Live Tape Recording (1970s) - The Namaroku (生録) Movement in Japan

The Namaroku (生録) - Live Tape Recording - movement was one of the most fascinating chapters in Japan’s 1970s audio history. Audiophiles carried their open-reel recorders to concerts, entered recording contests, joined manufacturer clubs, and pursued something more exciting than simply listening to records: capturing the performance themselves.

Sonoda Kenichi & His "Dixie Kings" at TEAC Club 1972

Main Specifications & Recording Standards

Recording medium: Open-reel magnetic tape

High-end format: 2-track stereo

Popular high-fidelity speed: 38 cm/s (15 IPS), known as “Tsutora Sanpachi”

Other enthusiast format: 4-track stereo at 19 cm/s (7½ IPS)

Large-format reels: Commonly 10-inch reels for 2-track, 38 cm/s recordings

Compact club format: 18 cm reels were also used for 4-track recordings

Typical material: Live jazz, big band, classical and other acoustic performances

Recording environment: Concert halls, jazz clubs, studios and other live venues

Participating manufacturers: AKAI, TEAC, Sony and others

Community activities: Live recording sessions, recording contests, fan clubs and listening meetings

The Namaroku Movement: When Audiophiles Became Recordists. Namaroku, or live recording, became a genuine cultural phenomenon during Japan's extraordinary 1970s audio boom. The idea was remarkably different from simply buying a commercially produced record. Audiophiles wanted to capture the performance themselves, using their own recording equipment and techniques to create a recording that sounded as close as possible to the original event. The Rise of the Open-Reel Recorder. The tape recorder became part of the audiophile experience itself. Large open-reel machines were hardly portable by modern standards, yet enthusiasts were willing to transport them to concerts and recording events. The inconvenience was simply accepted as part of the pursuit of better sound. The celebrated 2-track, 38 cm/s format became particularly associated with serious enthusiasts. Running tape at 38 cm/s, with only two tracks across the tape, provided a combination of bandwidth and recording quality that made it an obvious choice for those pursuing the highest possible fidelity. Recording Contests and the Growth of the Movement. The Namaroku phenomenon extended well beyond the activities of individual manufacturers. Japanese technology magazine Musen to Jikken began organizing tape recording contests with remarkably few restrictions on what participants could record. The contests were supported by TRK — Tape Recorder Kenkyukai (Society for Tape Recorder Research) and became an important part of the country's recording culture. The growth of these contests was extraordinary. The Audio Union Recording Contest attracted 206 entries in 1974. By 1976, participation had increased to 1,147, demonstrating how rapidly recording had developed from a specialist hobby into a much broader enthusiast movement. The participants were not merely comparing tape decks. They were experimenting with microphones, recording levels, acoustics, tape speeds and recording techniques in an attempt to produce the best possible recording.

Live Recording Events. Manufacturer-sponsored recording concerts became another important part of the movement. Companies including AKAI and TEAC organized events where enthusiasts could experience their equipment under demanding real-world conditions. Concert halls, jazz clubs and other venues provided the perfect environment for testing the capabilities of high-quality recording equipment. Music as the Ultimate Test Signal. The choice of music was rarely accidental. Jazz ensembles and large bands offered enormous dynamic contrasts, complex instrumentation and powerful transients. Performers such as the Tokyo Cuban Boys, Eiji Kitamura All-Stars and George Otsuka Quintet provided exactly the sort of challenging material that could demonstrate what a good recording system was capable of. For the enthusiast, the objective was not simply to document the concert. It was to capture the atmosphere, dynamics and immediacy of the performance as convincingly as possible.

AKAI, TEAC and the Manufacturer Clubs

AKAI was one of several companies that embraced this culture. Its open-reel recorders, including the GX series, were strongly associated with the high-fidelity aspirations of the period. AKAI also developed an enthusiastic user community around its equipment, with demonstrations, club activities and specially produced recordings helping reinforce the connection between the machines and the Namaroku movement. One such even featured on stage the above mentioned Tokyo Cuban Boys. TEAC followed a similar path, organizing recording concerts and producing material for its own enthusiast community. A 1972 TEAC club event featured Sonoda Kenichi & His “Dixie Kings.” The performance was subsequently issued as a limited-edition TEAC club tape on an 18 cm reel, using 4-track stereo at 19 cm/s. It is an excellent example of how the Japanese club-tape culture extended across different formats. These activities illustrate an important point about the period: the Namaroku phenomenon was not the property of a single manufacturer. It was a wider Japanese audio culture in which competing companies participated while enthusiasts themselves provided much of the energy.

