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

Pioneer SX-424

 The SX-424 is a medium-powered, budget-priced AM/FM solid state stereo receiver with special features for sensitive FM tuning and wide frequency response.
Pioneer SX-424 is proof positive taht stereo on a limited budget doesn't have to mean limited stereo sound. In a handsome package of quality circuitry and reasonable price, the SX-424 offers up to 50 watts of music power at 4 ohms, very sensitive FM reception a wide linear type dial scale for fine FM tuning, and highly respectable  specifications both for the FM tuner section and the audio section. It's versatile unit, too because you can use it with almost all music sources available today, including records, tape, FM and microphone. Best of all it's Pioneer made, which means that, for its price, there is probably nothing available today that can compare with its quality.

Amplifier Section
Music Power Output (IHF):  50 W at 4 Ω;  37 W at 8 Ω
Continuous Power Output (1 kHz each channel driven):
18 W / 18 W at 4 Ω
14 W / 14 W at 8 Ω
Continuous Power Output (1 kHz both channel driven):
13 W + 13 W at 4 Ω
12 W + 12 W at 8 Ω
Total Harmonic Distortion:  less than 1% (continuous power output)
Intermodulation Distortion:  less than 1% (continuous power output)
Power Bandwith (IHF):  20 Hz to 45 kHz (8 Ω, T.H.D. less than 1%)
Frequency Response:  20 Hz to 70 kHz ±3 dB
Speakers output Impedance:  4 to 16 Ω
Damping Factor:  40 (8 Ω, 1 kHz)
Input Sensitivity/Impedance:
Phono Mag :  3 mV/50 k Ω
Mic :  6,5 mV/50 k Ω
Aux :  180 mV/100 k Ω
Tape Monitor :  180 mV/100 k Ω
Tape Monitor (DIN) :  180 mV/100 k Ω
Recording Output:
Tape Rec (Pin Jack) :  180 mV
Tape Rec (DIN connector) :  36 mV
Bass Control :  -9 dB, +9 dB / 100 Hz
Treble Control :  -9 dB, +6 dB / 10 kHz
Equalization Curve (Phono):  RIAA standard
Loudness Contour:  +9,5 dB/100 Hz; +5,5 dB/10 kHz (with volume control set at -40 dB position)
Hum and Noise (IHF): 
Phono :  more than 75 dB
Aux :  more than 85 dB
FM Tuner Section
Requency range:  88 MHz to 108 MHz [87,5 MHz to 108 MHz, FTZ approved]
Usable Sensitivity (IHF):  2,3 µV
Capture Ratio (IHF):  3,5 dB
Image Rejection:  more than 50 dB (98 MHz)
IF Rejection:  more than 80 dB (90 MHz)
Spurious Rejection:  more than 70 dB (90 MHz)
AM Suppression:  45 dB
Signal-to-Noise Ratio:  65 dB
Harmonic Distortion:
Mono :  less than 0,6% (100% mod.)
Stereo :  less tahn 0,8% (100% mod.)
Tuning Indicator:  Signal strength type
Stereo Separation:  more than 40 dB (1 kHz)
Sub Carrier Suppression:  more than 35 dB
Noise Filter:  Switchable to On-Off
Antenna Input:  300 Ω balanced; 75 Ω unbalanced
De-emphasis Selector:  50 µS (FW model only)
AM Tuner Section
Frequency Range:  525 kHz to 1605 kHz
Usable Sensitivity (IHF):  15 µV
Image Rejection:  more than 45 dB (1,000 kHz)
IF Rejection:  more than 35 dB
Signal-to-Noise Ratio:  more than 50 dB
Antenna: Built-in ferrite loopstick antenna
Semiconductors:  Transistors 30, Diodes 24; FETs 1
Requirements :  120 V 50 Hz; 220 V 50/60 Hz, or 110, 120, 130 220, 240 V (switchable) 50/60 Hz
Consumption:  90 W max
AC Outlets:  1 Unswitched, 1 switched
Dimensions (W x H x D):  431 x 146 x 347 mm (16-31/32" x 5-3/4" x 13-21/32")
Weight (net): 
120 voltage model :  7,5 kg (16 lb 8 oz)
220 voltage model:  7,9 kg (17 lb 6 oz)

Yamaha NS-200M

Check our references
First trust your ears, thentrust the experts. That's  a reliable way to judge speaker systems. Especially reference monitors.
Yamaha make this point because of the response our studio monitor speakers have received from recording engineers at top studios like A&M, A&R, Hummingbird, Universal and Westlake. As well as Yamaha's own music research and development facility and professional studio in Glendale, California.
And thet response has been extraordinary. Here's why: accurate reproduction. Which brings us to the new NS-200M and NS-500M.

