SONY FH-7 (1982) | Compact Hi-Fi Icon

The Sony FH-7 Heli Compo was one of those rare audio systems that arrived at exactly the right moment, combining compact dimensions, genuine Hi-Fi features and an irresistibly futuristic design. Released in the early 1980s, this Sony FH-7 became a worldwide bestseller and remains one of the most memorable compact component systems of its era.

The Sony FH-7 Heli Compo: Sony Gets Compact Hi-Fi Right. By the early 1980s, manufacturers were competing to create the ultimate portable Hi-Fi system. Sony had been exploring this concept since the mid-1970s, but with the FH-7 Heli Compo, the company finally seemed to get the formula exactly right. It was compact. It was genuinely portable. It looked spectacular. And, most importantly, it sounded considerably better than its diminutive dimensions might suggest. The result was a system that sold in enormous numbers and helped establish Sony as a major force in the compact Hi-Fi market. Sony would go on to produce countless FH-series systems, but few would capture the same combination of design, functionality and charm as the original FH-7. A Mini System With a Big Personality. The FH-7 was designed around a series of separate components that could be combined into a remarkably compact Hi-Fi system. At its heart were the: ST-78 FM Stereo/FM-AM tuner | TA-78 integrated stereo amplifier | TC-78 stereo cassette deck | PS-Q7 compact turntable | SS-78 two-way speaker system. The system could be powered indoors using the AC-78 power supply, while a separately available DC power supply made outdoor operation possible. The FH-7 wasn't intended to be confined to a dedicated listening room. Sony presented the system as something you could easily move from room to room — from the desk to the living room, kitchen or even upstairs. With the optional carrying handle and DC power supply, it could also leave the house altogether. For 1982, that was a remarkable proposition. 

ST-78 Tuner: Digital Precision in a Tiny Package. The Sony ST-78 tuner brought surprisingly sophisticated technology to the FH-7. Its quartz-lock synthesizer system provided accurate station tuning, while the LCD digital frequency display made the selected station easy to read. Users could choose between: Auto-search tuning for quickly finding stations, or manual tuning for more precise control. There was also a useful last-station memory function. Switch the system off and back on again, and the tuner would return to the station you were listening to previously. Sony also provided a CD input, anticipating the growing importance of compact disc technology just as the digital audio era was beginning to take off. 

TA-78 Amplifier: 38 Watts Per Channel. Despite its compact dimensions, the TA-78 integrated stereo amplifier was no toy. Sony rated it at 38 watts + 38 watts, giving the little system considerably more power than its size might suggest. The amplifier also featured a five-band graphic equalizer, allowing listeners to shape the tonal balance to their taste. This was an important part of the FH-7 experience. Rather than simply accepting a fixed factory sound, the owner could adjust the system and create a personal tonal character. There was even a microphone input, allowing the FH-7 to double as a casual karaoke or party system. 

TC-78 Cassette Deck: Built for Convenience. The TC-78 stereo cassette deck was equally well equipped. Its auto-reverse mechanism allowed both sides of a cassette to be played without manually turning the tape over. Sony also incorporated Dolby B noise reduction and a laser-amorphous recording/playback head, designed to deliver high-fidelity cassette performance. The deck supported different cassette formulations through a four-position automatic tape selector, including metal tape. The TC-78 included an auto-play mechanism that could begin playback automatically after rewinding, while an AMS system allowed the listener to search for the next track. 

The PS-Q7: The Tiny Turntable Everyone Remembers. And then there was the component that arguably gave the FH-7 much of its personality: the Sony PS-Q7 turntable. At first glance, the PS-Q7 almost looks like a toy. It wasn't. Its extraordinarily compact form became one of the most recognizable elements of the FH-7 concept and helped make the system visually distinctive. The little turntable was so unusual that it became one of Sony's better-remembered compact audio components. That combination of serious electronics and almost futuristic miniaturization is exactly what makes the FH-7 so fascinating today. Some catalogs also show a turntable base but no further details are given for this SBMC (Sony Bulk Mold Compound) base.