Club Tapes: From Demonstration to Collectible

The manufacturer clubs also produced some fascinating recordings. High-quality master-dubbed or demonstration tapes could be distributed to enthusiasts or used to demonstrate equipment in listening rooms and dealer environments. Some AKAI-associated recordings were produced in the prestigious 2-track, 38 cm/s format, often using large 10-inch reels. These were ideal demonstration sources because they combined impressive musical performances with a recording format capable of showing what a properly adjusted open-reel machine could achieve. 

IMPORTANT NOTICE: All the photos published here are sourced from original black and white photos from various magazines (MJ, Tape Sound) and brochures (Akai, Teac). The color pictures shown here were created/edited/beautyfied by 1001 Hi-Fi purely for your viewing pleasure.

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Sonoda Kenichi & His "Dixie Kings" at TEAC Club 1972

Sonoda Kenichi & His "Dixie Kings"
Original TEAC 4-track Stereo 19cm/s pre-recorded tape

Tokyo Cuban Boys at AKAI Club event cca. 1973

The 6th recording concert organized by Shinko Electric Company 1976

Technics Touch 7 (1985)

The Technics Touch 7 represents a fascinating moment in vintage hi-fi, when manufacturers were trying to combine traditional stereo components with the emerging world of CD, electronic controls and home surround sound. With its touch-operated graphic equalizer, spectrum analyzer, dual-reverse cassette deck and optional CD player, the SA-X77 was designed as a complete entertainment system rather than simply another stereo amplifier.

Main Specifications

System configuration: SU-X77 amplifier + ST-X77T tuner + RS-X77WR double cassette deck

(Separate box components that link together via propreitary cable)

Surround sound: AV surround processing with dedicated Music and Movie positions

Equalizer section: Touch-operated 7-element electronic graphic equalizer

Spectrum analyzer: Real-time visual display of sound level across the frequency spectrum

Equalizer memories: Four user-programmable memories plus preset curves for rock, jazz and vocal music