The Yamaha NS-200M is compact without compromise. It can easily handle the wider dynamic range and frequancy response of today's sources. Its 10-inch pure spruce woofer cone is made of the same material that goes into the soundboards of our fine pianos. Its titanium carbide dome midrange and tweeter produce crisp, clear highs. And its low-loss cross over makes sure signals get to the drivers unscathed.

Type:  3-way, 3-speaker acoustic suspension
Low Frequency :  250 mm (10") woofer carbon fiber/spruce cone
Mid Frequency :  60 (2-1/2") mm midrange titanium-carbide dome
High Frequency :  30 (1-1/4")mm tweeter titanium-carbide dome
Controls: Midrange and tweeter level controls
Power handling:  200 W
Sensitivity:  90 dB 1W/1m
Frequency Response:  40 Hz - 20 khz
Impedance:  6 ohms
Dimensions (W x H x D):  320 x 554 x 322 mm
Weight:  16,5 kg

Yamaha NS-5000

Yamaha finally  introduces the new top of loudspeakers NS-5000.  3-way bookshelf speaker system that illustrates the future direction of Yamaha's speaker technology grown out of years of cutting-edge research on all aspects of designing Hi-Fi speakers, including components and materials. The NS-5000, built upon the tradition of natural sound for which all Yamaha speakers have been known  and sets a new standard in sound excellence expected of Yamaha's top-of-the-line speaker. With non-colouration of sound, wide frequency response, consistent sound characteristics across the frequency range, and extremely low distortion set as self-imposed requirements for a new-generation speaker, we scientifically probed each of these characteristics to be incorporated into a flagship capable of bringing out the best of high-resolution audio sources. The result is the superb NS-5000, with sound and performance that sets a standard for all Hi-Fi speakers to come.


Newly Developed Diaphragms Boast Acoustic Velocity Comparable to That of Beryllium
 Newly developed R.S. (Resonance Suppression) Chambers Suppress Unwanted Resonance in the Mid and High Ranges
 12-inch, 3-way Bookshelf Design Draws on the Tradition of the Legendary NS-1000M
 Newly Developed Acoustic Absorber Eliminates Sound-absorbing Material to Revive the Original Presence of the Music
 Glossy Black Piano Finish Provides Improved Signal-to-noise Performance—and Adds to the Luxurious Joy of Ownership
 Carefully Crafted Laminated Plywood Enclosure Made of Japanese White Birch from the Island of Hokkaido

Type:  3-way Bookshelf Bass-reflex Type
Woofers:  300 mm (12") cone type
MidRange Driver:  80 mm (3-1/4") dome type
Tweeter:  30 mm (1-1/4") dome type
Frequency Response:  26 Hz - 40,000 Hz (-10dB);  -100 kHz (-30dB)
Nominal Input Power:  200 W
Maximum Input Power:  600 W
Sensitivity:  88 dB / 2.83 V/1 m
Crossover Frequencies:  750 Hz / 4500 Hz
Impedance:  6 Ω  (minimum 3.5 Ω )
Dimensions (W x H x D):  395 x 690 x 381 mm; (15-1/2” x 27-1/8” x 15”) (with speaker terminals)
Weight:  35.0 kg (77.2 lbs). / unit

Marantz 2385

Power Amplifier Section
High-Power Full Complementary Symmetry Output
The mammoth power of these Marantz receiver is generated by the most sophisticated full complementary output stages in use. Transistor array is  triple-paralleled in this 2385 - designs occasionally used separate components, but never before in receivers. They help provide long life, high power operation and exceptionally low Total Harmonic Distortion. As low, in fact, as that of the Marantz 510M professional power amplifier.
Also like the 510M, the Marantz 2385 are engineered to produce an extremely wide safe operating area - that range where voltage, current and temperature conditions permit reliable output stage operation. The amplifier sections are so stable, they will drive a load at virtually any frequency or level without breaking down.
In addition, the output stages of both receivers are biased for Class AB operation, a measure that prevents crossover distortion and ensures uncompromised performance to well below 1/1000 of full rated power.
Output device and speakers are guarded by a professional-calibre enrgy-sensing circuit that doesn't limit the low energy, high amplitude short term transients essential to accurate music reproduction. As a result, output signals are free of the distortions and instabilities caused by conventional volt/amp limiting circuitry used in most receivers.

