What is stereo?

There are now two system of high fidelity, monophonic (monaural) and stereophonic. Monophonic is a system that starts from one microphone and is fed through a single high fidelity set. Stereophonic is a double system. Two separate microphones are placed at different sides of the orchestra and two different systems are used to keep the two signals or channels separated. Two separate speakers are used, placed on different sides of you room. Stereo is much like 3-D photography, two slightly different sound reach your ears giving you a new dimension in sound.

H.H. Scott '59

Audio Analogue VERDI CENTO

Audio Analogue goes on in Vacuum Tube/Solid State technology fusion research introducing the Verdi Cento Integrated Amplifier to complete the audio chain begun with RossiniCD Player REV2.0.

We believe vacuum tube technology is, even now, very valid in treating the audio signal in a preamplifier stage while leaving to solid state technology the task of the Power stage. So this has been our design philosophy: a vaccum tube preamplifier stage to take advantage of the audio properties of that technology and a solid state power stage as much “transparent” as possible. Other important innovations concern the settable Mono/Pre Out and added use functionalities.
1. Power Supply
The Power supply is the basis of every audio device. The Verdi Cento Integrated amplifier has a very generous toroidal transformer with a dedicated secondary stage for each section of the unit. After each secondary stage there are regulation circuits for every section, let’s see it in some detail: Input Selection/Volume control/PrePhono/RECOUT Powers Supply
A dedicated secondary stage and 4 voltage regulator provide the supply for the input selection section, volume control section, Rec Out output stage and Pre phono section. The pre Phono power supply is obtained by further filtering of the regulator output voltage via a low time constant RC square.
Vacuum Tube Preamp Power supply
A lot of care has been taken over the Vacuum tube Preamp power supply, because a Vacuum Tube differential pair (that is the structure we have used in the preamp section) will never be well matched enough to completely reject the power supply variations. So we have designed a discrete component voltage regulator to obtain a very stable voltage from the dedicated high voltage secondary. The voltage regulator output is further filtered by two very low time constant RC squares, one for each channel. In such a way we have completely eliminated the 100Hz noise component and using separated RC square for the channels also decreases the crosstalk and increases the “sound stage” definition.
Vacuum Tube Heater
We decided to use a dedicated secondary for the Vacuum tube heater, in this way it is possible to use a linear voltage regulator for the purpose avoidingpotentially noisy switching type regulators. The heather voltage has been selected to have the best audio performance from the vacuum tube used.

Power Amps Power Supply
We have dedicated a secondary stage for each power stage channel to decrease the crosstalk and increase the “sound stage” definition. The power amps power supplies take advantage of the high power toroidal transformer and discrete high current rectifier bridge have been used to allow high current peaks. There are four 10000uF capacitors after the bridge for each channel (so 40000uF for each channel!) and a lot of capacity has been distributed close to the Power amps to provide the charge for fast audio responses. The big capacitors and the discrete bridge we have used allow the power stages to perform very highly in bass reproduction. The particular solutions adopted in the power supplies allow the realisation of the high signal to noise ratio expected from the power stage circuit used.

2. Vacuum Tube Preamplifier Stage
The vacuum tube preamp section is the first active stage the audio signal meets in the unit and it is placed after the input selection circuit and the volume control. The Preamp not only has to amplify the signaland adapt the impedances but must also provide two out of phase signals to drive the bridge configured power stage. The unit is based on a “classic” and well-known scheme that we have developed to decrease the output impedance and match the application. Moreover, the fact that it produces zero feedback is its main outstanding characteristic. This means we haven’t modified the vacuum tube distortion characteristics in any way and we have let the vacuum tube play “as it is” (remember the “philosophy”…). Nevertheless, the overall distortion is kept low with a higher power stage gain that lets the preamp section work with a low level signal at all times.
3. Power Stage
Our purpose was to have a solid state power stage as “transparent” as possible, able to provide/supply 100W in an 8Ohm load. So we have chosen the National Semiconductors LM3886 Power pack as a building block and we have designed a “parallel/bridged” power amplifier. We have decided to use such a component (we are not the first in this, see Jeff Rowland’s Concentra Integrated Amplifier as an example) for itsoverall electrical characteristics (high power capability, high signal/noise ratio…), its reliability and very good overall audio performance. The “parallel/bridged” structure we have used requires 4 LM3886 for each channel and allows sharing of the current demanded by the load among the 4 components. It also allows the use of a lower power supply voltage. In such a way we can obtain more than 100W on an8Ohm load and more than 170W on a 4Ohm load. The signal to noise ratio obtained is very good: for a load of 8Ohm with a 100W output power we have 99dB with no filter and 106dB Aweighted (with a noise gate of 0-500KHz for both the measurements)!
4. Protections
Every sensitive part inside the unit has been protected to increase the reliability expecially in respect to the temperature increasing due to the high power capability of the product. As an example the LM3886 used in the power stage is a very reliable component (that’s one of the reasons why we have choosen it!) protected against shortcircuits and overcurrent and it has two different temperature protection systems: one against instantaneous overtemperature and one against average overtemperature. We have introduced a termal protection into the toroidal transformer too to disconnect the primary if the temperature rises too much. And we have even introduced a thermost close to the power stage heathsink to detect the internal overall temperature and disconnect the loudspeakers if the temperature becomes too high, protecting in such way all the components in the unit.
5. Mono/Pre Out
Verdi cento has a Mono/Pre Output. This means the output can be set to be a Mono Out or a Preamplifier output. If you set it as Mono Out you can use it to drive a passive subwoofer. If you set it as preamp out you can use the Verdi Cento preamp Stage to drive a Power Amplifier to realize a “bi amplified” system or just to use the Verdi cento as Preamplifier. The Mono/Pre Out is easily set changing the position of Jumpers on the board with the only simple but essential recommendation of to not do it with the unit on.

