TEAC 850X (1973) | The Invisible Recorder

 

"Off Duty" was a leisure magazine created for U.S. and Canadian military personnel, offering access to consumer electronics at exclusive military-only prices. Among the standout products frequently advertised were advanced hi-fi and video components, sold at remarkably low U.S. dollar rates through military exchanges. One of the most eye-catching releases featured in the 1973 issue of this magazine was the Teac 850X cassette deck — an innovative model designed to mimic the look and performance of Teac’s open-reel machines. Styled vertically like its reel-to-reel counterpart, the 850X shared the same control layout as the popular Teac 5500 reel to reel recorder.

Highlights of the Teac 850X included:

Three motors and three heads for superior tape handling

Ultra-low wow and flutter (0.065%)

All-solenoid transport, giving it the feel of a professional open-reel deck

Off-the-tape monitoring using a dedicated playback head

Dual-process Dolby noise reduction, with twice the usual number of Dolby circuits for real-time monitoring

Bias settings for CrO₂, standard

Extra features such as pitch control and a memory rewind that stops at counter zero

With its open-reel design philosophy and premium engineering, the Teac 850X also carried an open-reel-style price tag (as per Off Duty magazine 1973) — $579.50 in the U.S. But for military buyers shopping through Off Duty, it represented exceptional value for top-tier audio performance. The black and white picture is how this unit was shown in the "Off Duty" magazine while the colorized version was created by 1001 Hi-Fi.  

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SONY TC-FX7 (1980) | Digic Deck Series

 

The Quartz Lock D.D. (Digic Deck) FX7, with a panel height of 70mm, marks an epoch in the slimming of cassette decks. This high-end "Digic Deck" is a bold new concept that takes on the slimming trend that has become a major trend in recent cassette decks. It achieves a panel height of 70mm, which is considered nearly the limit for an upright see-through type. It's also packed with innovative features, such as a linear electronic counter with digital (minute and second) display, fine feather touch operation, and multi-purpose remote control play. Inside the sharp design exuding the stately style of an advanced deck, it also boasts advanced basic performance, including a quartz-locked D.D. system. Slimming down a cassette deck is also extremely difficult when you add the requirement of erect perspective. This is because the cassette half is about 64mm high, and you also need to ensure space for the head. The FX7 has achieved an ultra-slim panel height of just 70mm within these constraints. Sony has developed the ultra-thin S&F tiny head, and 30 years of know-how in deckbuilding is certainly being put to good use. The electronic counter Digitally counts the tape running time in minutes and seconds. The relationship between the length of the song and the remaining tape, the relationship between the broadcast time and the remaining tape, etc. The TC-FX7 features a Quartz lock D.D. system. Direct drive capstan drive. You can enjoy three different remote controls: the optional RM-80 wireless remote control, the RM-50 wired remote control, and the RM-65 for synchronized play with the player. High-precision recording level adjustment with a width of 100 mm. A multi-function peak program meter with double indication that accurately captures peak values. Logic-controlled fine feather touch operation. 4-stage soft touch tape selector including metal position. 2-motor simple mechanism. Dolby NR. Complete IC. Auto play/memory play. Auto space. REC-MUTE timer standby switch. The TC-FX7 was the matching cassette deck for the Sony Precise slim - mini Hi-Fi system. Main photo shows the TC-FX7 with ST-JX5 tuner, RM-80 remote, MDR-FM7 wireless stereo headphones.

Main specifications: Heads: 1 erase, 1 record/playback; Motors: 1 BSL green motor, 1 high torque motor; Signal-to-noise ratio: 59 dB (Dolby OFF, peak level, DUAD cassette); Frequency response: 20-19,000 Hz (METALLIC cassette); Speed ​​deviation: within ±0.2%; Wow and flutter: 0.05% WRMS; Distortion: 0.9% (DUAD cassette); Dimensions: 430 (W) x 80 (H) x 340 (D) mm; Weight: 6.5 kg; Power consumption: 32 W Original sale price in Germany: 1300 DM

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Marantz CD 3577 (1989) | Class DX One-Bit Conversion for Pure Digital Sound

 