AC-78 Power Supply: One System, Multiple Components. The AC-78 power supply unit used a centralized power-supply concept. Instead of giving every component its own large power section, the AC-78 supplied power to the FH-7 components through a series of parallel connections. This helped Sony keep the individual modules compact and easy to arrange. The AC-78 also incorporated: Headphone output, Speaker terminals, Connections for the individual FH-7 components. And when the system needed to go outside, the AC supply could be replaced by a separately available DC power supply. That meant the same Hi-Fi system could be used on a table at home or taken outdoors.

SS-78 Speakers: Small Two-Way Hi-Fi. The FH-7 was completed by the Sony SS-78 speaker system. Sony used wooden cabinets, reflecting the company's emphasis on acoustic performance rather than simply making the cheapest possible enclosure. The SS-78 was a two-way design, optimized for clear midrange and high-frequency reproduction while maintaining substantial bass for its size. Sony promoted the speakers as suitable for everything from rock and fusion to vocals and pop music. The result was a compact speaker system intended to complement the relatively powerful TA-78 amplifier without overwhelming the overall design.

The Compact Hi-Fi Component System FH-7 was priced at: ¥109,800 in Japan. The compact PS-Q7 turntable was listed separately at: ¥35,000 in Japan. Available in silver, black and Tropical red.

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KENWOOD HD-1000X (1993) | High-Density Hi-Fi Concept

The Kenwood HD-1000X is one of those early-1990s systems that becomes more interesting the longer you look at it. Built around compact 27 cm-wide components, the HD series combined serious construction, discrete circuitry and an unusually complete selection of sources in a format that was considerably smaller than conventional hi-fi separates. The HD-1000X captures a fascinating moment when Kenwood was trying to redefine what a sophisticated component system could look like.

Kenwood HD-1000X – Main Specifications

A-1001 Integrated Amplifier

Output: 2 × 45 W DIN at 1 kHz into 8 ohms

Power supply: Toroidal transformer with generously sized electrolytic capacitors

Amplification: Discrete L.A.P.T. driver and power-stage circuitry

Circuit layout: Logical Flow Construction with short signal paths

Features: CD Direct, dynamic active bass, high-precision volume control

Remote control: IR control for the HD system

Construction: 1.6 mm steel chassis and 5 mm aluminum front panel

Terminals: Large speaker terminals compatible with laboratory-type connectors

DP-1001 CD Player

D/A converter: Kenwood DAC 7 bit-stream converter

Digital processing: 8× oversampling and third-order noise shaping

Analog stage: Discrete low-impedance push-pull output circuit

Digital output: Optical

Programming: 20-track memory

Functions: Repeat, shuffle, priority and multi-edit

Construction: 1.6 mm steel chassis and 5 mm aluminum front panel

T-1001L Tuner

Reception: FM, AM and LW

Tuning: Quartz PLL

RDS: PS, PTY, AF and CT

Presets: 20 stations

Features: Automatic station search, last-station recall and remote control

Construction: 1.6 mm steel chassis and 5 mm aluminum front panel

X-1001 Cassette Deck

Mechanism: Horizontal front-loading cassette tray

Transport: Centrally positioned drive

Control: Full-logic

Search: DPSS title search

Noise reduction: Dolby B/C

Recording: Dolby HX Pro, Auto Bias, CCRS and CRLS

Other features: Timer operation and switchable MPX filter

Construction: 1.6 mm steel chassis and 5 mm aluminum front panel

DM-1001 MiniDisc Recorder

Recording system: ATRAC

Digital connections: Optical input and output

Copy protection: SCMS

Mechanism: Front-loading

Display: 38-character text display

Editing: TOC editing and track reordering

Control: IR remote

GE-1001 Parametric Equalizer

Bands: Three parametric bands

Frequency selection: 33 center frequencies

Slope: Seven selectable settings

Adjustment: ±10 dB

Features: Recording equalization and tape monitoring

LS-300G Loudspeakers

Tweeter: 28 mm soft dome

Woofer: 150 mm aluminum-frame driver

Crossover: 1.5 kHz, 6 dB/octave

Cabinet: MDF, approximately 20–41 mm panel thickness

Terminals: Gold-plated

Shielding: Magnetic shielding for placement near televisions

SRM-1001 components stand, SR-300G speaker stand

Original sale price in Germany: approx. 6.700 DM

With the HD-1000X Kenwood Takes a Different Route. The "HD" designation stood for High Density, referring to the compact dimensions and densely engineered construction of the series. At approximately 27 cm wide, these components were considerably narrower than the familiar full-size separates that dominated serious Japanese hi-fi at the time. But Kenwood clearly did not want the HD series to be perceived simply as a mini system. The physical construction tells a different story. The components use 1.6 mm steel chassis and substantial 5 mm aluminum front panels, giving them an unusually dense and purposeful appearance. 