6. Pre phono stage
Verdi cento has a pre Phono section able to treat both MC and MM signals. You can easily set the Pre Phono Mode changing the position of Jumpers on the board. We have chosen this kind of Mode selection because it permits you to perform the Pre Phono settings without increasing the track’s length and it avoids the low level signal from the cartridge passing through selectors.
7. Functionality
Verdi Cento has a new set of functions that makes it very flexible. Besides the traditional integrated functions it can be set in bypass mode to work as a Power Amplifier. Moreover, you can change the “volume scale” of the integrated amplifier to match it with your loudspeaker’s efficiency and have the best volume resolution. Four different scales are available including a 1dB step scale and a scale adjusted for high efficiency loudspeakers! Furthermore, the Verdi Cento has the balance function as well. All the components used are high quality and low tolerance. The Board that is often a neglected “component” has been designed respecting all possible noise reduction techniques especially for the current return parts and power supply traces.

8. Technical Data
Line Gain: 4,6 dB
Power Amp Gain: 32,5 dB
Phono Gain: 60 dB (MM), 80 dB (MC)
Line Input impedance: 40 KOhm
Phono Input impedance: 56 KOhm (MM), 100 Ohm (MC)
Power on 8 Ohm load:
1 W at 0.03% THD + N
10 W at 0.05% THD + N
100 W at 0.15% THD + N
110 W at 0.16% THD + N
Power on 4 Ohm load:
10 W at 0.04% THD + N
170 W at 0.3% THD + N
Frequency responce: 150 KHz (Attenuation 0 dB, -3 dB band)
Responce to a Square Signal (8 Ohm load no minal power):
Vout: 80 Vpp
Rise time: 2.8 uS
Signal Noise Ratio (Attenuation: 0 dB A weighted reffered to 8 Ohm load nominal power):
106.20 dB (A weighted)
99.30 dB (No filter)
Noise level: -100 dB (Band limits 0 Hz-40 kHz)
Inputs: 1 Phono Input + 5 Unbalanced Input
Outputs: 1 tape Out + 1 Pre/Mono Outp
Dimensions: 103 x 448 x 405 mm (4,0 x 17,6 x 15,9 “)
Weight: 12,5 Kg (27,5 Lbs)

CEC ST-110

Belt-Drive Automatic Turntable

The all new St-110 has many improved features and added quality for high performance. The compact design contains a wealth of operational excellence combined with simplicity.

High Precision Drive Motor

Platter rotation is accurately controlled by the precision 4-pole synchronous motor. The shaft and bearings have been machined to close tolerances to eliminate noise or vibration.

Vibration Isolation

External vibrations can not influence the operation of the ST-110 because an original vibration isolation system is incorporated into the cabinet design. This combination of damping rubber and vibration matched steel springs effectively isolate the platter from outside vibrations.

Low Mass,Straight Tonearm Plus Low Mass Cartridge

Tracability is greatly improved with the low mass, straight tonearm and the low mass cartridge which are incorporated into ST-110. Resonance problems are solved by matching the arm system to a fundamental frequency of 11 Hz for optimum performance.

Low Rumble

Exhaustive vibration analysis resulted in the design of a motor suspension which provides minimum rumble. Vibrations were even further reduced by dynamic balance of the motor itself.

Oil-Damped Cueing

Oil -damped cueing of St-110 brings the stylus to rest in the groove with such precision and gentleness your records will no longer be damaged on cueing. lead-in is safe, easy and accurate.

Cost performance

High performance and low cost are main features of this greatly improved turntable.



Motor: 4-pole synchronous motor

Speeds: 33 and 45 r.p.m.

Wow & Flutter: 0,8% (WRMS), ±0,12% (DIN 45507)

Rumble: 36 dB (unweighted) DIN 45539A, 63 dB (weighted) DIN 45539B

Turntable platter: 302 mm aaluminium alloy die-cast

Tonearm: Straight-line tubular, static balance type with removable headshell and antiskating device

Effective lenght: 222 mm

Overhang: 16,8 mm

Adjustable tracking force: 0 - 2,5 g with direct readout weight

Usable cartridge weight: 4 - 6,5 g

Cartridge (optional): Moving Magnet type, model MM3 with 0,6 mil diamond stylus

Frequency response: 20 -20,000 Hz

Output voltage: 3 mV ±3 dB at 1 kHz 3,54 cm/sec

Channel balance: Within 2 dB at 1 kHz

Channel separation: More than 18 dB at 1 kHz

Load resistance: 47 Kohm

Weight: 4,6 g

Optimum stylus force: 1,8 g


Automatic functions: Automatic return and shutoff

Power source: 120/220 V, 50/60Hz

Power consumption: 8 watts

Dimensions: 420 x 121 x 365 mm (W x H x D)

Weight: 4 kg (nett)

Acoustic Research TSW 810 (1987)

Acoustic Research has been at the forefront of sound reproduction technology since our first acoustic suspension loudspeakers were hand built some many years ago. Acoustic Research, the inventors of acoustic suspension, dome tweeters and the bookshelf loudspeakers now brings you the next leap forward, the TSW Series.

Acoustic Research has combined a unique mix of thier latest developments in a loudspeaker line which offers unrivalled sound quality and value, over a wide range of price and size levels. All models except one feature AR's ¾ inch titanium dome tweter and acoustic lens for stunningly natural dynamic and widely dispersed treble. All models have an Acoustic Blanket™ to eliminate early reflections for improved stereo imagery and the largest models incorporate resonance dissipation grooves cut into the internal cabinet surfaces at critical positions to break up resonances which can spoil sound reproduction.