The Marantz CD 3577 marks a true breakthrough in CD player technology. Instead of relying on a traditional Digital-to-Analog Converter (DAC) with its resistor-based limitations, the CD 3577 uses advanced Class DX one-bit conversion to deliver cleaner, more accurate sound. Conventional DACs can introduce zero-cross distortion and low-level non-linearity, especially when processing small audio signals. The CD 3577 eliminates these issues by converting PCM data into Pulse Width Modulation (PWM) using an ultra-high 256× oversampling digital filter. A precision quartz-controlled timing system and a third-order noise shaper push unwanted noise far above the audible range, resulting in exceptional clarity and a superior signal-to-noise ratio. The result is audio that sounds more natural, transparent, and detailed, especially in the subtle low-level information where musical texture and space live. The Marantz CD 3577 reveals the true character of your recordings with accuracy that conventional DAC designs cannot match. The CD 3577 was also a unique model, part of the Century Collection, an ensemble that brings together the most desirable audio and video features into a synergistic group.

SPECIFICATIONS

Digital Filter 256 times oversampling

Frequency Response (+0.-0.5 dB) 4 Hz-20 kHz

Channel Separation 90 dB

Signal To Noise Ratio (A Wtd) 100 dB

Total Harmonic Distortion (20 Hz-20 kHz) 0.01%

Dynamic Range 96 dB

Wow and Flutter Undetectable

Line Out Level/Impedance 2.0 V/1600 ohms

Remote Control Infra-red

Dimensions (W x H x D) 16/16" x 43/32" x 12"

Weight 9.3 lbs.

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SONY APM-8 (1979) | Esprit APM

 

The Sony APM-8 was actually the very first Esprit branded product to be introduced to the market by Sony in july 1979. This was only preceded by the APM-9 but, that had more like a prototype status. Sony's APM-8 is a decisive step in the development of high-quality loudspeaker systems. Among the numerous special features of this unique monitoring unit, the flat, square diaphragm of the loudspeaker system stands out. It characterizes a design principle that comes very close to the goal of absolute sound fidelity. The cone shape of the diaphragms of dynamic loudspeakers has some properties that are detrimental to their radiation pattern. Partial vibrations, the limited stiffness, and the influence of the cavity in front of the diaphragm cone (cavity effect) prevent ideal, piston-like movement of the diaphragm. Making the diaphragm stiffer or heavier would mitigate the effect of undesirable vibration modes, but would not eliminate the cause. Controlling the vibration behavior is simpler with a flat diaphragm, provided the diaphragm material meets high requirements. Sony has developed a flat diaphragm through extensive research programs that allows precisely piston-like movements without frequency turbulence or partial vibrations. Analysis of the dynamic behavior show that the diaphragms of the APM-8 are approximately 500 to 1000 times stiffer than conventional paper cone diaphragms. The stabilizing element of the flat diaphragm is a honeycomb-like aluminum structure, which is welded on both sides under high pressure to a thin film of carbon fiber or an aluminum alloy. The film material, core thickness, and structural rigidity are carefully matched to the frequency range to be reproduced by the individual transducers. The typical fluctuations in the sound pressure level of conventional cone loudspeakers are thus significantly reduced. The linear excursion of the APM-8 transducers is remarkably large. Deformations are practically eliminated. And since there is no cavity effect, the delicate phase relationships of the music signal remain undisturbed. Specifications: Frequency response 25-30.000Hz | Impedance 8oHm | Power rating 150/500W Sinus/Music | Size: 648x1105x495mm (W/H/D) | Weight 92kg | Original sale price in Germany 26.000 DM!!!...the price of a Mercedes-Benz 280E/280CE

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Professional Digital Reference System by Fisher (1990)

 

The Professional Digital Reference System by Fisher was introduced in 1990. There were several models for this system while presented here we can see a Top combination. These are the MT-Z1 turntable (more details here), AD-Z1 CD player, RS-Z1 150W/ch stereo receiver (more details here), EQ-Z1 equalizer with spectrum analyzer, CR-wZ1 (sometimes labelled as CR-Z1) dual well cassette deck with Amorphous heads and STE-555 loudspeakers (more details here) 

