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

Audia Flight CD One M

The Audia Flight CD One is a reference compact disk player that will bring a new sense of realism to your CD collection. Incorporating innovative engineering design, utilizing the highest quality parts and featuring an elegant yet modern style teamed with rock solid construction, the Audia Flight CD One presents a captivating sonic picture of the original performance. The super rigid chassis, Philips Pro-2 cast metal transport, 24 bit/192KHz upsampling converter and the ultra precision temperature compensated reference clock permits maximum data retrieval with a completely non fatiguing sound. The three separate toroidal transformers and the Class A full balanced analog output sections with discrete components, result in maximum dynamic range.
The Audia Flight CD One is an investment for the future. It has two digital inputs, one SPDIF and one USB, both 24 bit 192 KHz, insulated.
The USB input has insulated by ADuM (analog devices) to prevent any noise from the PC.
When the USB is used together with a player application such as FooBar or WinAmp (available for free on Internet), you can transfer stream music files to internal converter at 192kHz/24bits maximum frequency/resolution, avoiding undesired PC or MAC audio mixer data processing during the data transfer from hard disk to interface.
Technical Data
Frequency response 0.5 Hz ÷ 20 KHz ± 0.1dB
Upsampling 192 KHz
Dynamic Range 122 dB
THD + Noise > -100 dB
Maximum output voltage 2.5 Vrms
Output impedance 600 ohm
Input sampling rates 32 – 192 KHz
Resolution rates 16 – 24 bit
Main voltage AC (50-60Hz) 100, 110-115, 220-230, 240 V
Power consumption 70 W
Dimensions and weigth 420x113x380mm (wxhxd) - 15 Kg
Shipping dimensions and weigth 570x270x540mm (wxhxd) - 18 Kg

Teac VRDS 20

D/A Converter: Bitstream Converson
D/A Number: 8
Digital Filter: 20-bit, 8-times oversampling
Analog Filter: Butterworth 3rd order
Frequency Response:
1 - 20,000 Hz ±0.3 dB (RCA)
20 - 20,000 Hz ±0.5 dB (XLR)
SN Ratio: Better than 110 dB
Dynamic Range: Better than 99 dB
Harmonic Distortion: 0.0013%
Channel Separation: 110 dB
Analog outputs:
2,2 V rms (RCA)
2,3 V rms (XLR)
Digital outputs:
0,5 Vp-p / 75 ohm (coaxial)
-15...-21 dBm (TOS)
-12,5...-15 dBm (ST)
Optical pickup KSS-151A (Sony Corp.)
Type: Optical 3-beam laser pickup
Objective Lens: 2-dimensional parallel drive
Laser Output: Less than 0.2 mW on the objective lens
laser Type: GaAIAs type semiconductor laser
Wavelength: 760 - 800 nm
Sampling Frequency: 44,1 kHz
Quantization Bit: 16-bit linear/channel
Channel Bit Rate: 4.3218 Mb/sec.
Channel Modulation Code: Eight to Fourteen Modulation (EFM)
Error Correction: Cross Interleave Reed Solomon Code (CIRC)
Power Requirements: 120/230 V AC 50/60 Hz
Power Consumption: 22 watts
Dimensions (W x H x D): 500 x 146 x 331 mm
Weight: 13.8 kg

Marantz model 18 (1968)

The model 18 Solid-State Stereophonic FM Receiver.

Now - the eloquent "Sound of Marantz" components in a single unit. In the Model 18 - Marantz introduces, for the first time, a solid-state FM Stereo Multiplex Tuner, Stereo Preamplifier and Stereo Power Amplifier - all combined on a single chassis. Styled in sleek elegant lines, it is an "FM stereo sound center" that will fill your home with stunning experiences in stereophonic listening. The Model 18 features outstanding stereo control flexibility not normally found in a complete receiver. In addition to separate bass and treble controls for each channel, there are inputs for two stereo tape recorders (one in the rear for permanent connection, and one in front tape dubbing from an external recorder), two inputs for stereo phonographs, a stereo headphone output, a switch for selection of multiple speaker system combinations, plus a multitude of other switching and control conveniences. With the Model 18 you not only enjoy the traditional unsurpassed quality and flexibility of Marantz components, but also inspired innovation in circuitry design - whichprovides cleaner sound than you've ever heard before. Weak FM stations are received without being swamped out by strong stations, and powerful stations are received without distortion. It is now easy to "lock in" tightly on one station closed adjacent to another without fear that the adjacent station will interfere with the one you want. The Model 18 attains this sharp selectivity through the use of modified Butterworth filters that couple the four amplifiers in the IF stages. Absolute tuning accuracy through the built-in oscilloscope is an exclusive feature of Marantz tuners. The oscilloscope also indicates correct antenna direction for bestreception and tuners out multipath interference, as well as tuning to the maximum signal strength of each station. The oscilloscope can also be used to test for optimum stereo separation and stereo phasing of all components connected to the model 18. Selecting the proper station becomes a delighful experience with the unique silky-smooth "Gyro-Touch" tuning control (patent appliend for), through which you tune by turning the actual flywheel itself. Mounted horizontally the flywheel tunes in the direction you are seeking. Solid-state throughout, the amplifier sections are rated at 40 watt rms continuous per channel (80 watts peak) all the way from 20 Hz to 20,000 Hz. Other features of the amplifier section include direct coupled design to provide instantaneous overload recovery. There is an exclusive automatic protection circuit incorporated for both the amplifier components and speaker systems. Flawless performance was the engineering objective - flawless performance is the final result.