Polypropylene woofer and midrange cones in the TSW Series reproduce music with great naturalness. An inspired blend of high technology drive units, low resonabce cabinets and high quality crossovers has produced a line in which every model reproduces music in a refreshingly realistic way.

AR's ¾ inch titanium dome tweter reproduces highs with remarkable detail, dynamics and clarity. Its dome radiator, made from super rigid titanium, has no break-up or resonance over its working range and sounds incredibily clean, smooth and natural. Power handling is greatly enhanced bymagnetic fluid that cools and controls the tweeter voice coils for faultless reproduction of transients.

To avoid the beaming which occurs with other tweeters, we have designed an acoustic lens which disperses very high-frequencies and eliminates the unnatural boxiness which beaming can cause.

TSW's Unseen Technology

behind the attractively angled fronts, there's a lot of research and technology which you can't see - from the outside. In these cabinets is our carefully researched damping system which absorbs cabinet vibrations by means of critically positioned grooves cut into the inside of the lerger cabinet panels. Also hidden inside of the larger cabinet panels. Also hidden inside are AR's quality crossover networks designed to integrate the drive units for optimal sound quality, dispersion and stereo imagery.

The unique visual design and quality appearance of the TSW line fully reflect the technology they embody and the sound quality they reproduce. Truly the shape and sound of tomorrow - todey.


Acoustic Blanket™: eliminates cabinet & grill reflections that blur stereo image

Tetra-helix mounting plate: eliminates hi-frequency coloration

Extended bass response: for greater realism

Resonance dissapation grooves: reduce midrange coloration caused by cabinet resonance

Multi-way system: 6" midrange for controlled dispersion & precise imaging

Separate midrange enclosure: for less midrange coloration

Added internal bracing: further reduces cabinet resonances for clearer sound

1" Titanium dome tweeter: increases power handling

Dual woofer, front & rear: to eliminate wall dip

Quality Control

AT Acoustic Research we take quality control very serious.

Drive units are manufactured to rigid standarts for quality, consistency and reliability and are tested prior to assembly. Each crossover network uses high-grade, low tolerance components which have been carefully selected during the design process. Further testing of complete networks ensures response accuracy. We insist on using only the highest quality components throughout, ones that will maintain their performance for many years. So high are our standards, that the worldwide warranty failure rate for our loudspeakers, over a 5-year period is less than one half of one percent.

testing of complete systems against engineering references makes sure they all match the design specifications within tight limits and that is why we can quarantee that all Acoustic Research loudspeakers will continue to perform within ±1 dB of their design specifications for a period of five years.AR was the first speaker manufacturer to offer full Five Year Warranty. One more AR innovation, one of the few most other manufactures dare not copy.


SYSTEM TYPE: Floorstanding columnar acoustic suspension 3-way system with 4 drive-units in a vertical array with Acoustic Blanket™ for precise stereo imaging with an additional rear firing woofer to eliminste wall dip effects.

Also featuring a split crossover network on midranges for smooth frequency response.

DRIVE UNITS: two 10" (250 mm) filled polypropylene cone acoustic suspension woofers - one front-firing, one rear-firing. Two 6½ " (165 mm) filled polypropylene cone acoustic suspension midranges, each inits own sub-enclosure. One 1" titanium dome liquid-cooled tweeter with tetra-helix mounting plate and acoustic lens.


AMPLIFIER REQUIREMENTS: 250 watts maximum (25 watts minimum per channel)

FREQUENCY RESPONSE: -3 dB (half-power) points at 33 Hz and 32,000 Hz (with an effective Q. of 87 at resonance

IMPEDANCE: 4 ohms nominal (2,6 ohms minimumpoint)


CABINET, INTERNAL, VOLUME: 101 litres (3,58 cu.ft)

DIMENSIONS: 1080 x 400 x470 mm

FINISH: RealAmerican hardwood top and bottom (walnut or oak) with cloth covered and black vinyl veneer cabinet and black cloth space-frame grille

WEIGHT: 43,1 kg (95 lbs.), 48,1 kg (106 lbs.)

Acoustic Research TSW 910 (1987)

The TSW 910 and 810

These two flagship models represent the best in stereo loudspeakers. Dual woofers - one on the front and one on the rear - provide bass power down to the limits of audibility and because the woogfers are on different cabinet surfaces, room effects which can cause cancellations in the critical mid-bass region are virtually eliminated. These superior models also incorporate the most advanced dome tweeter AR has used to date. A 1" titanium dome with its own specially designed Tetra-helix mounting plate and acoustic lens produces teh most accurate harmonic structure and sense of spaciousness ever offered in an AR loudspeaker. The TSW 910 has bi-wire capability for those who wish to maximize the performance of thier sound system.

Even tweeter mounting plates can degrade the sound if they have a regular shape. In the TSW Series we have avoided this problem by emploing a special computer designed tweeter face plate called a Tetra-helix. The Tetra-helix is shaped to broadly distribute and minimize any re-radiation so that no single frequency is affected by edge diffraction. The result is a much smoother response and more natural treble.

Polypropylene cones.

The carbon-loaded polypropylene cones used in AR woofers and midranges in the TSW Series have all been designed for low coloration, natural sound and superior power handling for realistic dynamics, particularly with modern digital CD and high-quality analog source material. Polypropylene is an ideal cone material and offers unrivalled sonic naturalness and reliable production consistency. in the TSW Series our twelve, ten, eight and six inch woofers and six inch midrange have all been designed for excellence. The woofers generate clean, deep natural bass,while the midrange unit has controlled dispersion for optimum stereo imagery

Acoustic Suspension

Acoustic Suspension is a system invented by Acoustic Research which makes deep clean bass possible from enclosures of all sizs. Its revealing naturalness is ideal for compact disc and analog alike. Indeed,it could be said that Acoustic Suspension has now fully come into its own with digital recording.