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KENWOOD L-02A (1982)

The L-02A. A product of advanced research dedicated engineering and painstaking attention to craft at every stage of construction. Housing two fully independent control and power amplifier in a single unit, the L-02A combines the superior performance that only separate amplifier can give, with the convenience and operating case of integrated stereo amplifier. Sigma Drive makes the negative feedback loop reach out to negative feedback loop reach out to the speaker terminal to encompass the speaker connecting wired and effectively remove the impedance they add to the system. (Specifications) Power output, both channel driven 170+170 watts | Total harmonic distortion Aux input to speaker output 0.003% | Phono input  to speaker output 0.004% | Damping factor 10000 | Frequency response DC to 400kHz | Speaker impedance 4-8ohm.

...and yes, all the text above is printed directly on the front of the amplifier...(Original sale price aprox. 6000 DM in Germany)

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SONY TC-K8B (1976)

 

This advanced stereo cassette deck was the very best in Sony hi-fi engineering, reaching the limits of what compact cassettes can deliver. It features a dual-motor drive system with a servo-controlled capstan, F&F recording/playback head, and a logical (feather-touch) transport control for smooth, precise operation. The deck is equipped with a dual-indication LCD Peak Hold meter that reacts instantly to fast transients—far faster than traditional VU meters. Users can choose manual or automatic peak hold, ensuring accurate level monitoring for any recording style. For optimal sound, the deck includes independent 3-stage Bias and EQ selectors, Dolby Noise Reduction, and an MPX filter for clean FM recordings. A high-torque motor handles fast winding, while the special Sony green motor ensures stable capstan rotation. Convenience features include Memory Stop/Play, REC-Mute, front Line-In jack, line/mic mixing, separate headphone level control, and auto shut-off. Full remote control is available with the optional RM-30. High-quality construction and precision electronics make this a future-oriented cassette deck built for enthusiasts seeking stable tape transport, low wow & flutter, and excellent frequency response.

Main specifications: Heads: 1 erase, 1 record/play; Motors: 1 frequency servo motor (green motor) with FG for cab stand, 1 high-torque motor for fast winding; Signal-to-Noise Ratio: 601B (Dolby OFF, peak level, dual cassette); Frequency Response: 20-18,000Hz (dual cassette); Wow and Flutter: 0.045% wrms; Distortion: 1.3% (dual cassette); Dimensions: 430(W) x 170(H) x 310(D)mm; Weight: 10.8 kg

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TEAC VRDS-10 (1992)

 

The TEAC VRDS-10 CD player features the acclaimed Vibration-free Rigid Disc-clamping System (V.R.D.S.), first introduced in the legendary P-2s. Its precision aluminum turntable supports the entire disc to eliminate vibration, warping, and tracking errors. The laser pickup adjusts perfectly to the disc’s angle, ensuring accurate, distortion-free data reading. Built on a rigid BMC (Bulk Molding Compound) base with a high-torque brushless motor and helicoid clamp, the VRDS-10 delivers stable disc rotation, minimal resonance, and exceptional clarity. For superior audio, the VRDS-10 uses Bitstream D/A Conversion, converting 16-bit samples into a 1-bit stream for cleaner, more linear sound. A 20-bit, 8× oversampling digital filter and double-differential DACs further reduce interference and noise, offering outstanding detail and transparency. The chassis is engineered for maximum rigidity and vibration control, featuring a dual top plate, reinforced multi-section structure, and balanced internal layout that isolates digital and analog circuits. Externally, a solid 5 mm aluminum front panel with minimal controls maintains acoustic purity. The result is a high-end CD player designed for precision tracking, ultra-clean digital conversion, and remarkably stable, natural sound.

