Bang & Olufsen Beovox MS150 (1981) – Uni-Phase High-Fidelity Loudspeakers

 

The Beovox MS150 loudspeakers were designed with Bang & Olufsen’s Uni-Phase technology, ensuring linear phase and amplitude response for exceptionally accurate, distortion-free sound. Built to deliver true high-fidelity performance, the MS150 reproduces every detail of your music exactly as intended. With a 150W RMS power rating and an advanced overload protection circuit, these speakers confidently handle high listening levels. Their performance is the result of B&O’s integrated loudspeaker design approach, combining Fourier analysis, computer-aided simulation, and laser holography to refine cabinet resonance control, crossover precision, and driver integration. The MS150 features a monitor-grade subwoofer, an 8-inch bass driver, and a 64-litre cabinet, producing deep, clean, and powerful low frequencies. A 3-inch dome midrange—aperiodically tuned for optimal accuracy—delivers lifelike vocals, while the dedicated super tweeter ensures outstanding high-frequency clarity. Perfectly balanced across the full audio spectrum, the Beovox MS150 excels with all music genres, from delicate acoustic passages to dynamic, high-energy recordings. These speakers pair beautifully with the Beolab 8000 system and other premium hi-fi setups.

Specifications:

RMS power handling: 150W

Impedance: 8ohm

Subwoofer: 25cm

Woofer: 21cm

Phase-link unit: 7,5 cm dome

Tweeter: 2,5cm dome

Dimensions: 36 × 83.5 × 34 cm

Weight: 30kg

Original sale price in Germany: 1400 DM per piece

Finish: Rosewood, White

Designer: Jakob Jensen

Looking for more? Head to 1001hifi.com for everything vintage audio.

DENON DAD-1000 (1982) | A Prototype That Announced Denon’s Digital Future

 

When the Compact Disc appeared on the horizon in 1982, the audio world was electrified. Sony and Philips were preparing the launch of the world’s first digital home audio format, and manufacturers across Japan and Europe rushed to show that they, too, were ready for the “digital revolution.” Among the most interesting prototypes demonstrated at that time was the Denon DAD-1000, a sleek, futuristic machine that previewed Denon’s ambitions in the new digital era. Today, the DAD-1000 is almost forgotten, overshadowed by later Denon classics — but in 1982 it stood at the cutting edge of a technological shift that would reshape hi-fi forever.

A Prototype from a Digital Pioneer

Although Sony and Philips were the two companies responsible for standardizing and launching the Compact Disc, Denon was not a newcomer to digital audio. For more than a decade, Denon had been one of the world leaders in professional PCM recording systems, used in broadcasting and studio mastering. Digital know-how was deeply embedded in the company’s engineering culture. So when the first public CD demos began circulating in 1981–1982, Denon was ready to show something of its own. The DAD-1000, unveiled at several trade fairs — including the Tokyo Audio Fair in 1982 — represented Denon’s technical vision of an early CD player. Even at that stage, Denon presented a surprisingly mature design. Even as a prototype, it looked polished and ready for the living room — a sign of how serious Denon was about entering the consumer CD market.

Why the DAD-1000 Never Reached Production

There is no evidence — no catalogs, no brochures, no retail advertisements — showing the DAD-1000 as a commercial product. By 1983 Denon introduced the DCD-2000, which is regarded as their first real consumer CD player. This suggests the DAD-1000 served as a technology demonstrator — a prototype used to introduce Denon’s upcoming participation in the Compact Disc format. It showed that Denon was ready for digital, but internal decisions likely shifted the design and naming before full production began. Though it remained a prototype, it stands today as a beautiful reminder of the beginning of the digital audio revolution.

Looking for more? Head to 1001hifi.com for everything vintage audio.

YAMAHA CA-1000II (1976) | Strong & Clear Power

 

Semi-professional, integrated pre- and power amplifier for the highest high-fidelity demands, with an extremely low-distortion power amplifier and, in addition, the option to switch to "Class A" operation to eliminate all crossover distortion. It has a built-in Class A/B switching circuit, providing high output in Class B mode and high clarity in Class A mode. All circuits have been analyzed using computer-aided CAD techniques. Two-stage tone control. Two tape inputs and option for tape-to-tape copies in both directions. Microphone input. Continuously adjustable loudness. High and low filters with two switch positions. Audio muting -20 dB. Switchable phono input impedance. Pre- and power amplifier separable. Connection for three speaker groups. Headphone output. 

Specifications:

Power Class A: 2x15W 8ohm

Power Class B: 2x80W 8ohm

Frequency response: 10-50.000 Hz

Size (W/H/D): 438x144x323mm

Weight: 15,5kg

Looking for more? Head to 1001hifi.com for everything vintage audio.