Acoustic Blanket™: eliminates cabinet & grill reflections that blur stereo image

Tetra-helix mounting plate: eliminates hi-frequency coloration

Extended bass response: for greater realism

Resonance dissapation grooves: reduce midrange coloration caused by cabinet resonance

Multi-way system: 6" midrange for controlled dispersion & precise imaging

Separate midrange enclosure: for less midrange coloration

Added internal bracing: further reduces cabinet resonances for clearer sound

1" Titanium dome tweeter: increases power handling

Dual woofer, front & rear: to eliminate wall dip

Separate inputs for woofers & upper range drivers: to accomodate bi-wiring/bi-amping


SYSTEM TYPE: Floorstanding columnar acoustic suspension 4-way system with 5 drive-units in a vertical array with Acoustic Blanket™ for precise stereo imaging with an additional rear firing woofer to eliminste wall dip effects. Also featuring a split crossover network on the woofers and upper midranges for smooth frequency response.

DRIVE UNITS: Two 12" (300 mm) filled polypropylene cone acoustic suspension woofers - one front-firing, one rear-firing. One 8 " (200 mm) filled polypropylene cone acoustic suspension lower midranges, in its own sub-enclosure. Two 6½ " (165 mm) filled polypropylene cone acoustic suspension midranges, each inits own sub-enclosure. One 1" titanium dome liquid-cooled tweeter with tetra-helix mounting plate and acoustic lens.


AMPLIFIER REQUIREMENTS: 400 watts maximum (35 watts minimum per channel)

FREQUENCY RESPONSE: -3 dB (half-power) points at 28 Hz and 32,000 Hz (with an effective Q. of 4 at resonance

IMPEDANCE: 4 ohms nominal (3,2 ohms minimum point)

CROSSOVER FREQUENCT: 200 Hz, 550 Hz, 5500 Hz

CABINET, INTERNAL, VOLUME: 124 litres (4,4 cu.ft)

DIMENSIONS: 1341 x 400 x 470 mm

FINISH: RealAmerican hardwood top and bottom (walnut or oak) with cloth covered and black vinyl veneer cabinet and black cloth space-frame grille

WEIGHT: 63,6 kg (140 lbs.), 69,5 kg (153 lbs.)

Xavian "Primissima"

New exceptional entry-level
A year since the introduction of the original Primissima ( in Italian "my very first " ) speaker, we are proud to present a new improved Primissima.
The mid-bass driver is a special made paper membrane Eton, made in Germany to our specification.
The cabinet is again sealed and the crossover now uses progressive slopes for stable soundstage and low distorsion.
Music is now more able to breathe through the speaker thanks to the stable and more transparent soundstage.
We believe the new Primissima will continue the legend born with the original version.
Available natural wood veneers are: cherry, walnut, maple. On request nero and bianco may also be manufactured.


Mid-bass frequency unit: 175 mm custom Eton driver, paper membrane, 26 mm voice coil
High frequency unit: 25 mm Vifa/Scan-Speak, treated fabric soft dome, wide surround
System type: 2 ways sealed enclosure
Cabinet: 22 mm MDF handly crafted
Frequency response: ( -3 dB on reference axis ): 59 - 40000 Hz
Connection: 1 pair of singly mounted XAVIAN binding posts
Nominal impedance: 6 ohms
Crossover frequency: 2600 Hz
Sensitivity ( 2,83V / 1m ): 89 dB
Recommended power amplification: 30 - 90 W
Dimensions (HxWxD): 345 x 200 x 234 mm
Net weight (1 unit): 8,2 kg

Xavian "Gran Colonna"

The new Gran Colonna ( in Italian "great column" ) is a two-ways floorstanding bass-reflex system. The crossover now uses progressive slopes for stable soundstage and low distorsion. Equipped with a special made Eton mid-bass driver and a Vifa/Scan-Speak high-frequency driver, the new Gran Colonna promises to perform with temperament and character all the kind of music you are used to listen to. Listening to the more different kind of music, the emotional involvement will always catch your heart.
Available natural wood veneers are: cherry, walnut, maple. On request nero and bianco may also be manufactured.


Mid-bass frequency unit: 175 mm custom Eton driver, paper membrane, 26 mm voice coil
High frequency unit: 25 mm Vifa/Scan-Speak, treated fabric soft dome, wide surround
System type: 2 ways damped bass-reflex with massive Aluminium front port
Cabinet: 22 mm MDF handly crafted
Frequency response: ( -3 dB on reference axis ): 47 - 40000 Hz
Connection: 1 pair of singly mounted XAVIAN binding posts
Nominal impedance: 6 ohms
Crossover frequency: 2600 Hz
Sensitivity ( 2,83V / 1m ): 89 dB
Recommended power amplification: 30 - 120 W
Dimensions (HxWxD): 900 x 200 x 234 mm
Net weight (1 unit): 16 kg


Direct drive is recognized as the ideal method of rotating records for stable playback with minimal wow and flutter. It eliminates many defects to which belt and rim derive turtables are prone. The modern direct drive system employed in the PD282 is controlled by an electronic circuit which ensures wow and flutter of less than 0,03% (WRMS) and signal to noise ratio of better than 60 dB.

This puts Luxman amongst the highest class turntables available. As a result of the direct drive principle employed the incorporated speed variation allows accuracy of speed setting without affecting the ultimate performance possible.

The arm provived has extremely low bearing friction and comes with an idealcombination of simplicity and professional performance. Such sophisticated devices as lateral balance, antiskating control, easy to read stylus pressure gauge, oil damp cueing are amongst the features provided.