Built-in oscilloscope - This displays incoming signals for precise tuning, strenght of signal correct antenna orientation for miniumum multipath distortion and station modulation. It may also be used for observing the degree of stereo separation, stereo phasing of all stations and other components connected through the Model 18 receiver.

Butterworth Filters - incorporated in the IF stages these assure better selectivity, lower distortion, and more than 30 dB stereo separation,even at 15 kHz. The IF stages never require realignment.

Gyro-Touch Tuning (patent applied for) - Selecting stations becomes a delighful experience with this unique control in which you rotate the actual tuning flywheel. This results in silky-smooth, ultra-low friction tuning action.

Direct Coupled - Design and protection Circuits (patent applied for) - Through these, the amplifiers recover instantaneously from overload. They also protect both amplifiers and loadspeakers against sustained overload damage caused by short circuits or other accidental misuse.

Front panel Tape Recorder Dubbing Connection - These provide convenient facilities for making tape copies with an external recorder.

Front Panel Headset Output - You can listen to stereo headsets with or without the loudspeakers playing.

Longer Dial - Because the tuning dial is longer than on most receivers you can more accurately "zero in: on a given station.

1% Resistors Used - The best resistors available, they give supremely low noise. They are used throughout the receiver in all vital circuits.

Massive Heat Sinks - These dissipate heat from the power transistor circuits, and that means longer years of use.

Electronic Time Delay Circuit - This mutes the signal to the loudspeakers for about five seconds after the unit is turned on, thus eliminating the irksome "popping" noise normally produced at that time by high power supply transistorized units.


Rated Continuous - (RMS power outpot, per channel, both channels operating simultaneously, 20 Hz to 20 kHz): 40 watts (4 and 8 ohms); 20 watts (16 ohms)

I.M. Distortion - (SMPTE) at or below rated power = 0,2% max.

Total Harmonic Distortion - 20 - 20,000 Hz , at or below rated power = 0,2% max.

Power Bandwidth - 0,2% total harmonic distortion - 10 Hz to 30 kHz

Frequency Response - 20 Hz to 20 kHz +1/-2 dB (high level) RIAA ±0,5 dB (phono)

Input Sensitivity - (for 40 watts at 8 ohms) 100 mV at (high level), 1 mV at (phono)

Input Impedance - 100,000 ohms (high level), 47,000 ohms (phono)

Hum and Noise - Below 40 watts, 8 ohms: -80 dB (high level), 47,000 ohms (phono)

Damping Factor - 30 minimum at 8 ohms.

Stability - UnconditionaSeparation and Crosstalk - Minimum 35 dB from 20 to 20,000 Hz


Noise Quieting - -50 dB at 5μV; -60 dB at 10 μV; -70 dB at 50 μV

Total Harmonic Distortion - 0,2% max. 400 Hz, 100% Mod

Frequency Response - 75 μsec DE-EMP ±0,5 dB

Multiplex Separation - 40 dB at 20 Hz; 45 dB at 1 kHz; 31 dB at 8 kHz; 30 dB at 15 kHz

38 kHz Suppression - 60 dB

67 kHz Suppression - 65 dB


Dimensions: 18¼" wide x 16" deep x 6" high (including feet)

Front Panel Dimensions: 18¼" wide x 5¾" high

Shipping Weight: 46 lbs

Luxman MQ 3600

The MQ3600 offers mighty 50 watts RMS output power per channel thanks to class AB, push-pull operation with the LUX's exclusive giant triode output tube 8045G.