The A-1001 amplifier is perhaps the best expression of the HD philosophy. Its rated 45 watts per channel isn't particularly remarkable by early-1990s standards, but Kenwood concentrated on the architecture surrounding those watts. The amplifier uses a toroidal transformer, generously sized electrolytic capacitors and discrete L.A.P.T. circuitry. Kenwood's L.A.P.T. — Linear Power Amplitude Transistors — approach was intended to provide highly linear transistor operation while reducing reliance on heavy negative feedback. Logical Flow Construction was another part of the design philosophy, with the signal path kept short and direct. There is also a dedicated CD Direct function, reflecting the growing importance of CD as the primary source at the time.

DP-1001: A CD Player from the Bit-Stream Era. The DP-1001 is equally revealing of its period. Kenwood's DAC 7 used bit-stream/PDM conversion together with 8× oversampling and third-order noise shaping. This was part of the broader movement during the late 1980s and early 1990s toward alternative approaches to conventional multi-bit DAC architectures. The analog section is particularly noteworthy. Kenwood used a discrete, low-impedance push-pull output stage rather than treating the analog output as an afterthought. The result is a CD player that fits the HD philosophy surprisingly well: compact dimensions, substantial construction and a relatively elaborate internal architecture.

X-1001: When the Cassette Deck Was Still Serious Business. The X-1001 is one of the most appealing pieces for cassette collectors. By 1994, the compact cassette was no longer the unquestioned future of consumer recording, but manufacturers were still producing technically ambitious decks. Kenwood equipped the X-1001 with Dolby B/C, Dolby HX Pro and Auto Bias. It also offered CCRS automatic recording from CD, along with CRLS for analog sources. The horizontal loading arrangement gives the deck much of its visual identity. The centrally positioned transport was intended to help suppress vibration, while full-logic operation and DPSS search provided the kind of automation expected from a sophisticated deck of the period. 

T-1001L: The Tuner at the End of an Era. The T-1001L represents another transitional component. Traditional quartz-locked FM/AM/LW tuning is combined with RDS functions including station identification, program type, alternative frequencies and time information. That makes it particularly representative of the early-1990s broadcast environment. The tuner isn't simply there to complete the visual stack. It reflects the period's attempt to modernize a fundamentally traditional analog source with digital information and sophisticated control electronics. 

DM-1001: Kenwood Embraces MiniDisc. The DM-1001 shows where the HD concept was heading. MiniDisc had arrived as a new digital recording format, and Kenwood incorporated it into the HD family through the DM-1001. ATRAC compression, optical digital I/O, SCMS, TOC editing and a 38-character display place the machine firmly in the early MiniDisc era. For collectors, this is particularly interesting because it shows that the HD concept was not frozen around CD and cassette.

GE-1001: The GE-1001 is an unusual addition to the system. Rather than using a conventional graphic equalizer, Kenwood provided three parametric bands with 33 selectable frequencies and seven slope settings. That gives the unit considerably more control than the typical consumer equalizer of the period.  Its presence also reveals something about Kenwood's concept of the HD system. The company wasn't merely selling a stack of source components. It was offering a complete, configurable listening system.

LS-300G: The Matching Loudspeaker. The LS-300G completes the original HD concept. The two-way design combines a 28 mm soft-dome tweeter with a 150 mm woofer and a relatively gentle 6 dB/octave crossover at 1.5 kHz. The cabinet construction is particularly interesting for such a compact system. MDF panels range from approximately 20 to 41 mm in thickness, while the speakers also feature magnetic shielding for placement near a television.