As well all units carrying the Lux name finish is immaculate. The meticulous care paid to selection of material and construction of cabinet makes the PD282 resistant to external disturbance and feedback.

The detailed precision in construction and appearance will ensure that your acoustic sensitivities and your aesthetic sensibilities will both be enhanced.



Driving System: Direct-drive

Motor: AC-servo 6-pole condenser motor

Platter: 30 cm aluminium die-cast

Rotation: 33 and 45 RPM

Adjustable range of Rotation: ±4%

S/N Ratio: No less than 60 dB

Wow and Flutter: No morethan 0,03% WRMS


Tonearm: S-curve static balance type

Effective Length: 237 mm

Overhang: 15 mm

Cartridge Weight: 4 - 12 g

Cartridge Height: 15 - 20 mm

Stylus Pressure: 0 - 3 g (direct reading)

Accessories: Inside-force Canceller, lateral Balancer, Tonearm Elevation

CARTRIDGE SECTION (available on request)

Type: Audio Technica VM type

OptimumStylus Pressure: 2,5 g

Output Voltage: 2,7 mV

Stylus for Replacement: Audio Technica PM512B or equivalent


Dust Cover: Detachable with free-stop hinge

Insulator: height adjustable (10 mm range)

Stroboscope: Indicated on the outer edge of the turtable platter by means of neon lamp


Power Requirement: 120 V, 220/240 V, 50/60 Hz

Power Consumption: 12 W

Dimensions: 471 x 175 x 351 mm + 22 mm for hinge

Weight: 10 kg ( 22 lbs) Net, 12 kg (26,4 lbs) Gross

EPICURE Mod. 14 (fourteen)

Da molti anni la Epicure segue con successo una propria filosofia nella riproduzione del suono; coerente a questa filosofia si progetta e costruisce ogni elemento costituivo dei radiatori acustici, compresi gli stessi altoparlanti, per essere in grado di garantire la serietà del livello qualitativo in ogni particolare.

La Epicure Mod. 14 rappresenta la sintesi della filosofia Epicure nel campo degli altoparlanti "bookshelf" e sfrutta l'esperienza ed il bagalio di tecnologia accumulato in anni di produzione del leggendario Mod. 100, del best-seller Mod. 10 e di tutti i radiatori Epicure ad elevate caratteristiche. Con un volume di soli 40 litri garantisce una risposta lineare entro 3 dB da 28 a 20,000 Hz, una dispersione quasi emisferica e un tasso di distorsione estremamente basso; non si tratta di un altoparlante "economico" ma tenuto conto delle sue eccezionali qualità, il rapporto qualità/prezzo è veramente imbattibile.

Sebbene un radiatore acustico ben disegnato rappresenti la attenta combinazione di molti componenti, la sua qualità finale è comunque condizionata alla qualità degli altoparlanti utilizzati; per questa ragione la Epicure progetta e costruisce tutti gli elementi drivers delle sue casse.

L'elemento più rivoluzionario è il tweeter, usato su tutta la gamma di prodotti, con diaframma emiconcavo da 1" e bobina mobile immersa in Ferrofluid. La dimensione di 1" garantisce una eccelente dispersione delle alte frequenze mentre la forma a cupola invertita è inerentemente più rigida e leggera e garantisce una risposta in frequenza più uniforme delle strutture convenzionali a duomo o a cono, ogni tweeter è singolarmente controllato in produzione prima di essere montato nelle casse acustiche.

Con caratteristiche di sensibilità e campo di frequenza complementari a quelle del tweeter, è stato studiato il nuovo woofer da 6" ad elevato spostamento della membrana; la dimensione ridotta del cono è imposta dalla specifica di progetto di una elevata dispersione delle frequenze medie; usando un cono più grande da 12" o da 15" si sarebbe forse appagato di più l'occhio degli incompetenti, ma solo a discapito delle qualità acustiche.

L'ultimo elemento della catena ( e la chiave per una risposta estesa alla estreme basse frequenze) è il radiatore passivo di disegno molto particolare, che sostituisce la massa d'aria audio-attiva utilizzata nei normali radiatori "tuned". I normali radiatori passivi con struttura conica hanno due problemi fondamentali; l'irradiazione di energia sulle frequenze medie provenienti dalla parte posteriore del woofer-midrange attivo, e la colorazione introdotta dalla flessione delle pareti del cono passivo ad alti livelli di segnale.

Per eliminare il primo problema il Mod. 14 usa un pistone completamente inerte di "Styrofoam" che cancella del tutto l'irradiazione sulle medie, mentre per risolvere il secondo problema, il pistone del radiatore passivo è montato fra due sospensioni simmetriche e contrapposte che minimizzano la non-linearità dei movimenti torsionali.

Un elemento finale spesso trascurato è la cassa stessa; nel bookshelf del Mod. 14 (come in tutti gli altri modelli della gama), i driver sono posizionati in modo da garantire corrette relazioni di fase a tutte le frquenze; non esistono sul pannello protuberanze che possano creare diffrazioni nocive, e l'interno di ogni radiatore è caricato con una speciale schiuma di poliuretano tagliata a misura per garantire la migliori performance del woofer.

I componenti della Mod.14 assemblati insieme, stabiliscono un nuovo standard di eccellenza nella riproduzione del suono; dall'estremo basso agli alti più sottili, questa cassa riproduce ogni dettaglio musicale con la stessa accuratezza con cui è stato registrato sul disco o sul nastro, i dettagli sono riprodotti proprio come registrati. La Epicure Mod. 14 rivela il meglio dei vostri dischi e delle vostre registrazioni per molti anni di ascolto perfetto e piacevole.