The 8045G is quite an epock-making triode output tube specially developed for audio amplifiers under close cooperation with NEC. Unprecedented 45 W plate-dissipation has been realized by adopting special 5-layer metal plate for the plate-electrode with the heat-radiating-fin, thus realizing superb heat-radiation effect. To make a good combination with the 8045G, a new powerful output transformer OY15-3.6K-HP is developed, which made it possible to obtain such high power output 50W/ch under full command of accumulated circuit technique. Further the insertion-loss is reduced, and the high-frequency characteristic is much improved.

At the driver circuit of so-called orthodox "Mullard" type is placed, which provides large output voltage and gain in quite stable condition. Here, the 6240G is used - a twin triode tube featuring low inner resistance, medium degree of amplification and large plate-dissipation, which is exclusively developed for high-voltage-driver stage. Therefore, the 6240G is quite suitable for the driver tube of giant output power amplifier. We put a reasonable difference on the plate-resistors to obtain equivalent gain between the two driver tubes.

At the first stage, we adopted the 6AQ8 which offers low inner resistance and large amplification, thus keeping impedance at the plate circuit quite low and preventing deterioration at the high frequency characteristic. Also the phase compensation circuit is banished which tends to deteriorate distortion in high frequency range. With meticulous care, we delved into the inherent characteristics through all the amplifying stages to realize excellent distortion characteristic from the low frequency up to the high frequency range by applying only 16 dB amount of major negative feedback. Of course high stability is assured.

The MQ3600 can be used as a monaural power amplifier of maximum 100 W output power when the right and left channel are connected in parallel. This might be an interesting usage of the MQ3600.


Output power: 2 x50 W

Total Harmonic Distortion: no more than 0,5% (50 W, 1 kHz)

Frequency Response: 10 Hz to 35 kHz (-1 dB)

Input Sensitivity: 850 mV

Residual Noise: no more than 0,5 mV

Damping Factor: 14 (8 ohms, 1 kHz)

Power Consumption: 220 V - 300 watts

Dimensions (W x H x D): 465 x 168 x 206 mm

Weight: 17 kg (38 lbs)

Opera Quinta

The new Quinta continues with the outstanding scale and depth of its

predecessor and builds on it with the use of new drive units, crossover

and cabinet design. It’s a true full-range, dynamic loudspeaker that

relays anything from jazz trios to full scale symphonic music with

authority and detail, yet also delicacy.

Room Positioning

Opera Quinta is a floor standing loudspeaker. It is inadvisable to place

the loudspeaker in a corner, and the recommended distance from side

walls is at least 30cm. As always, the best position within the room

will be found while experimenting. Even though the reflex ports are

rear-mounted, it is sufficient to maintain a distance of just a few inches

between the rear of the loudspeaker and the rear wall.


The Opera Quinta differs from the previous model of the same name by

having a new cabinet, new components and new crossover. The cabinet

is slightly larger than before, with an internal volume of around 60 litres

and is divided into two chambers; the lower chamber, of roughly 40

litres houses two bass drivers. The upper chamber, of roughly 20 litres

houses the upper bass driver. The three reflex ports are mounted on the

loudspeaker`s rear panel. There are 4 gold plated terminal connectors

and the speaker is bi-wirable if required.


All models of the Linea Classica Series use the same drive units; the one

inch tweeter (the same used in the Callas SP) is a silk dome unit, with

ferrofluid in the air gap and having a wide rear decompression chamber.

The qualities of this SEAS tweeter are well known and appreciated.

The woofer, also made by SEAS, was developed specially for this

line of loudspeakers. It is a 6.5 inch unit with 18cm chassis, 38mm

voice coil, aluminium diaphragm and rubber outer suspension. It has

a dynamic mass appreciably higher than the norm, and an impedance

of 4 ohm. Two copper rings are fitted above and below the T-shaped

pole piece, which both reduce distortion and stabilize the magnetic flux.

Finally, the bullet-shaped phase plug in ABS helps to dissipate heat

and overcomes compression effects associated with normal dust-caps.

It also improves emission at the high-frequency end of the unit`s range.

The cast chassis, of aerodynamic design, is fully open even beneath the

inner suspension.


The Opera Quinta differs from the previous model of the same name by

having a new cabinet, new components and new crossover. The cabinet

is slightly larger than before, with an internal volume of around 60 litres

and is divided into two chambers; the lower chamber, of roughly 40

litres houses two bass drivers. The upper chamber, of roughly 20 litres

houses the upper bass driver. The three reflex ports are mounted on the

loudspeaker`s rear panel. There are 4 gold plated terminal connectors

and the speaker is bi-wirable if required.


In designing the new Classic Series, particular attention has been paid

to electrical impedance.

This is to ensure that the loudspeaker will present a load compatible

with every type of amplifier.

