Soon a New Boombox to be released

 We Are Rewind announces a soon to be released:

"The iconic Boombox of the 70’s and 80’s is back in a modernized version with the GB-001."

AUDIO SPECIFICATIONS
Frequency response: 40 - 20,000 Hz
POWER AMPLIFIERS
Two 32 W Rms / 4 Ohms Class D amplifiers for the woofers
Two 20 W Rms / 6 Ohms Class D amplifiers for tweeters
Total power: 104 W rms
BATTERY
User replaceable Built-in 14.8V 3000mAH Li-Ion battery pack
Autonomy:
• On speakers from ~10 hours in tape mode and up to ~15 hours in Aux mode , depending on sound volume.
• On headphones from ~15 hours in tape mode and up to 28 hours in Aux mode
CASSETTE PLAYBACK
2-track stereo playback
VU Meters for power monitoring
Frequency response: 40 - 12,500 Hz
Signal-to-noise ratio: >55 dB weighted
Distortion: THD <0.5%
Wow & Flutter: ~0.15% typ.
Headphones output power: 2x2 mWrms / 32 Ohms
Pitch adjustment accessible on the rear cover
CASSETTE RECORD
Stereo recording
Aux Input level: 200m Vrms
Frequency response: 40 - 11,500 Hz
Signal-to-noise ratio: >55 dB weighted
Distortion: THD <1%
VU Meters to adjust the recording level
WEIGHT
6,81 kg
DIMENSIONS
50,6 x 25,1 x 17,9 cm (incl. handle)

YAMAHA AX-2000 (1987) | Titanium Series

 

With the growth of CD, DAT and audio-visual, the amps of the second half of the 1980s were groping towards a fusion with digital and video sources. The AX-2000 came out in 1987 with high resolution D/A converters and video inputs. The AX-2000 applied technology developed for the Yamaha 100-year anniversary monumental product "10000 Series". The power amp circuit was the HCA (Hyperbolic Conversion Class A operation) and greatly surpassed the previous A-2000 that had Dual Amp Class A and a ZDR power amp circuit. However it mainly received attention for its D/A converters and video inputs. Finally with the AX-2000 Series it was possible to change the input selector or adjust the volume by remote control, and the selector circuit used a discrete FET electrical switch to prevent sound degradation. The chassis was completely separated into preamp and power amp sections with completely symmetrical two-box construction, the chassis and frame were completely copper plated, and the power amp circuit board was located so as to be in contact with the non-metallic wood panel on both sides to reduce mutual interference and electromagnetic distortion. This model was a compilation of Yamaha integrated amp technology in the 1970s and 1980s, and at the same time was a model that showed unshakeable belief in pure audio even after the baptism into the digital and A/V age.

Specifications

Maximum RMS Output Power per Channel 130W (20-20000Hz 8ohm)

Power Band Width 20Hz-50kHz

Total Harmonic Distortion 0,003%

Dimensions (WxHxD) 473x170x475mm

Weight 28kg 

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AIWA WX-220 (1984) | Wonder Double

 

The WX-220 is no ordinary double cassette deck. Why? Because it offers four times the performance. The WX-220 has a high-precision double speed drive which enables you to copy tapes in half the time. But there's more. Using the ALL-TRAC recording system, both sides of the tape can be copied simultaneously. Add it all together and it's the deck that copies your tapes four times faster than conventional double cassette decks. Exclusive ALL-TRAC Recording - Copying a 90 minute tape takes around 23 minutes, a 60 minute tape, just 15 minutes flat. Of course, single side and normal speed dubbing are also possible. The WX-220 gives you both speed and versatility. How does it work? AIWA's exclusive ALL-TRAC Recording system allows simultaneous dubbing both sides of the tape. Just press the HIGH SPEED A+B button and your tape will be ready in one-fourth the normal playing time. Even though the WX-220 has three different dubbing modes, operation is extremely simple because each mode has its own button. Thanks to AIWA's advanced microprocessor control, just a touch of the dubbing button of your choice is all it takes. No tricky adjustments or switching from side to side. Load the tapes, set the recording level sliders to the DUBBING LEVEL position, and everything's ready to go. Bias and equalization levels have already been set in both decks by the Auto Tape Selector, which adjusts automatically for Normal, CrO2, and Metal position tapes. 