Victor TD-V931 (1989) – High-End 3-Head Cassette Deck

 

The Victor TD-V931 (1989) stands as one of the brand’s last true high-end, sound-quality-oriented cassette decks. After years of relying on a right-side cassette door and single-capstan transports, Victor fully embraced the three-head, dual-capstan standard—first in 1987 with the TD-V711, then perfected with the TD-V931. A highlight of the TD-V931 is its exceptional vibration suppression. Victor engineered a massive “ARKBASE”, combining a dense wood-fiber board with a thick steel plate for a total mass of around 5 kg. The transport and inner chassis were rigidly mounted to this base, isolating the recording, playback, power supply, bias oscillator, and input sections into independent blocks. An airtight, motor-driven cassette door with rubber sealing further reduced external vibration, while a half-shell stabilizer ensured the cassette shell itself stayed firmly controlled. The TD-V931 uses a true three-head architecture with independent record and playback heads. Victor combined fine-amorphous material with Sendust Alloy for excellent high-frequency response and long-term durability. PC-OCC wiring minimized transmission loss, and a Sendust two-gap erase head completed the system. Its closed-loop dual-capstan mechanism—built on a die-cast aluminum base—delivers improved tape stability, reduced modulation noise, and excellent mechanical precision. Capstan drive is handled by Victor’s signature pulse-servo direct-drive motor, with additional steel reinforcement on the motor PCB to damp vibration. Victor equipped the deck with two CD direct inputs, including a low-impedance “CD Fine Direct Input” designed to maximize high-frequency extension and reduce distortion. The recording amplifier uses a high-S/N DC servo design with low-noise FET stages, improving S/N by 3–4 dB (low range) and 1–2 dB (high range). A 210 kHz bias frequency—exceptionally high for a three-head deck—ensures clean recording even on metal tapes. Dolby B/C and HX PRO are included, but the deck’s clean signal path and NR defeat mode allow high-performance recording even without noise reduction. A direct signal path switch shortens the audio route for maximum purity. A heavy OFC-wound transformer and large-capacity capacitors provide a low-impedance, noise-resistant power supply. Gold-plated I/O terminals, REC calibration for level/bias, FL-display OFF, auto-monitor switching, and a wireless remote round out the feature set. In hindsight, the Victor TD-V931 represents the company’s last truly uncompromised cassette deck—a final showcase of Victor’s expertise in vibration control, head technology, and precision transport engineering.

Specifications:

3-head: Recording: Amorphous x 1 | Playback: Amorphous x 1 | Erase: 2 Gap Sendust x 1

Motor: For capstan (pulse servo DD) x 1 | For reel (DC) x 1 | For mechanism drive (DC) x 1

Wow and Flutter: 0.022%WRMS

Frequency response: Metal 15Hz to 21,000Hz (-20dB recording)

Dimensions: 435W x 152H x 333D mm

Weight: 13 kg

Looking for more? Head to 1001hifi.com for everything vintage audio.

YAMAHA NS-10M (1978) – The Compact Monitor That Changed Studio Sound Forever

 

When talking about legendary loudspeakers, the Yamaha NS-10M stands shoulder-to-shoulder with Yamaha masterpieces such as the NS-1000M. Launched in 1978, this unassuming compact speaker went on to sell over 300,000 units, becoming one of the most recognizable and influential monitors in the world. Today it is synonymous with near-field studio monitoring, but its origins are quite different — it was initially created as an affordable, youth-oriented Hi-Fi speaker, a successor to the NS-451 from 1976. Yamaha even sold it in pairs — unusual at the time — packaged in a trendy, easy-to-carry box and priced at 50,000 yen per set. Compact, attractive, and surprisingly powerful, the NS-10M broke all expectations for a speaker of its size and ignited a worldwide boom. Inside the cabinet, Yamaha employed a refined version of its well-known white-cone woofer, redesigned as an 18 cm unit with a ferrite magnet and optimized for sealed-box performance. The 3.5 cm soft-dome tweeter, based on the NS-690II, delivered a clean, high-purity top end — so pure that Yamaha eliminated the traditional level control altogether. The result was a speaker capable of revealing the true character of recordings, a quality that quickly attracted professional sound engineers. What started as a compact Hi-Fi speaker for home use ended up in recording studios all over the world. Producers, mixers, and musicians adopted the NS-10M for its brutally honest midrange, excellent imaging, and ability to expose flaws that other speakers glossed over. Its influence became so widespread that the NS-10M turned into an industry standard — a reference point for music production that remains legendary to this day. The initial model, NS-10M introduced in 1978 was followed by a series of upgrades: NS-10M PRO (1987), NS-10MC (1987), NS-10MC (1993) and the NS-10MT (1995).