Risposta in frequenza: 28 - 20,00 Hz entro 3 dB

Potenza: 15 - 80 Watt

Disperione: emisferica

Sistema: a due vie con radiatore passivo

Incrocio: 1,800 Hz

Dimensioni: 600 x 340 x 225 mm

Peso: 19,5 kg

Cybernet CA-202 P


Con un sistema incorporato di missaggio permete il missaggio fra un ingresso giradischi ad ausiliario ed ogni altro ingresso scelto sul selettore di sorgente, come un secondo giradischi, 3 registratori, sintonizzatore od ausiliario.

Risposta in frequenza:

Phono 1 e 2: 30 - 15,000 Hz ±0,2 dB,

Aux 1 e 2: 10 - 70,000 Hz ±0,5 dB,

Tuner: 10 - 70,000 Hz ±0,5dB,

Tape 1 e 2: 10 -70,000 Hz ±0,5dB

Distorsione armonica totale: 0,03%

Sensibilita ingressi (rapporto S/N):

Phono 1: 1,5 - 6 mV/47 KΩ (S/N 74 dB),

Phono 2: 2,5 mV/47 KΩ (S/N 74 dB),

Aux 1: 150 - 1500 mv/47 K-25 KΩ (S/N 90 dB),

Aux 2: 150 mV/47 KΩ (S/N90 dB),

Tape 1 e 2 e R: 150 mV/47 KΩ (S/N 90 dB),

Tuner: 150 mV/47 KΩ (S/N 90 dB),

Mic: 4 mv/10 KΩ


finali di potenza: 2,

registratori: 3,

cuffia: 1 (con controllo di volume)

Controlli di tono;

Bassi: ±10 dB a 62 Hz/125 Hz,

medi: ±6 dB a 1kHz,

alti: ±10 dB a 10 kHz/20 kHz

Filtri; loudness,

muting: -20 dB,

alti -3 dB a 12kHz,

bassi -3 dB a 30 Hz

Dimensioni: 420 x 165 x 350 mm

Peso: 8 kg

Prezzo (1979): L. 435.000

Cybernet CA-200 M


Finale di potenza stereo. 2 metri di potenza, 2 LED indicatori di picco, uscite per tre coppie di diffusori. L'uscita è indicata da due grandi VU metri logaritmici ed indicatori di picco molto sensibili.

Disponibile con maniglie rack.

Potenza: 100 + 100 W RMS su 8 Ω (20 - 20,000 Hz)

Risposta in frequenza: 5 - 40,000 Hz +0-1 dB

Banda passante: 5 - 80,000 Hz

Distorsione armonica totale: 0,05%

Sensibilita d'ingresso: 1 V

Rapporto S/N: 110 dB

Filtro subsonico: -12 dB/oct a 10 Hz

protezione: a relé

Dimensioni: 420 x 165 x 400 mm

Peso: 18 kg

Prezzo (1979): L. 615.000

Cybernet CT-22


Questo tuner è equipaggiato con un transistor sensibile doppio MOSFET nella parte frontale FM e tre filtri ceramica di due elementi per alta selettività nella sezione I.F. Un'uscita è fissata a 0,7 volt, l'altra si può regolare sul panello posteriore. Equipaggiato con maniglie rack.

Gamma di frequenza: FM stereo/mono, AM

Sensibilità: 1,0 μV (FM), 25 μV (AM)

Selettività: 70 dB (FM), 45 dB (AM)

Distorsione FM: 0,2% (mono), 0,4% (stereo)

Rapporto di cattura: 1,25 dB

Reiezione d'immagine: 55 dB (FM), 60 dB (AM)

Controlli: 2 metri per sintonia

Filtri: muting in 2 posizioni

Dimensioni: 420 x 165 x 350 mm

Peso: 6,5 kg

Prezzo (1979): L. 285.000

Cybernet CCD-12


Il CCD-12 è una piastra a cassette caricamento frontale con arresto completamente automatico per ogni funzione; movimento in avanzamento veloce, riavvolgimento, registrazione ed ascolto. Circuito Dolby e filtro multiplex presenti, selettore per 3 tipi di nastro, livello di uscita regolabile, indicatore di picco a LED, dispositivo di memoria.

Testine: 2

Motori: 1 in corrente continua servocontrollato.

Risposta in frequenza: 30 - 13,000 Hz (normal), 30 - 17,000 Hz (CrO₂ , FeCr)

Rapporto S/N: 58 dB (con Dolby inserito)

Wow and Flutter: 0,06% (WRMS)

Tempo di riavvolgimento: 90 sec. per una C-60

Sensibilità d'ingresso: mic. 0,3 mV/8Ω (cuffia)

Dimensioni: 420 x 165 x 300 mm

Peso: 8 kg

Technics SL-DL1 (thirty years old)

High Performance Direct-Dive in Slim Design
The SL-DL1 is divided into upper and lower cabinet halves. The tophalf, which also functions as the dust cover, contains the linear tracking tonearm, its drive mechanism and optical sensor. The lower cabinet contains the tonearm servo control system (microcomputer) and Technics original integral rotor-platter direct drive motor.

Simple basic operation. Completely automatic play.
Turn on the power, put on a record, close the top and press the start switch. After that, everything is handled by the amicrocomputer and optical sensor which automatically detect record size, select correct speed and cue the tonearm to the lead-in groove.
For non-standard record, front panel speed selectors let you select the correct speed manually (large 45s, or small 33 records ). The tonearm automatically returns to the start position after completing play. The tonearm does not move if no record is on the platter.

Complex Operation Also Possible
Although easy operation is a basic feature of this unit, complex functions are also possible. The "search" function allows start, stop switches controlled inward and outward movement of the tonearm at slow and fast speed, plus fine control in approximately 1 mm steps.