Equalizer Plus: Allows two stored equalizer curves to be combined

Equalizer Reverse: Inverts a stored equalizer curve

CD player: Optional SL-PJ11 Compact Disc Player

CD pickup: FF-1 laser pickup

CD programming: Random programming of up to 15 tracks

Cassette deck: Double-speed, double-reverse configuration

Cassette functions: Recording, playback, re-playback and relay playback

Tape editing: Double-speed tape-to-tape editing

Broadcast reception: FM/AM plus stereo and bilingual VHF TV audio

Tuning system: Quartz synthesizer tuning for TV, FM and AM

Recording: Equalized recording directly from the graphic equalizer

Timer functions: Timer recording and timer playback

Speakers: SB-X77, using large 20 cm flat two-way drivers

Speaker shielding: Magnetically shielded for placement near a television

Turntable option: SL-J22 fully automatic turntable

Surround speakers: SB-S30 full-range surround speakers

Headphones: EAH-T15 stereo headphones

Microphone: RP-VK30 dynamic vocal microphone

Original sale price in Japan (including CD player) 269.600 Yen

The most distinctive feature is the touch-operated equalizer. Rather than relying on conventional rotary controls or sliders, the SA-X77 allowed the listener to interact directly with the graphic equalizer panel. A light touch could effectively create an equalization curve, making the system feel considerably more advanced than a conventional integrated stereo receiver. The seven-band electronic graphic equalizer was paired with a spectrum analyzer, giving the listener a visual representation of the music's frequency balance. For a vintage enthusiast, this is one of the features that gives the SA-X77 its personality. Equalizer Plus and Equalizer Reverse. The equalizer section went considerably further than simple tone adjustment. Four memory positions allowed users to store their own curves, while factory-programmed settings were provided for music such as rock, jazz and vocals. The unusual Equalizer Plus function could combine two memorized curves, while Equalizer Reverse inverted an existing curve. These features were useful not only for listening but also for adapting recordings to a particular room, correcting the acoustic character of a listening space, or preparing tapes specifically for headphone listening. AV Surround Sound with Music and Movie Modes. The SA-X77 was also aimed at the emerging home-surround market. Its AV surround function offered dedicated Music and Movie positions, allowing the effect to be tailored to the source material. Music programming could be given a more spacious concert-like presentation, while Movie mode was intended for Dolby Stereo-compatible film material and dramatic sound effects. The surround effect could also be adjusted manually, making the system considerably more flexible than a simple fixed surround circuit. The matching SL-PJ11 Compact Disc Player incorporated the FF-1 laser pickup and offered programmable playback of up to 15 tracks. The ability to select tracks and play them in a programmed or random sequence added an entirely new dimension to a system that was otherwise heavily rooted in the cassette era. This combination of analog cassette technology and early digital playback is particularly interesting from a historical perspective. The cassette section was designed for convenience rather than purist simplicity. Its double-reverse mechanism allowed recording and playback in both directions, while relay playback could automatically continue from one tape to another. A double-speed editing function was also provided, allowing tape-to-tape copying in approximately half the normal time. For the original owner, this made the SA-X77 a versatile music-production and listening system rather than merely a playback deck. In addition to conventional FM and AM reception, the system could receive VHF television audio, including stereo and bilingual broadcasts. Tuning was handled by a quartz synthesizer system, giving the receiver the precise electronic tuning that was becoming increasingly common in higher-end Japanese equipment. It is an excellent example of how manufacturers were turning the stereo system into a general-purpose home entertainment center. Speaker System: SB-X77. The matching SB-X77 speakers were anything but tiny. They used large 20 cm flat two-way drivers and incorporated magnetic shielding, allowing them to be positioned relatively close to a television without causing the color distortion associated with unshielded loudspeakers. The matching surround system could be expanded with a pair of SB-S30 full-range speakers. This made it possible to build a complete surround setup around the main stereo system rather than treating surround as an entirely separate component category.

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Marantz PM-5 (1979) | Class A/Class AB Integrated Amplifier

The Marantz PM-5 is one of the more intriguing integrated amplifiers of the late 1970s, offering something relatively unusual for its time: switchable pure Class A and Class AB operation. With 20 watts per channel in Class A and 80 watts per channel in Class AB, the PM-5 was designed to combine the refinement of Class A with the practical power of conventional high-power amplification.