Looking for more? Head to 1001hifi.com for everything vintage audio.

Technics D5000 (1988) | Intelligent Compo

 

The future of audio as seen by Technics in 1988 was an advanced Hi-Fi system equipped with a digital amplifier, Satellite broadcasting, DAT, and CDV. High-quality digital sources were appearing one after another. It was against this backdrop that the D5000 Digital Component System was born. Its cutting-edge capabilities go beyond simply being equipped with a digital amplifier. Its digital optical link transmits CD digital signals purely via optical fiber, and it supports three digital formats, allowing digital connections for CD, BS tuners, and DAT. It also features video input/output terminals that are compatible with the latest AV trends, and a new edit guide. Digital optical links transmit digital signals using light, in order to deliver sound to the listener's ears as faithfully as possible, the D5000 sound. This system uses a digital optical link. The CD's digital signal is transmitted directly to the amplifier via optical fiber. The amplifier's D/A converter converts it into a music signal. This eliminates the influence of noise during transmission and it can be expanded to satellite broadcasting and DAT. This "digital amplifier" was the first mini component system to support three digital sources, allowing you to input digital signals from not only CDs but also BS tuners and DATs as they are. Since the number of analog signal transmission paths is reduced, the high fidelity sound of new digital sources can be fully enjoyed. The D5000 is equipped with three video input terminals that can accommodate such cutting-edge AV equipment. With the D5000 as your key station, a new AV world will open up. Ease of use has been further improved with the new edit guide. Simply press a button to automatically edit tracks from a CD onto a tape without any cutoffs. The D5000 even comes equipped with WARP, LINK, and ATLS functions for advanced editing on the dual A/B side display. Your component will support you in creating your tape. You can freely create your own sound quality. Comes standard with a 7-band graphic equalizer and spectrum analyzer. The standard graphic equalizer is a 7-band graphic equalizer and spectrum analyzer with independent L/R channels that allows for precise sound quality adjustment in ±2dB steps. Its comprehensive design, including a dual display, is also attractive. The loudspeakers dynamically reproduce digital audio with 65W+65W power featuring a large 23cm woofer in a 3-way design. The record/playback & playback reverse deck has quick reverse, instantly flipping from side A to side B and is equipped with Dolby B. TV (VHF/UHF) FM/AM tuner: The 12 preset stations allow you to call up your desired station with one touch. Tuning is performed using a highly accurate quartz synthesizer. It also comes equipped with a weekly timer. Enjoy CDs in even greater quality. A high-quality CD player. Equipped with a digital optical output. High-precision signal transmission capability ensures that the high-quality sound of the CD is transmitted to the amplifier without impairing it. 10 keys for direct song selection, 20 songs for random programming. Experience the feeling of being there, AV Surround: Three-dimensional sound creates a dramatic effect on AV sources. Well-balanced sound even at low volumes it has a Super dynamic sound that can be controlled with a 30-key audio remote control for remote audio control. Record player (SL-J80R, sold separately). It was available in black with Technics or Panasonic branding. Standard price with turntable was: 181,800 yen

Looking for more? Head to 1001hifi.com for everything vintage audio.

Technics SE-A5000 (1991) | G series

 

The Technics SE-A5000 is a high-end, vintage stereo power amplifier introduced in 1991 and manufactured until 1994, known for its significant weight, robust build quality, and "New Class A" amplification technology. It is basically a gold coloured face-lift of the "tried and tested" SE-A100.           Features & Build:

- ClassAA Amplification: The amplifier incorporates Technics' proprietary ClassAA circuit, which uses separate voltage control and current drive amplifiers to eliminate switching distortion, providing some of the benefits of Class A sound without the inefficiency and overheating issues.

- VC-4 Indicator: The unit is equipped with a VC-4 indicator to visually confirm the operation of the voltage control and current drive amplifiers.

- Power Meters: It features large power meters that can directly read power from 0.0001W up to 300W.

- Robust Construction: The amplifier is built with a highly rigid chassis, a 10 mm thick bronze glass front panel, and extensive insulation to suppress mechanical vibrations and magnetic radiation.

- High-Quality Wiring: Oxygen-free copper (OFC) bus bars and LC-OFC/OCC cords are used for internal wiring to enhance low-frequency resolution.

- Electronic Speaker Selector: It includes an electronic speaker selector with gold-clad contacts for high reliability and a memory function that retains settings after the power is turned off.