Want to copy only certain selections from a tape? No problem with the WX-220. By using ten-selection programming buttons, you can specify the tunes to be copied in any order you like. Just set the program selector to the MS (music sensor) mode, and punch in the numbers of the master tape's songs in any order, up to 10 selections. This system even operates during double speed operation to get the job done far quicker than ordinary "stop and search" tape editing necessary with conventional dubbing decks. Random Dolby B/C NR setting in Decks I and II. To keep your tape copies as clear and noise-free as possible, AIWA has included Dolby B and C noise reduction in both decks. In the normal speed dubbing mode, the NR system for each side can be independently switched to allow copying of tapes encoded in either system. Of course, either deck's noise reduction system can be switched as you like. Original sale price in Germany: 1290 DM.

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PHILIPS DCC850 (1991) | Welcome DCC

 

Based on a revolutionary new (in 1991) digital audio encoding developed by Philips Consumer Electronics, DCC technology used advanced digital signal processing technology to to create CD-like sound quality using 75% less data recorded on magnetic tape. This new technology was combined with backwards compatibility with the Analog Compact Cassette (also a Philips invention) to create a new generation of Hi-Fi audio components. The DCC850 from Philips was the first model of this kind. While it was styled so that it would perfectly match the famous 800 Series Hi-Fi components from Philips this remained a prototype/small series (approx. 100 units) model only. While the original model was the DCC850 from Philips one has to note that there was also a marantz (a Philips division in 1991) and a OPTIMUS branded version as well. While the marantz model was presented as a luxury model of the Philips the OPTIMUS version was specially created to conquer the US market.

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DUAL CS 731Q (1981) | Ultra Low Mass

 

The breakthrough for audible improvement - ULM tonearm, Quartz/PLL direct drive. Most controls of the CS 731Q are located on the front panel. This allows all turntable functions to be controlled vibration-free with the cover closed. On the CS 731 Q, the pitch adjustment can be read on an opto-electronic analog display. A + or - in the display unit indicates whether the actual speed is leading or lagging behind the nominal speed. Quartz-controlled direct drive. This accuracy is generated by a high-precision quartz with an oscillation frequency of 4.608 MHz. The target values ​​for 33 rpm and 45 rpm are derived from this frequency through electronic division. A 200-pole frequency generator coupled to the motor supplies a proportional frequency for each motor speed, the actual value. This actual value is compared in a PLL circuit with the target value supplied by the quartz and synchronized in phase. The Dual tonearm is another special feature of the 731Q. This is hidden behind the abbreviation U.L.M. and can be considered a minor sensation: U.L.M. stands for "Ultra-Low Mass." Its developers have made the arm considerably lighter. Together with the Ortofon ULM 60E system developed exclusively for Dual, it has a fantastically small effective mass of just eight grams.

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Maxell to release portable cassette player on May 26th

 

Maxell will release the "MXCP-P100" rechargeable Bluetooth-enabled portable cassette player on May 26th, 2025. It will be available in two colors, white and black. This will be a  portable cassette player for playback only, with a built-in battery that eliminates the need for battery replacement. Compatible with Bluetooth 5.4, you can enjoy cassette tapes with wired earphones/headphones as well as wireless earphones/headphones. The flywheel, which stabilizes the tape's running, is made of brass, it's smooth movement reduces rotational irregularities, resulting in high sound quality. Playback time is approximately 9 hours with a wired connection and approximately 7 hours with a Bluetooth connection. The charging port is USB Type-C, and playback can be performed while charging. Charging time is approximately 2 hours. The external dimensions, including the protrusions, are 122 x 38 x 91 mm (width x depth x height), and the weight is about 210 g. A USB Type-A to Type-C cable (about 75 cm) for charging is included.

NIKKO ALPHA II - BETA II (1979)

 

Beta II Stereo Preamplifier - The design and features are professional. The control elements are clearly arranged, and a FET phono preamplifier allows the direct connection of two turntables. Built-in attenuation switch (audio muting) reduces the volume level (independent of the volume control) by 90%. Tape-to-tape dubbing is possible in both directions. Integrated subsonic filter (low-pass filter) with a 15 Hz cut-in point. Technical Specifications: Total harmonic distortion 0.01%. Frequency range: 20-20,000 Hz. Connections 2 turntable inputs, 2 turntable connections, reserve input, tuner input, ground terminal. Size: 483 x 73 x 248 mm. 