Direct Coupled Power Output
Provides wide power bandwidth, excellent low frequency transient response and improved damping factors. A number of high-power transistorized amplifiers still use capacitor - or transformer-coupled output stages to ensure reliability. However essential this design was in the past, it tended to limit low frequency power response or cause degrading phase shift.
The Marant 2385 achieve their high degree of stability without the need for coupling transformers and capacitors and the sound inaccuracies they can cause. The benefits are extremely high damping factors at low frequencies and excellent low frequency response.

Toroidal Dual Power Supply
A specially designed toroidal-core power transformer wwith dual secondaries gives you two independent power supply sections. Each channel can perform at its best, at all frequencies and levels, without affecting the other channel. In fact, even when one channel is driven by a high level dynamic signal demanding considerable power output, the other can still maintain exceptionally low distortion.
Complementing the transformer are high-capacity dual section electrolytic capacitors. This combination provides high power reserves, reliability and low distortion while keeping heat and weight to a minimum.
Peak Indicators
Both receivers use the same type of sophisticated peak LED display featured in the Marantz Model 510M power amplifier. Rather than simply sense the amp's output voltage as in most LED displays, the unique Marantz circuit tracks variations in the power supply. You get an accurate indication of maximum amplifier output regardless of low or high AC line conditions. Peak indicators, unlike VU meters, react instantaneously to audio transients or excessively high input signals that cause clipping.

Tuner Section
Steep Quieting Slope
The quieting slope specification measures a tuner's ability to provide good Signal-to-Noise performance 
Under actual operating conditions. It's a far more reliable indication of quality than the IHF sensitivity figure often quoted as the prime specification to consider when evaluating an FM tuner.

Highly Sensitive Dual-Gate MOSFET FM Front End
The superior quieting sensitivity of Models 2385 is largely due to the use of a dual-gate MOSFET RF amplifier and mixer stage. Moreover, MOSFET devices deliver extremely linear operation, providing low RF intermodulation distortion and excellent rejection of spurious signals.
An outstanding selectivity specification is ensured by a five-gang tuning capacitor, while a dual-tuned RF interstage provides improved image and spurious signal rejection.

Phase Locked Loop FM Stereo Demodulator
The phase locked loop (PLL) design was developed by the space industry to provide a state-of-the-art. Communication system. Today the same technology is used in all Marantz receivers and tuners to assure low distortion, supoerior noise rejection and excellent stereo separation.
PLL circuitry locks to the stereo pilot signal broadcast by an FM station. This positive "phase lock" enables the multiplex demodulator to separate the stereo channel information from the FM multiplex signal with more accuracy and less distortion than demodulators using other designs.
PLL is dependent on pilot phase and not on pilot aamplitude, making it less susceptible to false triggering from various types of noise interference.

Multi-Stage IF Section
Built into both receivers is a comprehensive six-stage IF amplifier section incorporating five dual-element ceramic filters. The characteristics of these filters produce a 200 kHz passband which is linear in phase, consequently eliminating a major source of high frequency distortion and loss of stereo separation. Sharp cut-off slopes improve tuner selectivity, assuring superior reception even when stations are closely spaced.   A multi-stage limiter comprised of two integrated circuits provides superb AM rejection and an excellent capture ratio - specified at 1 dB. Distortion (at 1 kHz) is kept at a minimal 0,1% in mono, and 0,2% in stereo.

Plug-in Dolby FM Capability
On the back panel of Model 2385 is a convenient receptacle that accepts the optional plug-in Marantz DLB-1 Dolby FM Decoder. Inside the receivers is a 25-microsecond Dolby FM equalization circuit. In tandem, they can cut the noise from a Dolbyized FM broadcast by as much as 12 dB.. That's the equivalent of reducing the noise power of a received FM signal sixteen times below normal.