The minimum impedance for a nominally 6 Ohm loudspeaker under

DIN regulations is not less than 4.8 Ohms at the lowest point of the

impedance curve. Opera Quinta adhere to this norm.

The electrical impedance curve of the Opera Quinta is in fact always

above 5.9 Ohm (5.54 Ohm real impedance at 20KhZ) and although

not completely resistive, it is extremely regular with phase rotations

close to zero over a wide range of frequencies from 200Hz upwards.

This ease of drive makes the Opera Quinta a rarer breed, opposed to

prevailing tendencies in loudspeaker design.

The Opera Quinta is a very easy loudspeaker to drive, and best

results can be achieved with any type of amplifier, whether valve or


The crossover of the Opera Quinta is a `two-and-a-half-way`, with

three bass units connected in quasi-series


All Linea Classica models have their cabinets in shaped MDF, with

sides veneered and lacquered using real wood, while the remaining

sides are finished in leather. The size of the front panel, following

Opera’s tradition, is large enough to hold the loudspeakers. The inside

of the cabinet is divided into two separate chambers, which not only

reinforces the structure but also raises the frequency of the first normal

resonance mode. The inside of the cabinet is filled with quality acrylic

wadding, which helps eliminate internal reflections and resonance and

assists bass frequency damping. The bass reflex ports are placed on

the rear panel.


Floorstanding column two separated reflex loaded chambers

Drive units:

3 x 6.5 inch bass drivers - aluminium cone

1 x 1 inch tweeter - fabric dome

Number of ways:

2 1/2 way

Frequency response:

30-20000 Hz

Cross-over: low pass:

Nearly-series for woofers 6 dB low pass

24 dB/octave for the high pass

Crossover frequency 2300 Hz approx

Power handling:

210 watt RMS

Recommended amplifier:

10 to 210 Watt RMS or more (without clipping)


89 dB/1watt/1 meter

Nominal Impedance:

6 ohm (8 max and 5.95 min from 100 to 20000 Hz with)

Room positioning:

At least 20-30 cm from rear room boundary

At least 20-30 cm from side room boundary

Dimension (H x W x D):

1175 x 240 x 395 mm (46,3 x 9,5 x 15,5 inch)


34 Kg (75 lbs)

Musical Fidelity FCD

Features and benefits

Remote control - convenient operation from listening position, including output level.

Bitstream converter system - increased sound quality with smoother response and lower distortion.

20-bit digital filter - high linearity and low distortion

Gold plated phono sockets - do not tarnish and will maintain good contact.

20 track programming - you can listen to the tracks you want in the order you prefer.

Optical and coaxial digital outputs - enables connection of external D/A converters or digital amplifiers.

Class A valve triode output stage - adds the inherent benefits of Class A and valves to the digital format.

XLR output option - makes a better electrical connection than standard phono connectors


Frequency response: 1 Hz - 20 kHz ±1dB

S/N ratio: > -90 dB (1kHz)

Dynamic range: > -98 dB (1 kHz)

Harmonic distortion: <0.05% (1 kHz)

Wow and flutter: Not measurable (quartz accuracy)

Channel separation: >102 dB (1 kHz)

Output analog: 1.65 V rms

Output digital: 0.5 Vp-p/75 ohm (coaxial)

D/A converter: Bitstream conversion

Digital filter: 8-times oversampling, 20-bit digital filter

Analog filter: 3rd order Butterworth filter

Analog output: Valve Class A triode

Pick-up type: 2D parallel objective lens drive, 3 beam GaA1As semiconductor laser

Wavelenght: 780 mm

Power consumption: 20 watts

Dimensions (W x H x D): 482 x 118 x 330 mm (height includes feet)

Weight: 8,5 kg

Remote control: 1 unit

Marantz CDA - 94

Digital source selector,

Autochange multisampling at 32,44.1 and 48 kHz,

16-bit 4-times oversampling Digital Filter,

twin 16-bit Digital-to-Analogue converter,

Optical coupling and electronic digital inputs,

L-R independent output Amplifier,

precision analogue filters,

Balanced, variable and fixed analogue outputs,

Digital monitor input/output,

3 separate power supplies,

Customized components.

The CDA-94 is the world's first D/A conventer with multisamplig, for conversion of CD, DAT and Broadcast Satellite signals with 16-bit 4-times oversampling accuracy, and with high-precision analogue circuitry.

One Toslink coupler and two 75 ohm coaxial sockets provide digital input connections in addition, there are digital tape input and output monitor socjets; standarized connections for all the present and envisaged digital audio sources.