For maximum performance the A5000 was partnered by the dedicated C5000 control amplifier. The Technics SE-A5000 was primarily a custom-order item in Japan during its initial release (1991-1994) and today is considered a rare vintage item.  

Technical Specifications:

Power Output: 170 watts per channel into 8Ω (stereo, 20 Hz - 20 kHz, 0.007% THD)

Power Output (4Ω) 240 watts per channel into 4Ω

Frequency Response: 20Hz to 20kHz

Total Harmonic Distortion: 0.007%

Damping Factor: 120

Signal-to-Noise Ratio: 120dB

Dimensions (WxHxD): 484 x 208 x 476 mm

Weight: 34 kg

Original sale price in Japan: 300'000 Yen

Looking for more? Head to 1001hifi.com for everything vintage audio.

PIONEER CT-F1000 (1977) | UNI X'TAL Ferrrite

 

When Pioneer introduced the CT-F1000 (CT-F1000 worldwide) in 1977, it did so with one of the boldest advertising campaigns of the decade — something that would likely be impossible today. The campaign opened with this striking message: “For years, Nakamichi has enjoyed a reputation for building the world's finest cassette deck. Now Pioneer is introducing something Nakamichi won't enjoy at all: the Pioneer CT-F1000 — a cassette deck that offers all the features and performance of Nakamichi's best deck, at less than half the price.” At the time, the Nakamichi 1000II sold for around $1,650, while the Pioneer CT-F1000 retailed for roughly $600 USD (1978). This bold positioning made the CT-F1000 a serious contender in the world of high-end hi-fi cassette decks.

The CT-F1000 was a three-head cassette deck featuring Uni-Crystal record and playback heads, engineered for maximum durability and sound precision. Unlike most decks of its time, it included two separate Dolby noise reduction circuits — one for recording and one for playback. This innovative setup made it possible to monitor Dolby-decoded recordings in real time, a capability not available on decks with only one Dolby circuit. Pioneer equipped the CT-F1000 with a dual-capstan, two-motor transport system — one motor dedicated to fast-forward/rewind and another for capstan drive — ensuring smooth tape handling and excellent speed stability. The playback-only pitch control allowed users to fine-tune playback speed, correcting tapes recorded on machines with inaccurate speed calibration. It also supported Normal, Chrome, and Ferrochrome tape types, providing maximum flexibility for different recording needs. The CT-F1000 was packed with professional-level features that made it a favorite among audiophiles and studio users alike:

Dolby noise reduction calibration with front-panel test tone

Memory Stop / Memory Play functions

Large logarithmic VU meters for accurate level monitoring

Direct logical controls for responsive tape operation

MPX filter for clean FM radio recordings

Mic/Line mixing and timer recording capabilities

Tape-end warning and full auto-stop

The front panel was machined to EIA (Electronic Industries Association) rack-mount standards, making it suitable for professional installations. Optional Pioneer JA-R102 handle adaptors were also available, along with an optional wooden case for a more luxurious finish.

Specifications:

Wow & Flutter: 0.05% (WRMS)

Frequency Response:

Normal: 20 – 17,000 Hz

Chrome: 20 – 19,000 Hz

Ferrichrome: 20 – 19,000 Hz

Dimensions: 420 × 187 × 362 mm

Weight: 11.8 kg

The Pioneer CT-F1000 remains one of the most iconic vintage cassette decks of the 1970s. Combining exceptional engineering, innovative features, and timeless design, it represents the moment when Pioneer boldly challenged the dominance of Nakamichi — and won the hearts of countless audiophiles. “You can buy a Nakamichi 1000II and get an incredibly expensive cassette deck. Or you can buy a CT-F1000 — and get one that’s simply incredible.” — Pioneer Advertisement, 1977

Looking for more? Head to 1001hifi.com for everything vintage audio.

Technics RS-DC10 (1992) | Digital & Analog

 

DCC means Digital Compact Cassette. It was a new digital audio format from Philips. It captures the fidelity of digital audio sound on a digital compact cassette tape. Yet, amazingly, it also can play all your old favorite analog cassettes. Pop a cassette into the Technics DCC deck and it automatically figures out whether the cassette is DCC or analog. In addition to spectacular digital sound, pre-recorded DCC tapes have a separate track for data such as album title, song and artist identification. The Technics DCC deck displays this information so you can easily scan or skip through the tape. The deck also features auto-reverse and quick track access. Actually the Technics RS-DC10 presented here is nothing but a re-badged version of the original PHILIPS DCC 900. Strangely enough it seems that the more luxurious version of this Technics model was branded as Panasonic which had wood side panels as well. Original sale price in Germany: 1.699 DM.