Additional  Features
The Model 2385 receiver have a multiplex noise filter that reduces the background noise of weak FM stereo signals, while maintaining full frequency response. And they feature adjustable FM muting, a pivoting  AM antenna and an "F" connector for simple connection of coaxial FM antenna cable.

Preamplifier Section
Flexible Tone Controls
The more flexible the the tone controls, the more accurately yoy can adjust for non-linearities caused by speakers, speaker placement, room acoustics or the program material itself.
The tone control system in Marantz Model 2500; 2385 features a sophisticated five-position tone turnover/mode switch for versatile bass, midrange and treble control. This eliminates a major shortcoming of conventional tone controls - their tendency to affect too wide a band of frequencies. Optional frequency turnover points limit the bass and treble controls to just the desired range.
The advantages can be illustrated by a practical example: boosting the low bass (under 100 Hz) to compensate for a deficiency in room acoustics. Most conventional tone controls, even if capable of supplying the boost, will also increase the output in the 300 Hz to 1,000 Hz region.
With the turnover point set at 100 Hz on a Marantz receiver, the bass control can provide the desired bass boost up to the frequency point of 100 Hz and leave the frequency range above the point essentially flat and unaffected.
This flexible, easy-to-set system permits a virtually unlimited number of repeatable settings, enabling you to adjust for the desired tonal balance in any listening environment.

Precision Four-Gang Volume Control
Model 2385 feature a precision-calibrated, stepped volume control. Its superb tracking accuracy of ±0,5 dB between left and right channels enables you to repeat volume settings with total accuracy.
The four-gang design helps produce exceptional Signal-to-Noise performance - typically greater than 10 dB over conventional volume control designs.

Superior Filter Design
The Model 2385 feature an 18 dB per octave Bessel-derived high filter - the most advanced filter design in audio. It reduces high frequency noise - and produces a more natural less colored sound because it eliminates the overshoot and "ringing" common to other filters. Results are linear phase response and greatly reduced phase and transient distortion. An 18 dB/octave 15 Hz subsonic Butterworth low filter cuts turntable rumble and subsonic transients that prevent accurate reproduction of low frequency signals.
Never before has such advanced filter technology been applied to any audio components, separates or receivers. 18 dB/octave filters provide positive filtering action with little coloration of sound by concentrating their effect only at the specified frequencies. Filters with slower roll-off characteristics, on the other hand, must start acting toward the midpoint of the frequency range in order to perform adquately at the extreme high or low end of the audio spectrum.

Flexible Tape Copy Functions
In addition to the standard phono and auxiliary inputs, two sets of tape inputs and outputs are provided to facilitate dubbing between a pair of tape decks. A built-in tape copy facility can function independently of program selector and tape monitor circuitry, enabling you to dub from one deck to another while listening to a different program sourece.
Also featured are front-panel dubbing jacks that allow you to add a third tape deck without disturbing any rear panel connections.
Reat panel facilities include conections for two sets of speaker systems, main in/pre out jack's a Quadradial output jack and two convenience AC outlets.