Alpha II High-performance stereo amplifier - An absolute top-class amplifier is just one of the attributes for the ALPHA II. 180/250 watts of sinus/music power per channel speaks for itself. Dual power supplies guarantee a stabilized supply. Electronic overload protection and switchable output power, as well as speaker group switching and display instruments, perfect this top-class product, coupled with unique workmanship. Technical specifications: Output power 2 x 180/250 watts sinus/music, Distortion 0.03%, Frequency range 10 - 100,000 Hz, Connections Speaker pair (2), Dimensions 483 x 137 x 330 mm. 

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SONY TC-K81 (1980) | One Step Ahead

 

Sony, renowned for its unique ability to perfect each link in the recording chain: microphones, motors, tape heads, even the tape itself has created the TC-K81 in 1980. A cassette deck so advanced it delivers the kind of crisp, clear, unwavering sound reproduction you would only expect from reel-to-reel. Just as in the best open reels, at the heart of the Sony TC-K81 cassette deck are three separate heads. One to erase, one to record and one to play back. This arrangement offers instantaneous "off-the-tape monitoring." Which means you can compare the quality of the recorded music to the quality of the original-while you're recording. In addition, each head can be optimized for its own specific function. This remarkable system allows incredible precision and consistency in head alignment. Equally innovative is that only Sony uses heads that are a combination of Sendust and Ferrite. So you get the advantages of both, with-out the disadvantages of either. Because tape-speed irregularities can affect your music, the K81 has two separate motors. One takes care of fast forward and rewind, while the other, combined with what Sony calls "Closed-Loop Dual-Capstan Drive," moves the tape with absolute uniformity past the heads. There's no pulling, pushing or tugging. All tape is not created equal. So the K81 features front-panel bias calibration controls. These allow the K81 to be hand-tailored in order to get the ideal high-frequency response out of each individual tape. And to insure your recordings are made on a background of silence, free of annoying tape hiss, the K81 incorporates the Dolby® Noise Reduction. Other features include two 16-segment, LED Peak Program Meters, "Auto-Space Record Mute" which allows you to blank out commercials and other interruptions. For ultimate in comfort the TC-K81 can be remote controlled with the optional RM-80 remote control system (wired IR receiver + IR handheld unit) or the RM-50 wired remote control. Original sale price 1400 DM in Germany.

Specifications:

Heads: 3-head Sendust and Ferrite

Motors: 2-motor closed loop dual-capstan

Wow & Flutter: 0,04% (WRMS)

Frequency response:

30-18.000 Hz Metal

30-18.000 Hz FeCr

30-17.000 Hz Chrome

30-15.000 Hz Normal

Dimensions (WxHxD) 430x130x290mm

Weight 6,3kg

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PHILIPS LHH1000 (1989) | Reference Series

 

World Class Technology, European Excellence, this is the Philips LHH1000 Reference series CD player from 1989. This limited edition Reference Series LHH 1000 is a direct descendant of Philips' broadcast-standard CD recording and mastering equipment. In fact, it's the first consumer model with the professional LHH designation. With this breeding, no wonder the LHH 1000 is of exceptional quality, inside and out. For complete isolation, the transport and D/A converter are housed separately. This dual-chassis design virtually eliminates intercomponent interference and thoroughly dampens vibration. And with coaxial or optical fiber cable connecters between the two units, you get virtually error-free transmission. The result is pure sound with absolutely no distortion. No expense was spared in utilizing the materials best suited for sound. For example, Philips' top CDM-1 transport and all critical chassis components are solid diecast aluminum zinc alloy. Further, the LHH 1000 features Philips' premier creation-16-bit, four times oversampling. And the heart of the separate digital-to-analog converter is Philips' Special Select Grade TDA-1541A-S1 chip, widely regarded as the premier DAC technology. In fact, the LHH 1000 has been "recommended... in Class A of Stereophile's 'Recommended Components' listing".

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THORENS concrete (1988) | Hi-Fi on the Rocks

 

The legendary "Concrete drive" was the work of a young designer from Switzerland. Modelled after the basic shape of a record, the "Concrete" not only wowed visually, it also offered a convincing technical performance. The base made of concrete and the leaf-sprung sub chassis carved out of an aluminum block damped impact sound and vibrations. This audiophile sculpture was mainly equipped with the SME 3009 S2 tonearm. Another special feature: the 2.7 kg platter made of mineral glass. It is driven by the 24-pole synchronous motor known from the 300 series to a 1.5 kg aluminum sub-platter. It is electronically based on the TD 320 / TD 520 series with a concrete base and it's a great sounding turntable. It was built in limited numbers, approximately 200 to 350 units.