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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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TEAC CR-H248 (2010) | 1001 Hi-Fi Webpage Update

Since its foundation in 1953, TEAC has made great contributions to both end-user and specialist industrial fields, being involved in consumer and professional audio, computer peripherals, and the medical and aviation industries. Since the introduction of the original TEAC Reference 500 Series in the mid-1990s, the concept of TEAC's mini component system has remained. Most of the features required for a complete contemporary full-size audio system were included in the CR-H248, introduced in 2010. Finished in sleek jet black, this mini stereo system, a rightful heir to ... Discover More

TEAC Reference 500 (1997) | The H-Series Mini System That Put Separates in a Compact Format

The TEAC Reference 500 was far more than an ordinary mini system—it was TEAC’s attempt to bring genuine separates-class engineering into a compact, modular package. With substantial aluminium front panels, independent power supplies and a surprisingly sophisticated component lineup, the Reference 500 remains an intriguing piece of vintage audio history.

TEAC Reference 500 – Main Specifications

System concept: H-Series modular mini system

Core components: R-H500 cassette deck, PD-H500 CD player, T-H500 stereo tuner and A-H500 stereo amplifier

Optional components: AG-H500 stereo receiver, AV-H500 Pro-Logic Surround Amplifier, VRDS-9 CD player, PD-H503 multi-CD player, RW-H500 CD recorder and MD-H500i MiniDisc recorder, DV-H500 DVD player

Construction: 10 mm thick aluminium front panels

Chassis: High-rigidity construction

Connections: Gold-plated RCA jacks

Remote control: Full-function infrared control system

Amplifier design: Separate left/right circuits

Power supply: Fully shielded toroidal transformer and upgraded 4-ohm power supply

CD input: Direct CD switching for a shortened signal path

Architecture: Modular components with individual power supplies

Expansion: Designed to accommodate future components and upgrades

The H-Series Concept: Miniature Separates, Not a Typical Mini System

The H-Series philosophy was simple: reduce the physical size without reducing the quality of the individual components. Rather than building everything into one chassis, TEAC divided the system into separate amplifier, CD player, tuner and cassette deck units. Each component had its own enclosure and power supply, making the Reference 500 much closer in spirit to a traditional separates system than a conventional all-in-one mini system. The construction was equally serious. Every component used a substantial 10 mm aluminium front panel, giving the system a distinctive, high-end appearance while contributing to rigidity and durability. The high-rigidity chassis construction was another indication that TEAC was targeting enthusiasts rather than casual mini-system buyers. A System Designed to Grow. Modularity was one of the Reference 500’s strongest features. Owners could start with the basic four-component system and expand it as new technologies became available. The Reference 500 family eventually included considerably more than the original amplifier, tuner, CD player and cassette deck. Additional components included a Pro-Logic surround amplifier, multi-CD player, CD recorder, MiniDisc recorder and other system components. The A-H500 Amplifier: Simplicity With Serious Engineering. At the heart of the system was the A-H500 stereo amplifier. Its design incorporated separate left and right circuits, a fully shielded toroidal transformer and an improved power supply intended to handle 4-ohm speaker loads. TEAC also kept the signal path deliberately straightforward. The CD Direct function was particularly interesting. When selected, the CD signal could bypass unnecessary circuitry, providing a shorter and cleaner path between the source and amplification stage. For vintage audio enthusiasts, this is an important detail because it reflects an engineering philosophy that was common in serious hi-fi equipment: eliminate unnecessary processing rather than simply adding features. Intelligent System Control. The Reference 500 also attempted something surprisingly advanced for its era: system-level automation. The components were designed to communicate intelligently through the control system. For example, pressing PLAY on the CD player while listening to FM could automatically switch the amplifier to the CD input and begin playback. Similar interactions were available between the tuner and cassette deck. The system could even automatically activate previously configured RDS functions when traffic information was received. Today, this behaviour seems ordinary. In the context of a vintage component system, however, it was an impressive attempt to make separate hi-fi components operate as a unified system. 

The Hidden Story: Who Actually Built the Reference 500?

Here is where the Reference 500 story gets particularly interesting. Although these components carried the TEAC name, the H-Series units were actually manufactured in Korea by ANAM. ANAM was an important OEM manufacturer and produced equipment not only for its own brand (including the above shown Teac components) but also for other companies. The same or closely related hardware can therefore be found under different brand names, including Akai and Universum, the latter being associated with Quelle in Germany.