Amplifier Section
Minimum Continuous Power per Channel (from 20 Hz to 20 kHz, both channels driven): 
Into 8 ohms :  185 W
Into 4 ohms :  240 W
Total Harmonic Distortion
At 8 Ω :  0,05%
At 4 Ω :  0,1%
IM Distortion (IHF method, 60 Hz : 7 kHz = 4:1 at rated power output):
 at 8 Ω :  0,05%
At 4 Ω :  0,1%
Damping Factor (at 20 Hz):  60
Preamplifier Section
Input Overload at 1 kHz :  200 mV
Equivalent Input Noise "A" weighted:  0,48 µV
Dynamic Range:  113 dB
Input Sensitivity at 1 kHz :  1,8 mV / 47 k Ω
Signal-to-Noise Ratio "A" weighted (at rated output & 7,75 mV Input):  83 dB
Frequency response (RIAA, 20 Hz to 20 kHz):  ±0,25 dB
Input Capacitance:  100 pF
High Level Inputs (Aux  & Tape):
Input Sensitivity/Impedance :  180 mV /47 k Ω
Signal-to-Noise  (A weighted):  98 dB
Output Impedance
Tape Out :  500 Ω
Pre out:  50 Ω
AM/FM Tuner Section
IHF Usable [mono]:  8,75 dBf (1,5 µV)
IHF -50 dB Quieting
Mono :  12,1 dBf (2,2 µV)
Stereo :  33,2 dBf (25 µV)
Quieting Slope (mono)
RF input for 30 dB Quieting:  6,8 dBf (1,2 v)
Quieting at:
20 dBf (5,5 µV) :  58 dB
25 dBf (10 µV) :  66 dB
40 dBf (55 µV):  78 db
65 dBf (1,000 µV):  80 dB
Quieting Slope (stereo)
Quieting at:
30 dBf (17 µV) :  49 dB
45 dBf (55 µV) :  62 dB
50 dBf (173 µV):  70 db
65 dBf (1,000 µV):  75 dB
Distortion, Mono and [stereo] at 65 dBf:
At 100 Hz :  0,15% [0,35%]
At 1,000 Hz :  0,1% [0,2%]
At 6,000 Hz :  0,15% [0,3%]
Hum and Noises (at 65 dBf) Mono :  -80 dB
Frequency Response (30 Hz to 15 kHz)
Mono and Stereo :  +0,2 dB -1,0 dB
Capture Raatio:  1 dB
Alternate Channel Selectivity:  85 dB
Spurious Response Rejection:  120 dB
Image response Rejection:  120 dB
IF Rejection(balanced):  120 dB
AM Suppression:  60 dB
Stereo Separation
At 100 Hz :  45 dB
At 1,000 Hz :  50 dB
At 10,000 Hz :  42 dB
Subcarrier rejection:  75 dB
AM Usable Sensitivity (IHF):  10 µV
AM Distortion  at 30% Modulation:  0,4%
AM Signal-to-Noise Ratio:  55 dB
Dimensions (W x H x D):  491 x 178 x 435 mm (19-1/4" x 7" x 17-1/8")
Weight:  27 kg (59,4 lbs)

Luxman R-1120

Luxman Ultimate High Fidelity Stereo Component Model R-1120 AM/FM Stereo Tuner-Amplifier
The long awaited advent of super-powered "tuner-amplifier" from Luxman
Giant power output 120 W minimum continuous per channel into 8 ohms loads, 20-20,000 Hz both channel driven with no more than 0,03% total harmonic distortion.
Truly useful equally eye-catching LED peak indicators allow easy reading of instanteneous output power level.
3 pairs of speaker terminals, one of which is specially designed for exclusive use with such low-impedance loudspeakers as electrostatic loudspeaker which have been gaining remarkable popularity among discerning audiophiles.

Audio Section
The pre-amp section employs an equalizer amp composed of a 3-stage direct-coupled flat amp of PNp and NPN transistors, a buffer circuit of NPN transistors, and a control amp composed of a 2-stage direct-coupled circuit with PNP transistors. Throughout the entire circuitry, specially selected low-noise transistors are featured, and a constant voltage supply circuit at the power supply section ensures stable  performance. Special circuitry is provided to obtain a large amount of gain at each stage, and the large amounts of Negative feedback applied realize ultra low distortion and wide bandwidth.
In the main amp section, a differential amp features a low-noise pair of transistors of uniform characteristics, which suppresses the DC drift to the minimum level. A constant current drive system is arranged at the loads of pre-driver stage, which not only improves the load condition in the treble but realizes stable, undistorted power output.
To prevent accidental failure, a power limiter circuit to protect power transistors from excessive current, and a time-delay muting circuit to safeguard speaker system from DC droft are incorporated.
An exclusive terminal is provided for operation of such speakers as electrostatic ones which have extreme, low impedance at the ultra bass range. Furthermore, the LED peak indicator is provided with an on-off switch and its sensitivity is interchangeable betwen 0 dB and -12 dB.