Dynamic balanced linear tracking tonearm employs optical sensor and groove deflection angle detection for extremely stable and accurate tracking.
The linear tracking tonearm moves across the record surface in the same way as the cutter head used to make the record in the first place. Therefore there is virtually no tracking error or skating force. Located by the stylus is an optical sensor that detects tracking conditions by means ofgroove deflection angle. Based on this information, tonearm movement is controlled to maintain optimum tracking at all times.

A precision DC motor is used for tonearm drive to assure quiet and accurate control
A precision DC motor and low-friction slide bearing assure accurate tonearm movement. A 4-point pivot bearing gimbal suspension developed by technics reduces riction and raises sensitivity while contributing to smooth tracking ability.

Turntable Section
Type:  Automatic
Drive Method:  Direct drive
Motor: brushless DC motor
Platter:  312 mm, Aluminum die-cast
Speeds:  33 and 45 rpm
Pitch Control:  10% adjustment range
Wow and Flutter:
0,012% WRMS (measured by obtaining signal from built-in frequency generator of motor assembly)
0,025% WRMS (JIS C5521) ±0,035% peak (IEC 98A weighted)
Rumble: -56 dB (IEC 98A unweighted)
-78 dB (IEC 98A weighted)
 Tonearm Section
Type:  Dynamic balenced type, linear trcking tonearm, 4-pivot gimbal suspension
Effective Lenght:  105 mm (4")
Tracking Error Angle: Within ±0,1%
Effective Mass:  9 g (including cartridge)
Resonance Frequency:  12 Hz
Tonearm Drive Motor: DC motor
 Cartridge Section
Type:  Moving magnet stereo, one point suspension system
Magnet:  Smarium cobalt (Sm-Co)
Magnetic Circuit:  All laminated core
Frequency Response:  10 Hz to 35 kHz, 20 Hz to 10 kHz ±1 dB
Output Voltage: 
2,5 mV at 1 kHz (5 cm/s, zero to peak lateral velocity);
7 mV at 1 kHz (10 cm/s, zero to peak 45° velocity, DIN 45500)
Channel Separation:  More than 22 dB at 1 kHz
Channel Balance:  Within 1,8 dB at 1 kHz
Recommended Load Impedance:  47  kΩ - 100 kΩ
Compliance (Dynamic):  12 x 10⁶ cm/dyne at 100 Hz
Stylus Pressure Range:  1,25  ±0,25 g (12,5 ±2,5 mN)
Weight: 6,0 g
Replacement Stylus:  EPC-23CS ( equivalent EPS-23ES)
 General Section
Power Supply: 110-120/220-240 V,  50/60 Hz
Power Consumption:  17 W
Dimensions (W x H x D):  430 x 88 x 350 mm,
Max. height when top is open:  397 mm
Weight:  7,1 kg (15,7 lb)


Output Level/Impedance;
FM (100%mod. 1 kHz): 500 mV/2.2 kohms *; 400 mV/2.2 kohms ( 40 kHz dev.)**
AM(MW) (30% mod. 400 Hz): 150 mV/2.2 kohms
AM(LW) (30% mod.400 Hz): 150 mV/2.0 kohms

Tuning Range: 87,5 to 108 MHz
50 dB Quieting Sensitivity IHF*;
75 ohms Mono: 1,6 μV (15,3 dBf)
75 ohms Stereo: 21 μV (37,7 dBf)
Usable Sensitivity;
75 ohms, 1 kHz, 100% mod. (30 dB S/N Quieting): 0,8 μV (9,3 dBf) *
75 ohms Mono (S/N 26 dB): 0,9 μV
75 ohms Stereo (S/N 46 dB): 24,0 μV
Image Response Ratio: 40 dB*, 75 dB**
IF Response Ratio: 90 dB*, 75 dB**
Spurious Response Ratio: 70dB
AM Suppression Ratio: 55 dB
Capture Ratio: 1,5 dB
Alternate Channel Selectivity: 85 dB*,
Selectivity (two signals, 40 kHz Dev. ±300 kHz): 70 dB**
Signal-to-noise Ratio:
Mono: 82 dB*, 75 dB (40 Hz Dev.)**
Stereo: 76 dB*, 70 dB (40 Hz Dev.)**
Harmonic Distortion (1 kHz): 0,1% (Mono), 0,2% (Stereo)
Stereo Separation: 1 kHz, 40 dB
Frequency Response;
30 Hz to 15 kHz: 0±0,5 dB*
30 Hz to 13 kHz: 0±0,5 dB**
20 Hz to 15 kHz: 0±1,5 dB**

Tuning Range: 530 to 1,710 kHz*, 531 to 1,611 kHz**
Usable Sensitivity: 200 μV/m
Selectivity: 32 dB
Signal-to-Noise Ratio: 50 dB
Image Response Ratio: 40 dB
Spurious Response Ratio: 50 dB
Harmonic Distortion: 0,3% (400 Hz)

Tuning Range: 153 to 288 kHz
Usable Sensitivity: 400 μV/m
Selectivity: 32 dB
Signal-to-Noise Ratio: 50 dB
Image Response Ratio: 30 dB
Spurious Response Ratio: 45 dB
Harmonic Distortion: 0,3% (400 Hz)

Power Supply: 120V, 230V, 240V, 50/60 Hz
Power Consumption: 7 W
Dimensions (W x H x D): 435 x 76 x 237,5 mm (17⅛ x 3 x 9⅜ inches)
Weight: 2,2 kg (4 lbs. 13 oz)

* External Europe Model
** Europe Model

McIntosh C-20 (1959-1963)

McIntosh C20
La veste estetica del pannello anteriore è assolutamente unica ed affascinante, non solo per l'ampia dotazione di controlli ma anche dal solo punto di vista estetico. Il pannello dorato incornicia due riquadri neri realizzati in cristallo, che all'accensione si illuminano di una tenua luce che lascia intravedere gli indici delle manopole della riga superiore. All'estrema destra troviamo la manopola di accensione e del volume, sottolineata da tre pulsanti neri e dalle uscite di registrazione. Il notevole numero diingressi e di modalità di funzionamento hanno fato del C20 uno dei preamplificatori stereo che sono diventati un riferimento assoluto.
Per quanto riguarda le valvole le scelte sono varie in quanto vengono impiegate, per il segnale, le arcifamose 12AX7A/ECC83; la raccomandazione è di usare valvole di qualità visto l'importanza dell'apparecchio; la 6X4, valvola raddrizzatrice, è abbastanza facile da reperire anche di marchi famosi ed affidabili.