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ONKYO Intec 275 (2001) | Premium Sound

 

It's not just about hearing music; it's about feeling surrounded in a space filled with music. That feeling when your mind and body are drawn into the music, and sometimes become one with it. Onkyo Intec 275. A full-fledged audio system that combines ease of use with a compact 275mm width. Its premium sound adds a world of musical imagination to your life. Is it a sound quality you can enjoy for a lifetime. Pretty basic "marketing talk" isn't it? Don't worry more details will be soon available on our 1001 Hi-Fi Classics webpage here.

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AIWA M-501 (1980) | Full Performance...

 

FULL PERFORMANCE...STUDIO SOUND. This is how Aiwa advertised it's M-501 mini-hifi components. Every unit a technological gem designed to provide total performance in a space no more than thirteen inches high and nine inches wide. SA-C50U Stereo Preamplifier - Full featured control unit, including MC cartridge, bass and treble controls, 20dB muting, cross-dubbing and all input/output facilities. SA-P50U DC Stereo Power Amplifier - 50 watts per channel, minimum RMS at 8 ohms, both channels driven from 20-20,000 Hz with no more than 0.02% THD. 9-point peak power indicators. ST-R50U Quartz Synthesized Tuner - Precise, automatic or manual tuning with a 12-station programmable memory; six each for AM and FM. SD-L50U Metal Compatible Stereo Cassette Deck - Professional-type IC logic controls, 3-color peak level bar graph indicators, Dolby* NR. Equally exciting is Aiwa's M-502, a complete system in two components AX-S50U AM/FM Stereo Quartz Synthesized Auto Tuning Receiver (20 watts per channel, minimum RMS at 8 ohms, both channels driven from 20-20,000 Hz with no more than 0.1% THD)... and the SD-L50U described above. Because full performance means convenience and versatility too. Aiwa has even more systems, components and options, including some you can't get from anyone else: AP-D50U, unique, front loading DD fully automatic turntable; HR-50H High-Com NR system with 25dB improvement over Dolby; RC-R300U infrared wireless remote, full-function control; MT-50U programmable, ultra-slim quartz timer for unattended operation and SC-E50Υ 3-way bass reflex speaker system with bass and treble tone controls.

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PIONEER mini HI-FI 3000 (1979)

 

The Pioneer Mini Hi-Fi 3000 System was introduced in 1979 and it was presented as "a new standard for high fidelity". Not just the dimensions that are noteworthy. Two other important aspects deserve to be highlighted: ease of use and sound quality. Unlike even smaller and more expensive mini or micro systems, Pioneer presented a system that met high musical demands. For example, the Pioneer Mini Hi-Fi System includes an integrated turntable (still the primary program source). All other components are grouped around the turntable – matching in style and technology. The heart of this mini system is a flat, perfectly constructed stereo amplifier. The power amplifier section is DC-coupled and has an OCL output to improve transient response. The power supply contains an expensive, oversized core transformer and four electrolytic capacitors. The TX-3000 tuner (FM/AM) incorporates a triple rotary capacitor. Its sensitivity is 16.2 dBf. The PL-3000 fully automatic turntable has two motors: a brushless DC Hall servo motor for direct drive of the platter and a second for full automation. The coaxial damping system, as in the more expensive models, dampens resonances. The Dolby cassette deck features a cassette drawer. This design detail was necessary to maintain the flat design, while keeping the cassette in view at all times. Another special feature not found on every cassette machine is a dedicated display for monitoring how much tape has been used and how much time remains for recording or playback. Finally, the mini components include a specially designed speaker box: the compact 2-way CS-X2 model, perfectly matched to the mini system; the maximum power handling is 50 watts. Pioneer also offered a specially designed audio rack (B-3000) for the components of the mini hi-fi system. It consists of two parts, each measuring 38×40×35 cm. These two parts can be stacked or placed side by side. If you need suitable speakers for the mini system: Pioneer offers various systems. You can choose between the HPM-30, the CS-X3 (the smallest Pioneer speaker), and the CS-X2. Specifications:

SA-3000 INTEGRATED STEREO AMPLIFIER

40W + 40W (8 ohms, 20-20,000Hz, 0.02% THD), Dimensions: 380 (W) × 83 (H) x 295 (D) mm, Weight: 7.6 kg