FM Section
Our exclusive "Closed Loop Lock Tuning System" is featured not only to reduce remarkably the amount of frequency drift at the local oscillator, but to lock the receiving frequency accurately at the transmission frequency of an FM station.
Unlike conventional AFC circuitry, the frequency lock is limited to ±100 kHz to prevent the receiving frequency from merging into that of the adjacent channel.
A superb 1,8 µV sensitivity is attained thanks to a quality 4-gang tuning capacitor at the front end, which interacts with the dual gate MOS FET to, ensure good overload and spurious characteristics,
Excellent band pass response is obtained by means of linear phase ceramic and block filters, which ae superb in group delay time characteristics and sharp skirt selectivity. Good limiting and low distortion are attained by means of a quadrature IC and distortion free discriminator transformer.
We employed a specially selected PLL MPX IC to obtain stable operation and ultra low distortion as well as good separation and Signal-to-Noise ratio.  In addition, an exclusive IC low-pass filter helps suppress carrier leakage. Moreover a constant voltage supply circuit is used for stable performance. Dolbyized FM can be received with the insertion of an optional Dolby circuit board.

AM Section
Pleasant reception of AM broadcasting is ensured thanks to modern technology utilizing a powerful AGC circuit, a ceramic filter of high selectivity, and distortion-free detector, etc.

Audio Section
Power Output:  120 watts minimum continuous per channel both channels driven into 8 ohms load, from 20 to 20,000 Hz with no more than 0,03% Total Harmonic Distortion
Rated Intermodulation:  no more than 0,03% (8 Ω, both channel driven, 60 Hz : 7 kHz = 4 : 1)
Frequency Response:  15 Hz - 70 kHz (-1 dB)
Input Sensitivity: 
Phono 1, 2 :  2,6 mV
Aux, Tuner, Monitor :  160 mV
Phono Overload Voltage (at 1 kHz):  160 mV
Signal-to-Noise Ratio:
Phono 1, 2 :  72 dB
Phono 1, 2 :  94 dB (IHF A weighted, 10 mV)
Aux, Tuner, Monitor :  88 dB
Aux, Tuner, Monitor :  95 dB  (IHF A weighted)
Residual Noise:  no more than 1,3 mV
Crosstalk at 1 kHz:  -73 dB (Aux, Monitor)
Tone Control
Treble :  2 kHz, 10 kHz (±3 dB);  4 kHz, 10 kHz (±8 dB)
Bass :  200 Hz, 100 Hz (±6 dB);  400 Hz, 100 Hz, (±11 dB)
Subsonic :  15 Hz (-12 dB/oct)
Low Cut :  70 Hz (-12 dB/oct)
High Cut :  7 kHz (-12 dB/oct)
Loudness Control (VR: -30 dB):  100 Hz (+10 dB);  10 kHz (+7 dB)
Peak Indicators:  0, -6, -9, -12, -15, -18 dB
Additional Features:  Loudness Control, Peak indicators, Speaker Switch, Headphone Jack, Tape Dubbing Switch, etc.
FM Section
IHF Usable Sensitivity (at 98 MHz, 400 Hz, 100% mod.):
Mono :  10,3 dBf (1,8 µV)
Stereo :  17,2 dBf (4,0 µV )
50 dB Quieting Sensitvity (Selectivity at 98 MHz, 100 µV): 
Mono :  14,1 dBf (2,8 µV)
Stereo :  36,8 dBf (38 µV)
Frequency Response at 98 MHz, 1 mV:
From 50 Hz to 10 kHz [mono/stereo] :  +0,2 -0,5 dB / +0,2 - 1,5 dB
Distortion at 65 dBf :
100 Hz [mono/stereo] :  - / 0,2%
1 kHz [mono/stereo] :  0,1%/0,2% 
6 kHz [mono/stereo] :  0,3% / 0,4%
Capture Ratio at 65 dBf:  1,3 dB
Image Response ratio:  80 dB
IF Response Ratio:  85 dB
AM Suppression Ratio:  55 dB
Stereo Separation [stereo]:
At 100 Hz :  45 dB
At 1 kHz :  48 dB
At 6 kHz :  42 dB
Subcarrier product Ratio:  60 dB
SCA Rejection:  60 dB
Muting Range:  50 kHz
AM Section
IHF Usable Sensitivity at 1000 kHz, 400 Hz, 3-% mod.:  200 µV/m
Image Ratio at 1000 kHz (external Antenna):  75 dB
IF Rejection at 1000 Hz (external Antenna):  80 dB
Signal-to-Noise Ratio at 1000 Hz, 10 mV, 400 Hz, 30% :   52 dB
Distorsion at 1000 kHz, 10 mV, 400 Hz, 30% mod.:  0,5 %
Output Level at 1000 kHz, 3 V/m, 400 Hz, 30% mod.:  0,15V
Selectivity at 1000 kHz :  32 dB
Power Supply/Consumption:  120 V 5,5 A (CSA rated)/ 500 W (at full powee, 8-Ω)
Dimensions (W x H x D):  490 x 415 x 180 " (19-5/16" x 16-7/32" x  7-3/32")
Weight  [net/gross):  17 kg  (37.4) / 19 kgs  [41,8 )

