., remains a problem. The digital & optical interface system (DOISYS) adopted by GX COMPO is an ideal signal transmission method that takes digital transmission a step further. Because it converts digital signals into light and transmits them via fiber optic cables, sufficient electrical isolation between connected devices is achieved, and theoretically, sound quality degradation due to cable materials is impossible, allowing high-purity digital sources to be extracted with their original quality. This connection is used to connect the CD player and DAT recorder to the system amplifier. The shown components of the GX COMPO 930 System are: AT-M730L Quartz Synthesizer FM-Stereo tuner, CD-M930 CD player, AM-M930 Digital Stereo Integrated amplifier, AD-M930 Digital Audio Tape deck and GX-M950W Stereo Double Cassette Deck featuring GX heads and CRLP (Computer Recording Level Processing System).

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ULTRX R100 (1984) | Beyond the Ordinary

 

At the time of its introduction, the ULTRX™ R100 was easy to dismiss. On paper alone, 100 watts per channel of very low-distortion power placed it well beyond what most domestic systems required. In practice, however, such reserves made sense when paired with the increasingly dynamic, high-quality recordings of the era—especially for listeners intent on approaching live sound levels at home. The feature set followed the same philosophy. A digitally controlled FM tuner with 20-station memory would have seemed generous to the average user, yet entirely justified for serious radio listeners. More telling is the inclusion of both dbx and DNR noise reduction systems (for external sources). These were not everyday conveniences, but responses to a changing landscape: the growing expectation of low-noise playback introduced by digital sources. With dbx, cassette recording could approach a level of silence previously unattainable in the format, while DNR offered a way to improve less-than-ideal program material. Additional provisions—TV/VCR inputs and a stereo synthesizer—hint at a broader ambition. The R100 was clearly conceived not just as a music receiver, but as a central control unit for increasingly complex home audio-video setups. In that sense, the R100 was less about necessity and more about possibility. Whether “overkill” or not depended largely on the user. For the casual listener, much of its capability would remain unexplored. For the enthusiast, however, it represented a level of completeness rarely encountered in a single chassis at the time. So, who actually made this ULTRX receiver you might wonder. Well this was nothing more than an attempt of Sanyo to re-enter the US market with a more special product.

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