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YAMAHA CD-1 (1982) | Pure CD Sound

 

Yamaha released its first CD Player, the CD-1 in 1982, just after the birth of the CD. Designed with Yamaha's own aesthetics of sound and appearance. Its groundbreaking features included a slide-out disc loading drive mechanism rather than tray-loading, component-style front controls, a mirror that let you see the recorded side of the spinning disc, and an LED bar graph that showed the approximate position of the pickup. For an era familiar only with the analog record, it was probably a natural assumption that the disc and pickup were meant to be seen during play. The choices for a main device were still limited, but this unit straightforwardly emphasized the "sonic difference" with linear 16-bit twin D/A converters and separate power supplies for the digital and analog elements, and laid claim to technical uniqueness with a custom IC developed in-house at the heart of its control system.

Is it true that all digital sounds are the same? Even if you're not a music enthusiast, you know how important a high level balance between the music source and the playback device is to the sound. In other words, it's a very obvious conclusion that the best music source is the best playback device. If that's the case, while fully acknowledging the potential of CDs as music sources (or rather, because of that!), I would like to overturn the trivial rumor about CD players that all digital sounds are the same! The Yamaha CD-1. A black beauty that fully traces the extraordinary amount of music information of CDs. It conquers the sound of CDs with the very Yamaha style. The first condition for being as CD-like Hi-Fi as possible: Just 0.8 microns, each countless pit is a fountain of new music! Since it is the lifeblood of the CD sound, ultra-precise tracing capabilities were first necessary. The CD-1 employs a double error correction circuit that strictly returns the signal to its original state even if a large number of errors occur in the detection signal. Combined with the adoption of a servo system with excellent tracking performance, this is a thorough pickup section for sound. In order to accurately demodulate digital to analog stereo signals, the CD-1 uses a 16-bit linear conversion method for the D/A converter and a unique twin configuration. This means that the distribution of L and R is digitally processed, and there is no need to switch analog signals, so music unique to CDs is reproduced to the fullest.

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DIATONE DS-10000 (1985) | 10000 Classic Magic

 

The DS-10000 was released by DIATONE in 1985 as the 40th anniversary model of the brand, a Mitsubishi brand. The DS-10000 is actually based on the DS-1000 released in 1983. This model was considered to have the highest potential in terms of overall performance. The arrangement of the drive units has been determined based on the results of the study of the acoustic radiation pattern by computer analysis in a laboratory, thus their position being considered optimal. The woofer unit used is a 27 cm diameter aramid honeycomb curved cone. This uses an aluminum honeycomb structure core and aramid, a high-strength, high-elasticity, low-density long fiber material, as the skin material. This is a Diatone unique diaphragm. The midrange unit and tweeter unit use a 50mm and a 23mm reinforced diffusion boronized dome diaphragm. All wiring in the system was done with extra-thick linear crystal oxygen-free conductors, and the wiring was done by crimping with gold-plated sleeves (metal fittings) without soldering. The capacitors used in the network were also specially made with high-quality parts, such as large MP capacitors. The DK-10000 was an optional loudspeaker stand. 

Technical Data:

Type: 3-way speaker, sealed bookshelf type

Bass: 27cm aramid honeycomb curved cone type

Midrange: 50mm boron D.U.D dome type

Treble: 23mm boron D.U.D dome type

Nominal impedance: 6Ω

Frequency range: 35-60,000Hz

Output sound pressure level: 90dB/W/m

Maximum allowable input: 180W (EIAJ)

Rated input: 60W (EIAJ)

Crossover frequency: 600Hz, 5000Hz

External dimensions: Width 360 x Height 625 x Depth 290mm

Weight: 27kg

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ROTEL RX-1603 (1976) | Quality Uncompromised

 

The Rotel RX-1603 from 1976 is the biggest receiver they ever made. It is a High-performance receiver with outstanding reception characteristics and a sinus DIN power of 2 x 250 W at 4 ohms (180 watts per channel, min. RMS, both channels driven into 8 ohms, from 20-20KHz with no more than 0.1% total harmonic distortion). It features connectors for 3 pairs of loudspeakers, two turnover frequencies for bass and treble, subsonic, low and high filters, 2 phono input, 2 tape input with copy function...and many more. The RX-1603 is actually a two-box construction that allows the power amplifier section to be separated allowing the two parts to be stacked thus reducing the depht of the unit. Size (WxHxD) 600x180x535mm | Weight: 33kg  

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