Looking for more? Head to 1001hifi.com for everything vintage audio.

PIONEER HPM-100 (1977) | The Legendary 4-Way Speaker

 

When Pioneer designed the HPM-100, every component served one purpose: to deliver pure, distortion-free sound. At nearly 60 pounds per speaker, the HPM-100 is no lightweight by accident. Its cast aluminum driver frames replace the usual stamped steel, eliminating unwanted resonance and ensuring that only the cones vibrate — not the enclosure. The oversized magnetic structures provide tight control and low distortion, while the dense compressed-wood cabinet projects the full musical spectrum outward, instead of absorbing energy as ordinary particleboard might. Engineered by Bart Locanthi — A Legacy of Innovation. The HPM-100 was designed under the guidance of Bart Locanthi, a legendary engineer who previously shaped the sound of classic JBL studio monitors. At Pioneer, Locanthi brought the same rigorous acoustic philosophy to a new generation of loudspeakers, blending American studio power with Japanese precision engineering. The result was one of the most balanced and dynamic loudspeakers ever made for home use — the High Polymer Molecular (HPM) series. 

Advanced Acoustic Design. Inside each Pioneer HPM-100 lies a wealth of thoughtful engineering:

12-inch Carbon Fiber Blended Woofer — deep, realistic bass with speed and control.

High Polymer Molecular Supertweeter — extended high-frequency response and transparency.

Midrange and Tweeter Drivers — light yet rigid cones for accurate, low-distortion reproduction.

12.5 feet of internal damping material — minimizes resonance and maintains tonal balance.

Aluminum fasteners — aircraft-grade hardware ensuring structural stability over decades.

Together, these features form a 4-way, 4-driver, bass-reflex system capable of handling up to 100 watts RMS with clarity and effortless dynamics. Designed for Real Music Lovers, as Pioneer’s original brochure stated: “You’re going to pick the speaker that sounds best on the music you play the most — and anybody who chooses otherwise is kidding himself.” Whether your passion is jazz, classic rock, or symphonic recordings, the HPM-100 delivers a strikingly natural tonal balance. Its wide frequency range, dynamic capability, and physical presence made it a favorite among both studio professionals and serious home listeners. The HPM-100 remains one of the most collectible and respected loudspeakers of the 1970s hi-fi era. Combining robust construction with forward-thinking design, it continues to impress audiophiles who seek the realism and power of true high-fidelity sound. Learn more about this and other legendary models in our Classic Speakers Collection — part of the growing archive at 1001HiFi.com dedicated to preserving the golden age of audio.

AKAI GX-266II (1979)

 

Onkyo D-5 (1981) | Pure, Natural, and Expressive Sound

 

Just as musical styles evolve, so do the trends in sound reproduction. Onkyo’s approach to speaker design has always focused on natural expressiveness—creating sound that stays true to the original recording without coloration or distortion. A speaker’s true character depends on the quality of its diaphragm, and Onkyo has achieved remarkable purity with its innovative Delta Olefin diaphragm. Unlike conventional materials, Delta Olefin offers minimal resonance and fast decay characteristics, delivering smooth, accurate sound reproduction across all frequencies. In technical terms, it provides a low Q factor and quick transient response—but from a musical perspective, it means the speaker “breathes” naturally, resonating only with the music itself. The result is a clear, detailed, and emotionally engaging sound that faithfully reflects every nuance of the performance. This advanced three-way speaker system showcases Onkyo’s commitment to high-fidelity engineering:

Low frequencies: 28 cm cone-type woofer with a Delta Olefin diaphragm and dust cap. Equipped with a four-layer voice coil and Capton bobbin for improved power handling and precise bass control.

Midrange: 10 cm cone driver, also crafted from Delta Olefin, housed in a dedicated 1-liter sealed enclosure to eliminate interference and ensure pure midrange reproduction.

High frequencies: 2.5 cm soft-dome tweeter made from specially developed chemical fibers with uniform thickness, achieving up to 2–3 dB higher efficiency than conventional designs.

Fine-tuning: Independent level controls for both midrange and high frequencies allow personalized sound adjustment.

The result is the distinctive “Delta Olefin Sound”—a long-awaited breakthrough that meets the demands of  discerning music enthusiasts. With exceptional clarity, natural tonality, and sensitivity to every genre, this Onkyo loudspeaker stands at the forefront of modern high-fidelity audio. Maximum power: 120W | Frequency range: 33-30.000Hz | Impedance 6ohm | Size: 350x630x325mm (W/H/D) | Weight: 16,5kg

Looking for more? Head to 1001hifi.com for everything vintage audio.