Infinity 1001A

The Infinity 1001A is a cosmetic update of our already famous 1001. the 1001A has received a new enclosure with a dramatically sculptured grill consisting of distinctive knit fabric. The sonic features of this system remain unchanged. High Fidelity Magazine said of the 1001, :the Infinity 1001 negotiated even the most demanding orchestral material with ease, conveying a sense of excitement not often experienced with systems in this price range."

The Tweeters
The Infinity 1001A utilizes two exceptional cone tweeters; one in the front (the transient tweeter) and the other in the rear of the enclosure (the ambient tweeter). The front (or transient) tweeter gives the direct radiation with its transient information to yield sharpenss and clarity to the sound. The rear (on ambient) tweeter adds complete dispersion of the high-frequency radiation to re-create the true instrumental character actually in space, rather than in a flat plane. The two tweeters are coupled together through a special phasing and frequency contour network which maintains the energy response beyond 20 kHz without the usual high-frequency beaming that imparts stridency to the music. This effect can be had with the enclosures placed no more than an inch from the rear wall; however, a more dramatic and realistic effect can be had with at least six inches separation from the rear wall.

The Woofer
Another unusual feature for this price system is the bass section. A specially designed twelve inch woofer is utilized. The woofer itself undergoes two separate and distinct treatments. Firstly, the soft paper cone is permeated with a plasticizing agent which adds enormous stiffness to the cone. Secondly, thick asbestos  compound is applied to damp out spurious modes produced by increasing the stiffness. Essentially all spurious modes and resonances are thereby removed so that the speaker acts as a superb piston even throughout the critical midrange area.
The treated woofer is then utilized in our famous transmission line enclosure. This enclosure design exhibits a very uniform impedance characteristic yielding non-resonant bass with none of the familiar hangover of the acoustic suspension designs.
Another reason for the extremely natural quality of he Infinity 1001A is that no inductors nor any other crossover network is used with the woofer. It was designed with exactly the correct phase and frequency response characteristics to meld smoothly into the tweeters.

Bass Frequency :  one 12" (304 mm) Woofer
High Frequency :  two 1" (25 mm ) Dome Tweeter
Frequency Response: 33 Hz to 21 kHz ±4,5 dB
Crossover Frequency:  1300 Hz (acoustic)
Nominal Impedance:  8 ohms
Minimum Amplifier Power: 20 watts/ channel RMS
Rear Radiation:  50% above 1300 Hz
Dimesnions (H x W x D):   635 x 368 x 304 mm (25" x 14-1/2" x 12")

Sansui G-6000

Time and a bit of genius make the difference. It wasn't easy to create the world's finest DC receiver. It look Time. A great deal of it. For research. For development. For testing. And it also a bit of genius - kind of genius that Sansui engineers are world famous for. But we at Sansui were determined. And we Succeeded. So now there is a patent pending on Sansui's unique new DC amplifier circuitry.

The Sansui G-6000 DC receiver, like Sansui's entire G-line of DC receivers, incorporates this unique technology it delivers music reproduction so superb you will actually hear the difference. With Sansui's DC amplifier circuity  you get better low frequency response. It extends all the way down to zero Hz (DC), from main-in. That's one reason it's called a DC receiver. With Sansui's DC amplifier circuitry you get better high frequency response. It goes all the way up to 200,000 Hz, from main-in. Just try to find another receiver with frequency response this wide. 
With Sansui's DC amplifier circuitry you also get fuller and faster response to musical transients. This is measured in slew rate and rise time. And the slew rate and rise time figures of the Sansui G-6000 are far better than those of any competitive models. And with Sansui's DC amplifier circuitry there is virtually no distortion. While eliminating the capacitors, we've solved the time delay problem that causes transient intermodulation distortion (TIM). And total harmonic distortion is a mere 0,03% at full rated power:  65 watts per channel,min. RMS, both channels driven into 8 ohms from 20-20,000 Hz.
The Sansui G-6000 DC receiver is much more than its extraordinary amplifier circuitry. It is also a superb FM section, with excellent sensitivity, selectivity and signal-to-noise ratio, virtually without distortion. The G-6000 also gives you high-technology protection circuitry that keeps both your speakers and receiver safe, always it offers perfectly positioned and highly accurate power, tuning and signal meters. And human engineering, for greatest easy-of-operation. The G-6000 is also elegantly styled with a beautiful simulated walnut grain finish.