Absolute Phase Control

It is possible for a variety of reasons, for the absolute phase of the original music to become inverted by some part of the recording process. The absolute Phase Control allows such an inversion to be corrected digitally to restore the original harmony ofthe music. This is especially valuable for vocal performances.

The autochange circuit automatically adjusts the sampling frequency to siut the selected input 44.1 kHz for compact Disc, 48 kHz and 32 kHz for DAT and the anticipated Broadcast Satellite.

The high performance of the Marantz 16-bit 4 times oversampling digital filter and twin 16-bit D/A converter are further accentuated by optical coupling between the digital filter and the D/A converter, by high precision analogue filter and by L/R independent amplifier circuits.

Analogue Outputs

Three different forms of analogue output are provided:

Balanced output using 600 ohm output line transformer.

Fixed output. Variable output (controlled by high-precision conductive plastic potentimeter) for direct connection to power amplifier.

The circuits are based on Marantz high-technology audio engineering know-how. Three separate printed circuit boards carry the Digital input-output section, the D/A converter section and the analogue amplifiers.

These circuits are supported by three separate power transformers for total circuit separation and protection from interference and cross-coupling. The analogue circuit transformer is a special high-efficiency toroid. Furthermore carefully chosen customized components ensure the very highest performance . They include ELNA electrolityc capacitors with ceramic powder filling and damped copper styrol film damped capacitors for the analogue circuits. Capacitor leads are not of tinned steel but oxygen-free copper.

The chassis of non-magnetic diecast aluminium, provides the high rigidity to ensure absence of acoustic feedback, it also suppresses eddy current coupling.

Specifications for Marantz CDA-94

Sampling frequency: 32 kHz, 44.1 kHz, 48 kHz (automatic switchover)

Digital analog converter: The 4 time oversampling digital filter of a 16-bit L/R independent 2DAC

Frequency response (Fixed, Vriable): 2 Hz - 20 kHz ±0.1 dB (at the time of a 44.1kHz input)

Blance: 20 Hz - 20 kHz ±0.3 dB

Filter: The 3rd Bessel filter

Channel: Two channels

Dynamic range: 96 dB or more

SN ratio: 104 dB (1 kHz)

Channel separation: 100 dB or more (1 kHz)

THD: 0.0015% (1 kHz, THD)

Digital input:

Coaxial: 0.5 Vp-p/75ohms

Optical: Optical-fiber connector

Digital output: Digital-recording output: 0.5 Vp-p/75ohms

Analog output:

A fixture and a balance: 2.5 Vmax/600 ohms (XLR)

A fixture and unbalance: 2.5 Vmax/120 ohms (RCA)

Variable and unbalance: Zero to 2.5 Vmax/120 ohms (RCA)

Headphone output: 0 - 50 mW/eight ohms

Power source: 220/240 V AC, 50/60 Hz

Power consumption: 28 W

Dimensions (W x H x D): 462 x 104 x 368 mm

Weight: 9 kg

Marantz CD-94

With the partnership of the CD-94 Compact Disc Player and CDA-94 Digital-to-Analogue Converter, Marantz presents true digital audio equipment for audiopfiles. Equipment dedicated to the digital audio requirements of today and tomorrow. Both incorporate two Marntz features which add to the fidelity of the reproduced sound: 16-bit D/A conversion with 4 times oversampling and optical coupling.

The superb audiophile performance of the CD-94 is based on the proven superiority of the Marantz full 16-bit 4-times oversampling digital filter, it is characterized by very low distortion and almost no phase error.

The digital filter is employed in conjunction with the improved 16-bit dual Digital-to-Analogue converter TDA-1541A. This VLSI (Very Large Scale Integrated circuit) delivers greatly improved channel balance, flatter frequency response and at least % dB higher dynamic range, than previous IC's.

The combination of digital filtering and dual digital-to-analogue conversion result in the enormous dynamic range of 104 dB, coupled with extremely fast transient response and very high phase linearity.

A vital factor in the performance of the CD-94 is accurate read-out of the disc. The CDM-1 mechanism, made of diecast aluminium, provides rigid support for the laser pick-up. The complete assembly is floated off the main chassis on massive rubber dampers; a suspension system that assures freedom from vibration and acoustic feedback. Furthermore, the mechanical control circuits have been separated from the CDM-1 mechanism to avoid magnetic interference in the control circuitry and possible vibration from the drive mechanism.

The main chassis and the top cover plate are also diecast in non magnetic aluminium. They are designed to reduce distortion caused by acoustic feedback and eddy current coupling. The rear plate, and all of the screws used on the inside are copper plated for the same reason.

At the rear,the black heat sink is carefully damped to avoid any ringing that might be caused by internal resonance. Thus, vibration in one power transistor does not disturb the current flow in another.