Marantz PM-5 Main Specifications

Type: Stereo pre-main amplifier

Year: 1979

Power output: 20 W + 20 W, 8 Ω, pure Class A

Power output: 80 W + 80 W, 8 Ω, Class AB

Total harmonic distortion: ≤ 0.015%, 20 Hz–20 kHz

Wide-band response: 5 Hz–100 kHz, +0/−2 dB

Damping factor: ≥100 at 8 Ω

Signal-to-noise ratio: 86 dB MM / 68 dB MC / 108 dB line

Dimensions (W/H/D): 416 × 146 × 332 mm

Weight: 13 kg

Power consumption: 200 W

The PM-5's Class A and Class AB Technology. The central attraction of the PM-5 is its dual-mode power amplifier. At the flick of a switch, the amplifier can operate as a 20 W-per-channel pure Class A amplifier or deliver four times the power—80 W per channel—in Class AB. Marantz did not simply treat Class AB as the "power" setting and leave it at that. Considerable attention was paid to making its performance approach the quality expected from the Class A mode. High-speed transistors were used in the power stage, with a high cutoff frequency of approximately 90 MHz. The objective was to reduce the switching-related distortion normally associated with Class AB operation. The output stage uses a complete push-pull DC amplifier configuration throughout the signal path. This was intended to minimize transient intermodulation distortion and improve the amplifier's basic linearity without relying excessively on negative feedback. The result is a rather characteristic late-1970s engineering philosophy: instead of simply chasing a large power rating, Marantz concentrated on making the amplifier behave cleanly under dynamic conditions. Heat-Pipe Cooling: An Unusual Engineering Solution. The cooling system is one of the PM-5's most interesting mechanical features. Rather than mounting the power transistors directly onto a conventional heatsink arrangement, Marantz employed a newly developed heat-pipe system. Heat generated by the power devices is transferred away from the circuit to a separate radiator. This allowed the transistors to be positioned more conveniently from a circuit-design perspective, while also simplifying the physical layout and potentially reducing unwanted thermal and electrical interactions. The power supply was equally serious. The PM-5 uses a large-capacity audio-grade capacitor arrangement together with a compact, high-power transformer filled with resin intended to improve heat resistance and mechanical stability. A Surprisingly Capable Phono Section. Vinyl playback received considerable attention in the PM-5. The phono amplifier uses multiple transistors in a low-distortion, high-S/N design and includes separate MM and MC capabilities. The MC input is particularly interesting, offering a sensitivity of just 200 μV through a 75 Ω input impedance. Marantz also incorporated a straight DC signal path from the phono amplifier toward the power stage, reducing unnecessary signal-path stages between the cartridge input and amplification section. A dedicated MC head amplifier is included, together with a subsonic filter. Interestingly, the subsonic function is applied specifically within the equalizer section rather than being implemented as a broader system-wide function. Tone Controls and Everyday Usability. The PM-5 was not designed to be a purist amplifier with every convenience removed. Its tone controls provide ±8 dB of adjustment at both 100 Hz and 10 kHz. The amplifier also incorporates a loudness control for compensating low- and high-frequency response at reduced listening levels. A precision volume control was used to maintain a flat response around the central position, while the balance control permits independent adjustment of the left and right channels. The front panel is completed by a large central peak-power meter. Unlike a conventional bar display, the PM-5 uses point-style LED indications to show output power in both Class A and Class AB operation. It is a particularly distinctive visual feature and gives the amplifier a much more instrument-like appearance. Marantz also made the PM-5 practical for a serious 1970s audio system. The amplifier includes a dubbing circuit that allows recordings to be transferred between tape decks. A speaker selector provides comparison between two speaker systems and can also be used for simultaneous playback. Marantz PM-5 Versions and Identification. Early PM-5 examples are particularly interesting to collectors. The earliest units carried the Marantz ESOTEC designation on the upper-right portion of the front panel. There are differences between markets: the ESOTEC marking is found in gold on U.S. examples, while European-market units generally use a black version. Later PM-5 units dropped the ESOTEC marking and simply carried the PM-5 designation on the front panel. This makes the front-panel treatment a useful first point of reference when identifying an individual example. Original sale price in Germany: 1.900 DM | Wooden cabinet WC-76 walnut 120DM | Wooden cabinet WC-76N mahogany 190DM

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Telefunken HC 990 (1989) | 3-Head HX-Pro

A Late-1980s 3-Head Approach. The HC 990 is best viewed in the context of the end of the cassette era's development. By 1989, cassette decks had already reached a high level of maturity. The HC 990 therefore does not need to be presented as a revolutionary or exceptionally sophisticated machine. Instead, its interest lies in how Telefunken distilled the important features of a 3-head recording deck into a relatively focused package.

Telefunken HC 990 Main Specifications

Type: 3-head recording/playback/erase system.

Transport: 2 electronically controlled DC motors

Tape Types: Fe, Cr and metal. 

Frequency response Metal tape 20-18.000Hz

Electronic tape-type detection with adjustable bias fine control.

Noise Reduction: Dolby B/C NR and Dolby HX Pro.

Search & Control: Microprocessor-controlled Music Search System (MSS)

Digital counter, zero-stop memory, repeat function and record mute.

Display: Multifunction fluorescent display with digital indicators and real-time recording-level peak meter.