"Simplicity, flexibility, and beauty have been integrated by careful engineering and design in the McIntosh C-20 Stereo Compensator. The greatest listening pleasure in stereo or monophonic reproduction is assured as a result of over a year of careful and diligent research in hte requirements of a new preamplifier designed for stereo. Full stereo flexibility has been provided plus built in protection for your investment in monophonic records. McIntosh has designed in the C-20 Stereo Compensator the necessary features required to give the finest monophonic reproduction the keenest listener may require. Complete satisfaction is yours in monophonic and stereophonic with the McIntosh C-20 Stereo Compensator."

"The C20 is the only Stereo Control Console that has enough flexibility to control all program sources.

The C20 is the only Stereo preamp with enough record compensation for the valuable Monophonic as well as the new Stereo records.

The C20 has the most complete facilities for tape recording, playback, dubbing and monitoring.

The C20 has by far the simplest yet complete control of tone balance.

The C20 is by far the easiest to mount and still give professional appearance.

The C20 is produced from three years of careful thorough research and development"


Input Selector: Selects any one of eight program sources including Tape, Tuner 1 and 2, Auxiliary, phono 1 and 2, Tape Head 1 and 2. Each phono input has two switch positions, one for stereo, the other paralleles the stereo cartridge for Monophonic records.

Mode Selector:

Reverse; connects left channel to left speaker, corrects for left-right reversal of program.

Stereo; (normal stereo mode selector position) left channel to left speaker, right channel to right speaker.

Left; left channel to left speaker; no program to right speaker

Right; right channel to right speaker; no program to left speaker

M Left; left channel only to both speaker

M Right; right channel only to both speaker

Record Compensator: Separate bass and treble compensator switches including RIAA, LP, Tape-Head, flat position for microphone and other positions for monophonic records. (Turning TREBLE control to TAPE gives flat response. Turning BASS to 0 gives flat response.)

Tone Controls:

Treble: Boast 13 dB at 20,000 Hz, attenuate 18 dB at 20,000 Hz

Bass: boost 16 dB at 20 Hz, attenuate 20 dB at 20 Hz

Balance Control: To balance forunegual programsource. Turning control to left reduces right channel to No Output. Turning control to right reduces left channel to No Output

Phase Control: Reverses phase in the left channel to correct for speaker program phasing.

HF Cutoff Filter: Three positions providing (1) no filter action for normal use, (2) 9KC cutoff, and (3) 5KC cutoff to suppress record noise and hiss.

Loudness Control: Compensates for the Fletcher-Munson hearing character stics as program loudness is reduced.

Rumble Filter: Suppress low frequency disturbances such as rumble.

Tape: Front panel jacks, push button switch controlled to permit the addition of a portable tape recorder without disrupting the equipment permanently installed.

Tape Monitor: To permit instantaneous monitoring of tape before and after recording.

Low Frequency Trim Controls: On the back panel. Compensate for unequalresponse at low frequencies due to position at speakers or differences in speaker efficiency. Provides 6 dB boost at 50 Hz starting from 500 Hz or 8 dB cut at 20 Hz starting from 200 Hz.


Frequency Response: 20 - 20,000 Hz ±0.5 dB

Distortion: Less than 0.2% at rated output, 20 -20,000 Hz

Hum and Noise: High level inputs - 85 dB below rated output, Low level inputs, less than 2 microvolts at input terminals

Input sensitivity and impedance:

Aux, Tape, Tuner 1, Tuner 2; 0,25 volts at 470 kohm,

Phono 1 and 2: 2 - 10 millivolts at 47 kohm for low output cartridge, 10 -70 millivolts 47 kohms for hi output cartridge, 0,1 volt 220 mmf in series with 47 kohms for Xtal or Ceramic

Tape Head 1 and 2: 2 to millivolts 47 kohms for low output head

tape Compare (Monitor): 0,25 volts, 115 kohms

Main Output: 2,5 V with rated input 2 output jacks in parallel for each channel.

Tape Output: 0,25 V with rated input 1 output jack for each channel

Left plus right output: 2,5 volts from source impedance of 23 kohms

Voltage Amplification: Low level inputs to Main Output: 1,000 to 1 (60 dB) at 1000 Hz

Low level inputs to Tape Output: 100 to 1 (40 dB) at 1000 Hz

High level inputs to Main Output 10 to 1 (20 dB)

High level inputs toTape Output 1 to 1 (0 dB)

Tape Monitor Input to Main Output: 10 to 1 (20 dB)

A.C. Aux. Outlets: 1 unswitched for tape machine or turntable, colored Red; 4 switched, colored Black

Power Requirements: 117 volts 60 Hz, A.C. 35 watts

Size: 15" W x 5" H. overall depth of chassis behind front panel is 12" The space required in front of cabinet panel for the thickness of the panel and knobs is 1¼".

Weight: Chassis only 18 pounds. In shipping carton 28,5 pounds.