TX-3000 FM/AM STEREO TUNER

FM usable sensitivity: Mono; 10.3 dBf (1.8 µV) (IHF), 0.7 µV (26 dB signal-to-noise ratio, 75 ohms) (DIN), Stereo; 20 µV (46 dB signal-to-noise ratio, 75 ohms) (DIN) Dimensions: 380 (W) × 83 (H) × 335 (D) mm, Weight: 4 kg 

PL-3000 FULLY AUTOMATIC DIRECT-DRIVE TURNTABLE

Wow and flutter: 0.03% (RMS, rated), ±0.042% (DIN), Rumble Signal-to-Noise Ratio: 75dB (DIN B) Dimensions: 384 (W) x 145 (H) x 360 (D) mm, Weight: 7.9 kg

CT-3000M Stereo Cassette Deck with Metal Tape Compatibility and Dolby* Noise Reduction, Wow and flutter: 0.05% (RMS, rated), ±0.17% (DIN) Frequency range: 20-19,000 Hz (Metal) Dimensions: 382 (W) × 83 (H) × 329 (D) mm, Weight: 6.4 kg 

CS-X2 TWO-WAY LOUDSPEAKER

Transducers: 16 cm cone woofer, 2.5 cm soft dome tweeter, Frequency response: 60-20,000 Hz Dimensions: 220 (W) × 380 (H) × 205 (D) mm, Weight: 6.5 kg (14 lb. 5 oz.)

B-3000 AUDIO RACK (Optional accessory)

Dimensions: 380 (W) × 401 (H) × 350 (D) mm, Weight: 13 kg (weighed with two parts together)

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DENON Series 6.5 (2000) | Lifestyle Concept

 

The Series 6.5 represents the continuation of Denon’s highly successful lifestyle concept, redefining the upper end of the mini component category from the ground up. Combining luxury, outstanding sound quality, and compact design, the System 6.5 delivers a unique high-end audio experience in an elegant, space-saving format. Each component features its own dedicated power supply along with individual inputs and outputs, ensuring optimal performance and system flexibility. When connected together, the components provide full remote control convenience, advanced automatic operation, and synchronized system functions. Visually, the refined titanium-look front panels and gold-accented controls create a sophisticated bi-color design that blends harmoniously into any interior environment.

The PMA-6.5 integrated amplifier delivers 2 x 45 watts into 4 ohms and features discrete power amplifier stages for both channels, ensuring powerful, dynamic sound with excellent channel separation. Equipped with bass and treble controls, six audio inputs, two audio outputs, automatic source switching, an MM phono equalizer stage, headphone output, user-friendly remote control capability, and a built-in power supply, it offers versatile connectivity and audiophile performance in a compact chassis. (250x112x376 mm | 5,9kg) Matching loudspeakers: SC-10B

The TU-6.5 FM stereo/MW tuner with RDS (Radio Data System) and RadioText provides 30 station presets for FM and MW, automatic station memory, fast manual tuning, convenient timer functions, and an integrated power supply, making it a feature-rich and easy-to-use radio solution for demanding listeners. (250x98x313 mm | 2,6kg)

The DCD-6.5 CD player incorporates Denon’s LAMBDA Super Linear Converter technology and 8x oversampling digital filter for precise digital-to-analog conversion and detailed sound reproduction. Additional features include 20-track programming, random play, auto-edit function, optical digital output, and a built-in power supply, ensuring high-quality CD playback with advanced functionality. (250x112x350mm | 3,7 kg)

Completing the system, the DRR-6.5 cassette deck features a horizontal loading mechanism with drawer design, auto-reverse operation, Dolby B/C noise reduction with HX-Pro, one-touch CD-SRS synchronized recording from CD, versatile editing and playback functions, automatic tape type selection, and its own built-in power supply, delivering convenience and reliable analog recording performance. (250x98x314 mm | 3,6 kg)

The Denon Series 6.5 system stands as a premium compact hi-fi solution, combining refined aesthetics, advanced technology, and true high-fidelity sound for discerning music enthusiasts. Total suggested retail price in Germany (amplifier+tuner+cd+cassette deck+loudspeakers) 3146 DM.

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