Dimensions (W/H/D) 440x116x290mm

Weight: 3,8kg

System remote control - RC90

The result is a deck aimed at users who wanted the benefits of proper tape monitoring and recording adjustment without necessarily moving into the much more elaborate territory occupied by some of the era's premium cassette decks. Telefunken HC 990: A Focus on the Essentials. The three-head configuration is the defining feature of the HC 990. Separate record, playback and erase heads allow the deck to monitor the actual signal being recorded on tape, rather than simply monitoring the source signal. This makes the HC 990 particularly relevant to users interested in making and evaluating their own recordings. At the same time, Telefunken avoided making the deck unnecessarily complicated. The feature set is focused on functions that are genuinely useful when recording and playing cassettes. Practical Recording Features. Bias fine control provides adjustment for different tape characteristics, while electronic detection selects the appropriate setting for Fe, Cr or metal tapes. Dolby B/C noise reduction is provided alongside Dolby HX Pro, which continuously monitors the frequency spectrum during recording and adjusts the bias to improve high-frequency output and reduce distortion. Electronic Control Without Excess. Logic Control operates the transport through electronic pushbuttons, while the digital counter, fluorescent display, memory function and Music Search System add practical convenience. The HC 990 also includes record mute, repeat and timer functions, but the overall specification remains centered around its core cassette-recording capabilities. Original sale price in Germany: 799 DM 

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Victor PC-DX95 (1990)

 

Introduced in 1990, the PC-DX95 from Victor (JVC) was part of the so called CDioss Compo System Series. With the capabilities of two CD players, this is a true musical fortress: the Dual Pickup CD player. It offers the enjoyment of two CD players in one. Featuring independent CD-1 and CD-2 players, playing and editing music has become even more enjoyable. Experience a new kind of music with the Dual Pickup CD. Incredibly, each of the two CDs is equipped... Discover More

Technics EXE V10X (1985)

This is a high-quality component system featuring 150W + 150W output and a new Class A amplifier with a distortion rate of 0.002%. The amplifier is a high-output 150W + 150W computer-driven new Class A. It employs a newly developed constant-gain pre-driver to achieve a low distortion rate of 0.002%. It also features a multi-input design with 8 audio inputs and 4 video inputs. Various AV & CD-era components such as Hi-Fi video players, VHD players, and CD players can be connected simultaneously. The turntable: In addition to its unique integrated D.D. system, the player incorporates quartz technology for superior rotational stability, achieving near-ultimate rotational precision. Furthermore, it features a large, heavy-duty turntable for even more stable rotational performance. (Cartridge is pre-installed.) The tuner comes standard with a programable timer.

List of components - EXE V10X

Quartz D.D. Player SL-M2 - Price: ¥74,800

MM Stereo Cartridge EPC-P215CM - Price: ¥32,000

Quartz Synthesizer FM/AM Tuner ST-G6T - Price: ¥49,800

Integrated Amplifier SU-V10X - Price: ¥128,000

Stereo cassette deck RS-B85 - Price: ¥89,800

Honeycomb disc speaker system SB-M3 - Price ¥108,000 x 2

Compact Disc Player SL-P3 - Price ¥129,800

Total price including compact disc player - ¥720,200

The deck features a new phase correction circuit and linear feedback circuit, prioritizing sound quality. Furthermore, it is equipped with dbx NR and Dolby B-C NR for Hi-Fi recording and playback, making it compatible with a wide range of sources. The speaker features a large-diameter 33cm honeycomb planar 3-way design that delivers powerful bass and a wide dynamic range. It boasts a high power handling capacity of 200W and a sound pressure level of 90dB/W, resulting in a highly efficient design. The CD player comes standard with a remote control with a 10-key keypad. It also features an auto-cue function for instant track selection and a 15-track random program selection.

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YAMAHA M-80 (1984) | AUTO CLASS A

The M-80 power amplifier was designed by Yamaha as a flagship high-end amplifier for listeners demanding both purity and serious power. With 250 watts per channel and technologies such as Auto Class A and Zero Distortion Rule (ZDR), the M-80 combines refined amplification with enormous dynamic reserves.