The high VA power transformer has four independent secondary windings; one each for:

- the mechanical control system

- the digital signalprocessing circuits

- the analogue signal processing circuits

- the displey circuits

This prevents peak demand inone circuit from causing performance degrading power drain in another. And it also reduces the possibility of one power supply causing interference to another.

50 Hz mains hum is audible but it is not music. To suppress it, mains wiring is kept to one corner of the chassis. Even the power on switch is mounted in that corner and operated through a long polycarbonate rod.

Carefully chosen customized components guarantee the highest achievable sound quality. In addition to the high-VA power transformer, noteworthy components include high value ELNA electrolytic capacitors in the Bessel filter stages. The capacitor leades are of tinned oxygen-free copper, not the usual tinned steel. Everything possible has been done to ensure the quality of the sound signal at the gold-plated output terminals. All the complex functions of signal decoding and error correction are concentrated in one single VLSI chip. This is specially designed to take full advantage of the powerful error detection and correction code offered by the Compact Disc digital Audio system, but only partially used in many players.

With its digital output facilites the CD-94 can be directly connected to other digital signal processors, including the CDA-94 Digital-to Analogue converter. A standard 75 ohm electronic output is provided. But for the best possible transmission, optical output coupler is fitted. The high-precision disc tray loading has separate motors for tray drive and disc positioning with magnetic clamping to ensure stability during rotation.

The FTS (Favourite Track Selection) memory stores preselected track numbers or timed passages from a complete Compact Disc collection. Once the favourite tracks on a particular disc have been stored they can be played at any time without the need for any further programming (although the celection can be changed at any time). The exact number of disc that can be programmed depends on the programmes chosen. As an example 155 discs can be programmed to play an average of 5 tracks per disc.

Fully remotely controlled, the CD-94 has lacquered wooden sides, a discretely elegant display and goldplated keypad buttons. A flip-down cover conceals all except the principal front panel controls until they are needed. The display is clear, without being disturbing. The styling is classical Marantz, distinguished and refined.

Specifications for the Marantz CD-94

Audio Characteristics

Number of channels: 2

Frequency response: 2 - 20.000 Hz ±0.1 dB

Digital to analogue conversion: 16 bit 4 times oversampling

Dynamic range: better than 96 dB

Signal to noise ratio: 101 dB

Channel separation: Better than 100 dB (1000 Hz)

Total harmonic distortion: 0.0015% (1000 Hz)

Wow & Flutter: Unmeasurable (quartz accuracy

Error correction system: CIRC

Audio output level: 2 Vrms

Optical Data Read System

Laser: AlGaAs semiconductor laser

Wave length: 780 nm

Signal format

Smapling frequency: 44.1 kHz

Qunatization: 16-bit linear/channel

Power supply Section

Power requirements: 220/240 V AC, 50/60 Hz

Power consumption: Approx. 30 W

Fuse capacitance: 0.2 A

Cabinet and Others:

Dimensions (W x H x D): 462 x 86 x 333 mm

Weight: Approx: 10 kg

Compact discs

Diameter of disc: 120 mm

Thickness: 1.2 mm

Rotating direction: counterclockwise (viewed from the laser pickup side)

Scanning velocity: 1.2 - 1.4 m/sec

Revolution (spindle) speed: 500 - 200 rpm

Playing time (theoretical): 74 minutes max. (stereo)

Track pitch: 1.6 um

Material: Plastic (polycarbonate)

McIntosh C-29 (1978 - 1985)

McIntosh engineers could not be content with another preamplifier

New concepts, new technology has produced a preamplifier that gives you flexibility.

The McIntosh C29 is the quietest, most flexible - easiest to use, most advanced stereo preamplifier with the lowest distortion



Separate 11 position rotary switches for each channel, +20 dB to -20 dB at 20 Hz


Separate 11 position rotary switches for each channel, +18 dB to -18 dB at 20,000 Hz


Natural balance at center position, attenuation of left or right channel by rotating control


A precision step volume control with left to right tracking accuracy within 1 dB through its entire range.


Auxiliary 1 and 2, TUNER, PHono 1 and 2, MICrophone


Seven positions: Left channel only to both speakers, Right channel only to both speakers, Stereo Reverse, Stereo, Mono, L + R to left speaker only, and L + R to right speaker only


Two pushbutton switches. Either of two tape recorders can be monitored by selecting the TAPE 1 pushbutton or TAPE 2 pushbutton.

They are mechanically interlocked to accept only one pushbutton at the IN position at one time.