Audio Section
Power Output (min. RMS, both channel driven, 20-20,000 Hz, no more than 0,03% T.H.D.):  65 watts per channel into 8 ohms
Load Impedance:  8 ohms
Total Harmonic Distortion :  less than 0,03% at or below rated min. RMS power output
Intermodulation Distortion (70 Hz : 7 kHz = 4 : 1 SMPTE method):  less than 0,03% at rated power output 
Frequency Response ( Overall from AUX, at 1 watt):  5 Hz to 50,000 Hz, +0,2 dB, -2,0 dB
RIAA Curve Deviation (Phono, 20 Hz - 20 kHz):  +0,2 dB, -0,2 dB
Damping Factor (1 kHz, both channel driven):  30 into 8 ohms
Input Sensitivity/ Impedance:
Phono 1 and 2 :  2,5 mV/47 k Ω (max. input capability :  220 mV at 1 kHz, less than 0,03% T.H.D.)
Mic :  6 mV/10 k Ω
Aux, Tape 1 and 2 :  150 mV/47 k Ω
Output Level (at 1 kHz):  
Tape 1, 2 Rec (Pin jacks) :  150 mV
Tape 2 Rec/Play (DIN socket) :  43 mV
Hum and Noise (short-circuit, A-network):
Phono 1 and 2 :  78 dB
Aux, Tape 1 and 2 :  65 dB
Bass :  ±10 dB at 50 Hz
Trebele :  ±10 dB at 10 kHz
Susbsonic Filter:  -3 dB at 16 kHz (6 dB/oct)
High Filter :  -3 dB at 3 kHz (6 dB/oct)
Loudness (Volume control -30 dB position):  8 dB at 50 Hz ;  6 db at 10 kHz
Audio Muting:  -20 dB
FM Tuner Section
Tuning Range:  88 to 108 MHz
Usable Sensitivity:
Mono  [IHF/DIN]:  10,3 dBf (1,8 µV) / 1,0 µV
Stereo IHF :  17 dBf
50 dB Quieting Sensitivity:
Mono :  14 dBf
Stereo :  36 dBf
Signal-to-Noise  Ratio (at 65 dBf):
Mono :  72 dB
Stereo :  68 dB
Distortion (at 65 dBf) Mono :  
at 100 Hz :  less than 0,15%
at 1 kHz :  less than 0,13%
at 6 kHz :  less than 0,25%
Distortion (at 65 dBf) Stereo :  
at 100 Hz :  less than 0,25%
at 1 kHz :  less than 0,18%
at 6 kHz :  less than 0,25%
Alternate Channel Selectivity (at 400 khz):  75 dB
Capture Ratio:  1,0 dB
Image Response Ratio:  70 dB
Spurious Response Ratio:  90 dB
IF Response Ratio:  95 dB
Stereo Separation:
35 dB at 100 Hz
42 dB at 1 kHz
30 dB at 10 kHz
25 dB from 30 to 15,000 Hz
Frequency Response:  30 to 15,000 Hz
Antenna Input Impedance:  300 Ω (balanced); 75 Ω (unbalanced)
AM Tuner Section
Tuning Range:  530 to 1,600 kHz
Usable Sensitivity (bar antenna):  50 dB/m (300 µV/m)
Selectivity (±10 kHz):  35 dB
Signal-to-Noise Ratio:  46 dB
Distortion (at 30% Modulation, 80 dB/m):  less than 0,5%
General Section
Power Requirements:  100, 120, 220, 240 V, 50/60 Hz
Power Consumption:  310 watts, 380 VAC (rated)
Dimensions (W x H x D):  505 x 187 x 409 mm (19-15/16" x 7-7/16" x 16-1/8")
Weight:  17,5 kg (38,6 lbs) net