M-80 Main Specifications

Continuous sine-wave power, per channel:

250 W at 8 ohms, 20–20,000 Hz, 0.003% THD

290 W at 6 ohms, 20–20,000 Hz, 0.007% THD

340 W at 4 ohms, 20–20,000 Hz, 0.02% THD

Peak power: 380 / 480 / 640 / 850 W per channel at 8 / 6 / 4 / 2 ohms

Power bandwidth: 10–100,000 Hz at half rated power, 8 ohms

Frequency response: 20–20,000 Hz, +0 / −0.1 dB

Signal-to-noise ratio: 127 dB / 119 dB, IHF A

Total harmonic distortion: 0.002% at half rated power, 8 ohms

Dimensions: 435 × 165 × 425 mm

Weight: 23 kg

The technology: Auto Class A and ZDR Technology. Auto Class A circuitry is at the heart of the M-80's approach to amplification. At normal music levels, the amplifier operates in Class A, where low-level signals benefit from exceptionally low distortion and clean amplification. The design is based on the observation that around 95% of typical music power requirements fall within this operating range. When a musical peak suddenly demands substantially more power, the M-80 automatically switches to Class AB operation. This provides the additional output capability needed for demanding passages without requiring the amplifier to remain in high-power Class AB operation continuously. Zero Distortion Rule. The ZDR circuit addresses one of the traditional weaknesses associated with Class AB amplification: switching and crossover distortion. Integrated into the M-80's power-amplifier circuitry, ZDR is designed to suppress distortion introduced during the transition between output devices. It also counteracts distortion associated with the non-linear operation of the power transistors. The result is an amplification system intended to preserve the original music signal with the purity associated with Class A operation, while retaining the high-power capability of Class AB amplification. Massive Power Reserves for Difficult Loads. High-capacity capacitors and high-performance circuitry give the M-80 substantial reserves for sudden musical peaks. The amplifier is designed to remain reliable even when driving low-impedance loudspeakers. The specified peak output reaches an impressive 850 watts per channel into 2 ohms. For demanding speaker systems, that reserve can be particularly important when music contains rapid and substantial changes in level. 20-LED Peak Power Display. Twenty precision LEDs provide a visual indication of speaker load and amplifier output activity. An impedance control allows the display to be adjusted for 2-, 4-, and 8-ohm speakers. Peak memory is also provided, while the display sensitivity can be switched to a 10× range. Beyond its practical function, the large LED display gives the M-80 the unmistakable visual character expected from a serious vintage power amplifier. Three Speaker Pairs and Flexible Switching. Three speaker groups—A, B and C—can be selected using the amplifier's connection and switching system. The speakers can be operated independently, simultaneously, or in combined configurations. This gives the M-80 considerable flexibility for systems using multiple pairs of loudspeakers. The amplifier is also designed to handle low-impedance loads without distortion or unnecessarily triggering its protection circuitry. The specification for operation down to 2 ohms underlines just how seriously the M-80 was engineered for demanding loads. Heavy-Duty Speaker Connections. The speaker terminals accommodate different cable diameters, allowing both large-gauge speaker cables and conventional cables to be connected without soldering, crimping, or other special preparation. It is a small but significant detail that reflects the M-80's practical, high-power design philosophy. Protection and Additional Circuitry. An overload protection circuit monitors potentially dangerous operating conditions. If excessive power levels or a short circuit occurs, the protection system automatically shuts down the amplifier to help prevent damage to the M-80 and connected loudspeakers. Additional circuitry includes: DC gain configuration, DC protection circuit, Independent left/right level controls, A/B/C speaker-group selector. Original sale price in Germany: 2300 DM.

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PIONEER CT-939 (1988) | The Reference Master Cassette Deck

What if you inserted a conventional compact cassette, pressed Play, and suddenly wondered if you were listening to digital audio? The answer is the Pioneer CT-939, a three-head flagship cassette deck engineered around extremely stable tape transport, short signal paths, low vibration, and precision recording and playback circuitry.