Two pushbutton switches. Either of two tape recorders can be connected to copy from tape recorder 1 to tape recorder 2 or vice versa.

They are mechanically interlocked to accept only one pushbutton at the IN position at one time.


Reduce unwanted high frequency noise (above 7 kHz) and low frequency rumble etc. (below 50 Hz) at 12 dB per octave rate.


Allows connection to input and output of a tape recorder from the front panel. Inserting plugs into the front panel jacks disconnects the TAPE 2 circuits from the rear panel and uses the TAPE 2 facilities for the front panel jacks.


For listening with either low or high impedance dynamic stereo headphones. Power to this jack is supplied by an amplifier in the C 29. Headphone listening can be accomplished without the use of an external power amplifier.


(Operates with accessory speaker control relay) Turn Two sets of speakers on or off when properly interconnected with the accessory speaker control relay (the McIntosh SCR 2).


Permits the balance of the entire system to be conveniently preset.


Adjusts the level and balance of the HEADPHONE/LINE output.


The input switch selects from six different sources or you can choose to listen to either of two tape recorders at the push of a button.


Ideal volume control tracking accuracy and noise free performance are two of the considerable benefits of the McIntosh Precision Step Attenuator. It is a thirty-two step, 70 dB range control with unheard of tracking accuracy within 1 dB. The extreme accuracy is obtained through special electronically controlled resistance element trimming. The accuracy and quiet operation are maintained because the switch commutator touches only the switch contact pad and not the precision resistor elements.


Power to the entire stereo system can be controlled from either the front panel power switch or the turntable's power switch. A current sensing relay connected to the turntable AC power outlets is controlled by the turntable power switch. The relay, in turn, controls the AC power to the remainder of the system.


Settings are precise and repeatable in each channel, independently. Each tone control is a separate eleven position switch concentrically mounted. Each step is connected to carefully selected resistors and capacitors to give the precise frequency curve shape. Because the tone circuit component parts are not in contact with the switch surfaces, as in ordinary continuously variable rotary controls, they never change, never get noisy and provide exact, repeatability settings.


The McIntosh seven position mode selector has facilities to permit the correct balancing of a stereo system to maximize stereo imaging.


A continuously variable loudness control lets you enjoy full frequency response and warmth of music regardless of the room volume you choose. As volume is reduced, the frequency response is adjusted to complement the human ear response characteristics, the Fletcher Munson effect.


Tape input, tape output and switching facilities are provided for two three-head tape recorders. Simply push a button to listen to either one, or - record from any selected source on either or both, or- copy from one tape recorder to another while listening to an entirely different program. You can instantaneously monitor either tape recorder.


Microphones in stereo may be used with the C 29. By tuning the input selector to MIC the microphone set-up will be connected to either one or both of the two tape recorders connected to your system.


The McIntosh balance control adjusts each channel independently for stereo imaging without changing overall stereo volume in the room. While natural balance is at the center of the control; adjustment to either right or left compensates for program variations or room acoustic differences.


Any unwanted noise (hiss, rumble, fry, etc.) can be reduced with the filter switch. It allows the reduction of low frequency noise and high frequency noises (below 50 Hz and above 7 kHz).


Through a unique McIntosh design, you have ON/OFF control of two separate sets of stereo speakers when used with an accessory switching relay (the McIntosh SCR 2).



+ 0 - 0.5 dB 20 Hz to 20,000 Hz


.02% maximum at rated output level, 20 Hz to 20,000 Hz


Aux, TUNER, TAPE 1, TAPE 2: 0.25 volts at 100,000 ohms;

PHono 1 and PHono 2: 2 millivolts (1,000 Hz) at 47,000 ohms and 65 pF;

Microphone: 2.5 millivolts at 10,000 ohms


Aux, TUNER, TAPE 1, TAPE 2, IHFA 100 dB, unweighted: 90 dB (below rated output);

PHono 1, PHono 2 IHFA 90 dB, unweighted: 80 dB (below 10 millivolts input, equivalent to less than 1.0 microvolt at the input terminals);

Microphone, 1.5 microvolts at the input terminals.