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JBL L100 Century (1970)

 

The JBL L100 Century is an iconic, vintage 3-way "bookshelf" (mid-sized floorstanding) loudspeaker that became the largest-selling speaker model of any company in the 1970s. It is renowned for its dynamic, "West Coast" sound and distinctive Quadrex foam grille. Key Features and Specifications: The L100 was designed as a consumer version of the popular JBL 4310 and 4311 professional studio monitors. There were several versions of the L100 Century, featuring slightly different drivers and crossovers over its production run from approximately 1970 to 1978. Design: 3-way system with a 30cm woofer, a 13cm midrange driver, and a 3,6cm cone tweeter. Enclosure: Oiled American walnut veneer cabinet with a matte black front baffle. Aesthetics: Best known for its iconic, pyramid-shaped open-cell foam grilles, originally available in burnt orange, blue, or black (these often deteriorate over time and need replacement on vintage models). Controls: Front-panel attenuators for adjusting the midrange and high-frequency output to suit the room and personal taste. Power Handling: Rated for 50 watts continuous program. Impedance: 8 ohms. Sensitivity: Approximately 91 dB (1W/1m). Dimensions: Approximately 36.2 x 59.7 x 34.6 cm. Weight: Approximately 25 kg per speaker. 

Reviewers and users often describe the JBL L100 Century as having a lively, bold, and unapologetically physical sound. Praised for its natural and realistic reproduction of voices and drums, punchy bass, and ability to play loudly without distortion. Many found it ideal for classic rock, pop, jazz, funk, and soul music. Some users and experts noted a potential lack of balance compared to more linear modern speakers, sometimes finding the treble a bit "hot" or fatiguing during long listening sessions. The original crossover network was considered relatively crude and a potential weak point. Proper positioning, often elevated on stands, is recommended for the best performance. Despite some sonic quirks by modern audiophile standards, the L100 is celebrated for its engaging musicality and significant place in audio history.

Modern Reincarnation. JBL released a modern, acoustically advanced version called the JBL L100 Classic, which features updated drivers (Pure Pulp cone woofer, titanium dome tweeter), a revised crossover, improved bracing, and bi-wiring capabilities, while retaining the iconic vintage look. A second generation of the reissue, the JBL L100 Classic MkII, was later introduced with further enhancements. 

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Bang & Olufsen Beosound 9000 (1996) | A Timeless Design Icon

 

Originally launched in 1996, at the peak of the CD era, the Bang & Olufsen Beosound 9000 revolutionized home audio with its striking vertical display of compact discs. Breaking away from traditional “black box” audio systems, its sculptural form quickly secured its status as a time-transcending design icon. The visual identity of the CD itself played a pivotal role in shaping the Beosound 9000’s design. Renowned industrial designer David Lewis is said to have found his inspiration while passing a London record shop displaying six CDs in a perfectly aligned row. That simple yet powerful image evolved into the Beosound 9000’s signature linear arrangement of six discs—an aesthetic and functional innovation that defined the system. Paired with active loudspeakers such as the Beolab 8000, the Beosound 9000 delivered both exceptional sound and unmatched visual appeal. The system’s engineering was as impressive as its appearance. Featuring a motorized glass lid, touch-sensitive controls, and advanced mechanics that allowed lightning-fast switching between discs, the Beosound 9000 offered a seamless and highly engaging listening experience. Hidden behind a discreet flip-up panel, Bang & Olufsen also included a dedicated remote control, completing the premium feel of the system.

A Pop-Culture Icon

Beyond audio performance, the Beosound 9000 became a staple of pop culture and a symbol of sophistication. It appeared in numerous films and TV shows, reinforcing its image as a coveted object of modern luxury. From Miranda’s stylish apartment in Sex and The City, to Matthew McConaughey’s bachelor pad in How to Lose a Guy in 10 Days, to Pete’s apartment in Friends, the Beosound 9000 continuously captivated viewers and audiophiles alike. In 1997, it received the esteemed iF Design Award, further cementing its cultural and design legacy.

Recreated. Replayed. Reborn.

In 2024, Bang & Olufsen announced the revival of the Beosound 9000 through a limited run of factory-refurbished and updated models. As part of the brand’s Recreated Classics Programme, original units are being repurchased and meticulously restored at Factory 3 in Struer, Denmark. Using the same tools, workstations, and craftsmanship techniques developed decades ago, B&O’s master technicians bring these iconic systems back to life—preserving the heritage of the original while preparing them for many more years of enjoyment.

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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

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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.

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