Pioneer CT-939 Main Specifications

Type: 4-Super/2-Channel Recording and Playback Stereo Cassette Deck

Head configuration: Three-head design

“Laser Amorphous” playback head × 1

Hard Permalloy recording head × 1 (combined)

Dual-Gap Ferrite erase head × 1

Motors:

DC servo motor for capstan drive × 1

DC motor for reel drive × 1

DC auxiliary motor × 1

Wow and flutter: 0.024% WRMS; ±0.06% DIN

Rewind time: 80 seconds with C-60 tape

Frequency response:

Normal tape: 20–21,000 Hz (-20 dB)

Chrome tape: 20–21,000 Hz (-20 dB)

Metal tape: 20–22,000 Hz (-20 dB)

Signal-to-noise ratio: 60 dB, Dolby off

Distortion: 0.6% at 0 dB

Inputs: MIC, 67 mV / 50 kΩ; LINE

Power supply: 220 V or 240 V, 50–60 Hz

Dimensions: 420 × 133.5 × 372 mm

Weight: 9.6 kg

The Pioneer CT-939 “Reference Master” Technology. The tape transport is at the heart of the CT-939. Pioneer designed the mechanism around a dual-capstan drive intended to optimize tape contact with the playback head. Two differently sized capstans, together with the guide rollers, help reduce resonances generated by moving parts. The enclosed tape path further contributes to the highly stable transport associated with the “Reference Master” drive. Precision playback starts at the head. The CT-939 uses a precision-machined amorphous playback head, while the three-head configuration separates the recording, playback, and erase functions. A cassette stabilizer holds the cassette securely in position while helping damp vibrations that could affect sound purity. Short Signal Paths. Pioneer also concentrated heavily on the signal circuitry. Signal paths between the input and recording head, and between the playback head and output, were kept extremely short. The recording and playback circuits for the two channels are completely separated to minimize interference and distortion. The playback amplifier uses non-inductive circuitry with direct head connection, designed to reduce magnetic distortion while improving linearity. Vibration Control and Chassis Construction. Mechanical stability extends beyond the tape transport. The CT-939 uses a robust copper-plated chassis, honeycomb-reinforced construction, cassette damping, honeycomb-structured dampers, and a cast-encased transformer. The specially damped transformer is made from solid cast iron and incorporates three separate OFC windings intended to prevent interference. The power supply is a low-impedance, servo-controlled, high-speed design, with separate supplies for the amplifier, control, and display stages. Recording and Noise-Reduction Features. The CT-939 combines its transport and circuit design with extensive recording controls. Dolby HX Pro extends dynamic range in the high frequencies, while Dolby B and C noise reduction provide additional noise reduction. The deck also includes fine adjustment of recording bias current, allowing the bias to be adjusted for the tape being used. An automatic tape-type selection system simplifies operation with different cassette formulations. Pioneer CT-939 User Features. Despite its ambitious engineering, the CT-939 was designed for straightforward operation: Automatic monitor switches from Source to Tape when recording begins, Switchable fluorescent level meter with peak hold, Narrower meter range for increased resolution, One-button recording start, Mute recording with automatic blank-space correction, Electronic tape counter with three display modes, Motorized cassette ejection, Headphone output with level control, Timer capability for recording and playback, MPX filter, Skip function for direct access to the beginning of the 15th track in either tape direction. The CT-939 was a AC220V, 240V model while the CT-800 was the AC120V model. Original sale price in Germany: 1200 DM.

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Lo-D DA-703D (1987) | 4DAC - Vibration Cut Solid Base

Released by Lo-D (Hitachi) in 1987, the Lo-D DA-703D was a solidly built integrated CD player developed during the company’s growing focus on digital audio. Its standout feature was an unusually comprehensive approach to vibration control, combined with sophisticated digital processing and a carefully separated digital/analog circuit design.

Lo-D DA-703D Main Specifications

Release year: 1987

Frequency response: 5–20,000 Hz ±0.5 dB

Dynamic range: 100 dB (EIAJ)

S/N ratio: 110 dB (EIAJ)

Channel separation: 105 dB (EIAJ)

Harmonic distortion: 0.003% (EIAJ)