MAIN: 2.5 volts with rated input, less than 100 ohms source impedance, to operate into 10,000 ohms or greater

TAPE: 0.25 volts with rated input, less than 200 ohms source impedance, to operate into 10,000 ohms or greater

HEADPHONE/LINE: 0.75 volts into 8 ohm load or 2.5 volts into 600 ohm line, 47 ohm source inpedance, level controls provided


Aux, TUNER, TAPE 1 and TAPE 2

to MAIN Output: 20 dB

to TAPE Output: OdB

to HEADPHONE/LINE Output: 30 dB

PHono 1 and PHono 2 at 1 kHz

to MAIN Output: 62 dB

to TAPE Output: 42 dB

to HEADPHONE/LINE Output: 72 dB


to MAIN Output: 60 dB

to TAPE Output: 40 dB

to HEADPHONE/LINE Output: 70 dB



9 Integrated Circuits, 2 Transistors, 11 Silicon Diodes, 8 Light Emitting Diodes (LED), 1 Silicon Controlled Rectifier (SCR), 1 Dual Light Dependent Resistor Network (LDR)


120 volts, 50/60 Hz, 45 watts



Front Panel measures 16 inches wide (40.6 cm) by 5 7/16 inches high (13.8 cm).

Chassis measures 14 3/4 inches wide (37.5 cm) by 4 13/16 inches high (12.2 cm) by 13 inches deep (33.0 cm), including PANLOC shelf and back panel connectors.

Knob clearance required is 1 1/4 inches (3.2 cm) in front of the mounting panel.


Front panel is anodized gold and black with special gold/teal nomenclature illumination. Chassis is black.


Exclusive McIntosh developed professional PANLOC


19 pounds (8.6 kg) net, 31 pounds (14.1 kg) in shipping carton

Thorens TD 160

Despite its moderate price, this handsome slim line intrgrated transcription turntable shares many of the advanced engineering features and refinements of the highly sophisticated Thorens Td-125 MkII series. For example the identical TP-16 tonearm and belt-driven synchronous motor used in the TD-125 MkII are incorporated into the TD-160C. In addition it comes complete with a walnut base and dust cover. Here's the traditional quality and precision you have come to expect from Thorens, at a modest price.

New, Improved TP-16 Tonearm

Employing a gimbal suspension system for complete freedom of motion in the vertical and horizontal planes, the long (over nine inches), straight tonearm is mounted on friction-free aerospace-type ball bearings that are precisely honed and polished. Tracking error is exceptionally low at 0,2° per centimetr of radius. You can select from the widest varioty of high compliance cartridges with ultra low tracking force, the TP-16 readily accommodates them with a die cast magnesium, low mass plug-in shell.

Magnetic Anti-Skating Control

Replacing the conventional mechanical devices used by most other tonearms, Thorens uses frictionless magnetic anti-skating control integrated into the TP-16 tonearm. Not only does this provide better sound reproduction because the stylus is precisely centered in the groove, but it also extends record and stylus life.

New High Torque Belt-driven 16-pole Synchronous Motor

The newly designed pulley system enables instant star up. In just 1,5 seconds there's constant and smooth in-phase precise speed. The new 2-stage output with operational amplifiers provides higher efficiency for greater output power, less heat and a lower magnetic stray field

Precision Cueing Control

Conveniently positioned on the front panel, the cuing control is isolated from the tonearm. At the touch of a finger it raises and lowers the arm smoothly, gently and precisely into the groove. This assures increased life of both stylus and records

Dented Ring Rubber mat Eliminates Resonances

Typical of Thorens meticulous attention to detail, the newly designed rubber mat on the platter serves a dual function. While it cushions teh record, it also increases air circulation beneath the record with its double dented rings at the center and outer edges. Consequently resonances caused by trapped air are eliminated.

Action Glide Speed Adjustment

Changes speed smoothly and rapidly without jolting the stylus

Dynamically Balanced Turntable platter

7 lbs, 12 -inch non-magnetic platter. flywheel action absorbs speed variations to help eliminate wow and flutter

Unified Suspension System

The special Thorens split-level design isolates the tonearm and drive system from each other on separate but integrated chassis. As a result, the rumble effects of the chassis, motor, acoustic feedback and outside vibrations are eliminated.

Three Year Warranty

Thorens backs up its precision engineering with a full 3 year warranty on parts and labor.


Drive system: Electronicslly controlled, 16-pole synchronous motor with belt drive

Record speeds: 33 and 45 rpm

Turntable platter: Non-magnetic zinc alloy, 12", 7 lbs

Wow and flutter: 0,06% (weighted)

Rumble (DIN 45539): -48 dB (unweighted), -68dB (weighted)

Power requirements: 110 -130 volts AC, 220 - 240 volts AC, 15 watts 50/60 Hz

Dimensions: 17" (L) x 13½"(W) x 7¾"(H)

Net weight: 18 lbs

TP-16 Tonearm

Lenght: 9,06" 9between stylus tip and vertical tonearm bearing)

Stylus overhang: 0,55' adjustable

lateral tracking error: less than 0,2% cm of radius

Bearing Friction: Less than 20 mg in vertical and horizontal planes, measured at stylus tip