ONKYO Liverpool Q-1 (1990) | A Distinctive Hi-Fi System with Top-Mounted Tweeter

The Onkyo Liverpool Q-1 was part of the Liverpool Collection, a distinctive hi-fi system created for enthusiasts who valued both sound and aesthetic design. Combining the Q-1 speakers with the R-100 receiver, C-100 CD player and optional K-100 cassette deck, the system offered a complete compact audio setup with a particularly unusual speaker design.

Onkyo Liverpool Q-1 System – Main Specification

Q-1 Speaker System

Type: 2-way bass reflex

Impedance: 6Ω

Maximum input: 160 W

Output sound pressure level: 89 dB/W/m

Frequency response: 37 Hz–45 kHz

Crossover frequency: 2.5 kHz

Woofer: 16 cm Pure Cross Carbon

Tweeter: 2.5 cm Plasma Carbonized Titanium Dome

External dimensions: 230 × 456 × 265 mm (W × H × D)

Weight: 9 kg

R-100 FM/AM Receiver

Power output: 2 × 60 W RMS (DIN)

Dynamic power: 2 × 120 W

Tuner: FM/AM

Presets: 30 FM/AM station presets

Inputs: Phono MM, CD, Tape, Aux (Video)

Feature: Source Direct

Remote control: Full remote operation

Motorized controls: Volume and tone controls

Additional functions: Sleep timer and automatic station search

Headphone connection

Display: LCD

Dimensions: 435 × 89 × 354 mm

Finish: Titanium-colored housing

C-100 CD Player

Oversampling: 8×

D/A conversion: Two separate D/A converters

Signal isolation: Opto-coupling

Playback modes: Normal, Shuffle, Memory and Memory Shuffle

Programmable tracks: 20

Tray: Vibration- and shock-free design

Remote control

Dimensions: 435 × 89 × 340 mm

Finish: Titanium-colored cabinet

K-100 Auto-Reverse Dual Cassette Deck

Configuration: Two cassette decks

Operation: Normal, continuous playback and double-speed copying

Noise reduction: Dolby B/C

Tape technology: HX Pro

Function: Auto-Space automatic pause

Motors: Two DC motors plus one servo motor for the capstan drive

Dimensions: 435 × 118 × 344 mm

Finish: Titanium-colored housing

Original sale price in Japan:

R-100 tuner amplifier: ¥60,000

C-100 CD player: ¥45,000

Q-1 speakers: ¥35,000 × 2

K-100 cassette deck: ¥55,000

CB-100H system rack: ¥30,000

AS-Q1 speaker stands: ¥25,000 per set of two

Extra component: ML-500 CD/CDV/LD player ¥139,000

Onkyo Liverpool Q-1 Technology and Design. The Top-Mounted Tweeter: The most distinctive feature of the Q-1 is its top-mounted tweeter. Instead of mounting the tweeter conventionally on the front baffle, Onkyo positioned it independently on top of the cabinet. According to the original material, this arrangement was developed to eliminate baffle-plate reflections that could subtly affect reproduction, particularly in the tweeter range. The design also aimed to improve directivity and create greater depth in the sound image. Onkyo described the resulting presentation as a spacious and transparent soundscape, with a three-dimensional character extending beyond the conventional left-to-right stereo image. Carbon-Based Driver Technology. The Q-1 uses specialized driver materials for both its woofer and tweeter. The 16 cm woofer employs Pure Cross Carbon, while the 2.5 cm tweeter uses a Plasma Carbonized Titanium Dome. Together with the 2-way bass-reflex cabinet and 2.5 kHz crossover, these components form the core of the Q-1's loudspeaker design.

R-100 Receiver. The R-100 was designed as the system's control center. Despite its relatively compact format, it provided connections for Phono MM, CD, Tape and Aux (Video), together with Source Direct. Its remote control operated all functions, including tone controls and volume through a motorized potentiometer. The receiver also included automatic station search, 30 FM/AM presets, a sleep timer, headphone connection and an LCD display.

C-100 CD Player. The C-100 combines digital playback features with flexible programming. Its 8× oversampling system, two separate D/A converters and opto-coupling were among its principal technical features. Four playback modes were provided, including Shuffle and Memory Shuffle, while up to 20 tracks could be freely programmed.

K-100 Dual Cassette Deck. The K-100 provides two cassette transports in one cabinet. Its dual-deck arrangement allowed normal playback, continuous playback and double-speed tape copying. Dolby B/C, HX Pro and Auto-Space were included, while two DC motors and a servo motor for the capstan drive were specified for precise operation.

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B-I-C T-4M (1979) | 2-Speed 3-Head

The B-I-C T-4M was no ordinary cassette deck. With two tape speeds, full metal-tape capability, and B-I-C's exclusive Broadband Electronics, it pushed the compact cassette format remarkably close to open-reel performance.