Wow and flutter: Measurement limit, ±0.001% W. peak

Output voltage: 2.0 V

Power consumption: 16 W

Dimensions: 435 W × 129 H × 337 D mm

Weight: 10.5 kg

Digital filter: 4× oversampling

D/A conversion: High-dynamic 4DA converter

Optical output: Provided

Track programming: Up to 24 tracks

Remote control: 20-key keypad

Player controls: 10-key keypad

VC (Vibration Cut) Technology

The DA-703D’s defining feature was its extensive "VC (VIBRATION CUT) mechanism," designed to control unwanted vibration throughout the player. The chassis was firmly supported by a high-rigidity VC solid base made from a special high-density resin. This was further supported by a large three-piece insulator with a 64 mm diameter. Between the main body and VC solid base, 60 cylindrical absorbers were randomly positioned on the contact surface. Their positions were determined using computer simulation analysis, with the aim of effectively preventing vibration from affecting the player. The heavy VC solid base also lowered the overall center of gravity. It helped shift the center of gravity away from the pickup area and toward the center of the chassis. The enclosure itself used a VC enclosure sandwich structure, while the disc table and front panel were separated and floated through a VC loading mechanism. The pickup assembly was mounted on a VC pickup unit made from VC metal. This construction used two steel plates with a thin viscoelastic polymer material sandwiched between them. Three-Spot Pickup System. The pickup system used three laser spots rather than relying solely on the main laser beam. The main beam read the CD signal, while two additional beams positioned to the left and right helped detect tracking errors. The tracking actuator used a pure-metal damping suspension system, designed to provide effective vibration damping during operation. The player also incorporated a direct pit servo system. This system detected tracking errors through reflected laser light while also checking for subtle disc warping and micron-sized dirt. The aim was to prevent unnecessary actuator movement and maintain accurate tracking. 4× Oversampling Digital Filter. Digital processing was another major feature of the DA-703D. Its 4× oversampling digital filter converted the original sampling frequency to 176.4 kHz, allowing high-speed processing and more effective removal of high-frequency noise. The system also suppressed glitch noise produced during digital signal switching. According to the original design description, this eliminated the need for sample-and-hold circuits and low-pass filters, contributing to improved phase and frequency-response characteristics. High-Dynamic 4DA Converter. The D/A converter used four converters rather than two. Where early CD players commonly used one D/A converter for each stereo channel, the DA-703D used two converters per channel, for a total of four. Left and right channels could therefore undergo D/A conversion independently and simultaneously, minimizing timing and phase differences between the channels. The design achieved a stated 24-bit conversion accuracy range. Digital and Analog Circuit Separation. Lo-D also paid considerable attention to electrical isolation. The power supply completely separated the digital and analog sections, with each section receiving its own independent power transformer. This produced a two-transformer configuration intended to reduce interference between the two sections. Five photoisolators were used for optical transmission between digital and analog circuits, providing further electrical isolation. An optical output was also provided for connection to an external D/A converter. The analog section was separated internally as well. The D/A converter and following analog circuitry were separated to suppress interference, while the left and right analog channels were arranged symmetrically. Dedicated components, including high-quality capacitors, high-speed diodes and extra-thick power cords, were also selected for the design. Programming and Playback Features. The DA-703D was more than a basic CD transport and converter. The player featured a 10-key keypad, while its remote control provided 20 keys. Direct track selection was available, together with random programming of up to 24 tracks. A delete-program function allowed unwanted tracks to be excluded from playback. The DA-703D offered six repeat functions covering: All tracks, Random memory, Section, Single track, Random play, Delete, Total Edit Function. The total edit function was designed with cassette recording in mind. It allowed tracks to be arranged for both sides of a cassette tape according to the desired recording length. The unusual Twin Line Music Table display made this easier to manage. The display showed 20 tracks in two columns, with programmed and scheduled tracks on the upper line and completed tracks on the lower line. This made functions such as total editing and random playback easier to follow. The Lo-D DA-703D was a serious CD player with an unusually logical engineering approach. Its combination of extensive vibration control, three-spot tracking, 4× oversampling, four-D/A conversion and digital/analog isolation shows how much attention Lo-D devoted to extracting reliable performance from the emerging CD format. Original sale price in Japan ¥89,800

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GRUNDIG RR 1040 (1979)

 

Introduced in 1979 the RR 1040 by Grundig in addition to a large, easily readable scale and an excellent signal strength meter adds a digital frequency display. Thus the Grundig RR 1040 makes radio station searching a real pleasure. Especially on shortwave, the directly readable reception frequency helps to find the desired station. In terms of ease of use, this Grundig model was superior to its Far Eastern competitor, as the FM station buttons allow for lightning-fast selection between... read more.

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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