B-I-C T-4M Main Specifications

Tape speeds: 4.75 cm/s and 9.50 cm/s

Frequency response at 4.75 cm/s: 20 Hz–21 kHz ±3 dB

Frequency response at 9.50 cm/s: 20 Hz–23 kHz ±3 dB

Wow and flutter at 4.75 cm/s: 0.05% WRMS / 0.09% DIN

Wow and flutter at 9.50 cm/s: 0.03% WRMS / 0.07% DIN

Total harmonic distortion: 1.3% at 4.75 cm/s

Fast-forward/rewind: approximately 48 seconds with a C-60 cassette

Level meters: Peak-indicating LED bar graph, –36 to +9 dB

Drive system: Two-speed tachometer-feedback DC servo motor

Transport: Dual-capstan design

Spooling: DC spooling motor

Dimensions (W/H/D): 440x164x257mm

Weight: 8,4kg

Broadband Electronics was the heart of the T-4M's design. B-I-C developed this circuitry to take advantage of the increased performance available from higher tape speed while maintaining an unusually wide response at the standard 4.75 cm/s cassette speed. At 4.75 cm/s, the T-4M was specified to reach 20 Hz to 21 kHz ±3 dB. Increase the tape speed to 9.50 cm/s and the specification extended to 20 Hz to 23 kHz ±3 dB. That second speed was the real attraction. Running cassette tape at 9.50 cm/s offered substantially more bandwidth and lower wow and flutter, allowing B-I-C to position the T-4M as a cassette deck capable of challenging open-reel machines. Metal tape capability added another advantage. Combined with the higher tape speed and Broadband Electronics, it gave the T-4M the technical foundation for its unusually ambitious performance claims. The transport was equally important. A dual-capstan mechanism and tachometer-feedback DC servo motor were employed to maintain precise tape movement, while a separate DC spooling motor handled fast winding operations. Dolby NR and Signal-to-Noise Performance. Noise reduction was an important part of the T-4M's specification. At 4.75 cm/s, the quoted signal-to-noise ratio was 57 dB, increasing to 65 dB with Dolby NR. At 9.50 cm/s, the figure rose to 61 dB, while B-I-C specified 68 dB with Dolby NR and metal tape. For a cassette deck of its era, these figures demonstrate just how seriously B-I-C approached high-performance recording. The 9.50 cm/s Advantage. Why the higher speed mattered? Tape speed has a direct influence on cassette performance. Increasing the speed from 4.75 cm/s to 9.50 cm/s allowed the T-4M to achieve its widest specified frequency response while also reducing measured wow and flutter. At 9.50 cm/s, wow and flutter was rated at just 0.03% WRMS, compared with 0.05% at the standard speed. The same time you might ask yourself about compatibility with other devices. B-I-C solved this problem by adding a 2-speed car audio cassette deck for all your double speed recordings.

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STAX CDP QUATTRO (1986) | High Resolution QUATTRO

The STAX CDP QUATTRO was Stax’s first CD player, introduced in 1986 at a time when digital audio was still a relatively new technology. Combining a Yamaha-made CD mechanism with Stax-developed digital and analog circuitry, it took an unusually uncompromising approach to mechanical isolation, noise reduction, and signal processing.

STAX CDP QUATTRO – Specifications

Model: STAX CDP

Release: 1986

Digital processing: 16-bit, 4x oversampling digital filter

Oversampling frequency: 176.4 kHz

D/A conversion: Separate DACs for left and right channels

Frequency response, Direct Out: 0.7 Hz–20 kHz, ±0.5 dB

Frequency response, Filtered Out: 0.4 Hz–18 kHz, ±0.5 dB

Signal-to-noise ratio: 104 dB or higher

Dynamic range: 96 dB or higher

Total harmonic distortion: 0.002% or less at 0 dB, 1 kHz

Crosstalk: -100 dB or less, 5 Hz–16 kHz

Dimensions: 435 × 165 × 290 mm

Weight: 8.0 kg

Original sale price in Japan: ¥270,000

Stax’s Proprietary Circuit and Chassis Design. The two-tier chassis is one of the most distinctive aspects of the STAX CDP QUATTRO. Rather than simply placing one component on top of another, Stax built the player around a sturdy wooden board supported by tall aluminum pillars. The CD mechanism sits above the board, while the electronic section is suspended underneath. Mechanical and electrical separation was taken particularly seriously. The mechanism section and electronics section were separated, including their power arrangements, to reduce unwanted mechanical and electrical interaction. The electronic circuitry was housed in a wooden chassis designed to provide protection from electromagnetic interference. A Digital Filter Designed to Minimize Analog Filtering. The 4x oversampling system was central to Stax’s approach to digital audio. A CD uses a 44.1 kHz sampling frequency. During digital-to-analog conversion, unwanted higher-frequency components can appear alongside the audio signal and normally have to be removed with an analog filter. Stax instead used a 16-bit, 4x oversampling digital filter, raising the sampling frequency to 176.4 kHz. This pushed unwanted components much farther away from the audible band. The result was that a relatively low-order analog filter could be used rather than a more complex high-order design. Discrete FET Analog Amplifier. The analog amplifier section used an all-FET discrete amplifier designed for high-speed response and good linearity. Stax also paid considerable attention to the deglitch circuit following the D/A converter. Instead of relying on operational amplifiers, the circuit used discrete components and a balanced-charge MOS FET arrangement intended to minimize switching-related spike noise. Separate Left and Right DACs. The dual-DAC configuration used independent ladder-type converters for the left and right channels. This arrangement was designed to maintain accurate channel separation and eliminate phase differences between the two channels. The specification lists an impressive 0° L/R phase difference from 5 Hz to 20 kHz, together with crosstalk of -100 dB or less. Direct and Filtered Outputs. Two output approaches were provided. The Direct Out was intended to take advantage of the player’s digital processing and allow the signal to be output without a conventional analog filter. For applications such as tape recording, where unwanted high-frequency components could potentially produce beat frequencies, Stax also provided a Filtered Out using a gently tuned third-order Bessel analog filter. Absolute Phase Switching. A rear-panel phase switch allowed the absolute phase to be inverted by changing the digital data. This was an unusual feature and reflected Stax’s attention to subtle aspects of signal reproduction.

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