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

Sherwood S-7900A

 Here are sherwood's most advanced receivers. Unparalleled command enters for the finest high fidelity music systems. Featured are Sherwood's permanently aligned Ceramic FM IF filtering system, hermetically sealed microcircuits and Field Effect transistors to capture clear, distortion-free FM with utmost reliability. Built-in Dynaquad 4-channel matrixing circuit gives you thrilling four-dimensional sound at the touch of a finger. Choose AM/FM stereo or FM stereo only. Both offer the same outstanding features and quality.

Enjoy the operating ease provided by seven push buttons that control the main or remote stereo speakers for operation independently or together (at the flick of a rear panel switch, these pushbuttons activate front and rear speakers for your Dynaquad 4-channel system); Loudness contour; narrow band FM "Hush" circuit; high filter; tape monitor; and 4-channel decoder  (which doubles as a second Tape Monitor). Additionally Sherwood's unique front-panel tape jack (plus rear panel tape jacks) provide simultaneous recording on two recorders or dubbing from one recorder to another. Stereo headphone jack, too, for private listening. A large, illuminated zero-center tuning meter pin points FM turning to perfection.
 Sherwood FM reception is legendary, thanks to four-gang tuning capacitor, pre-aligned Ceramic IF filters, microcircuits, and the synchro-phase FM limiter/detector that provide pace-setting alternate-channel selectivity (65 dB), outstanding capture ratio (1,9 dB) and Am rejection (over 60 dB). Field-effect transistors in RF and mixer stages enable -95 dB spurious response rejection. With less than 0,15% FM distortion, Sherwood's clarity of sound is unsurpassed.

Power to spare! With 60 +60 watts RMS, 8 ohms from 20 to 20,000 Hz at 0,3% total harmonic distortion, these Sherwood receivers can drive two sets of stereo speakers plus mono extension speakers without strain. Direct-coupled output with Electronic Relay Protection circuit combine widest power bandwidth with maximum protection for your speakers.

Utilizing all-silicon transistors, Sherwood receivers achieve a reliability of performance backed by a full 3-year warranty on all parts. And Sherwood packages this superlative performance in a distinctively-styled, easy to operate receiver that fits in any decor. Whatever your wants-power, performance, beauty - Sherwwod paces the field.
 Special Features FM Tuner
Four gang tuning capacitor
Solid-State Ceramic FM IF Filtering
FET RF and mixer stages
Hermetically-sealed Micro-circuit IF and Synchrophase FM Limiter?Detector
Flywheel-assisted velvet tuning
Dial scale 7 ¾ inches long, 0,2 MHz calibrations
Exclusive FET FM Inter-channel/side-band hush
Illuminated Zero-center tuning meter
Illuminated dial pointer
Noise-protected automatic FM Stereo/Mono switching at 8 µV
Triple-section AM tuner (S-7900A only)
FM Tuner Section
FM Sensitivity (IHF):  1,7 µV (-30 dB noise&dist)
Signal-to-Noise Ratio:  -70 dB
Capture Ratio:  1,9 dB
Suppression of AM:  -60 dB
Tuning Range:  87,5 to 108,5 MHz
Distortion:  0,15% at 100% Mod.
Spurious Response Rejection:  -95 dB
Stability:  ±15 kHz (±0.015%)
Image Rejection:  -80 dB
IF Rejection:  -90 dB
Alternate Channel Selectivity:  65 dB
Stereo Separation:  40 dB at 1 kHz
Frequency Response [Stereo/Mono]:  20 - 15,000 Hz / 20 - 20,000 Hz  ±1 dB
Antenna:  300 Ω balanced or 75 Ω unbalanced
AM Tuner Section
Sensitivity:  4 µV at 30% mod. For 10 dB S/N
Selectivity:  36 dB (at ±10 kHz)
Frequency Response:  4,0 kHz (at 4,0 kHz)
Tuning Range:  530 to 1625 kHz
Image Rejection:  -80 dB at 1MHz
Antenna: Ferrite Rod (rotatable), High Imp. Input

Amplifier Section
Power Output (IHF):  280 watts total
Power Output-RMS (both channel driven)
At 4 Ω : Music Power 90 Watts (1 kHz)
At 8 Ω : Music Power 65 Watts (1 kHz)
At 8 Ω : Music Power 60 Watts (20 - 20,000 Hz)
Harmonic Distortion:  0,3% at 8 Ω Rated Output, 0,10% at  10 watts
Intermodulation Distortion:  0,3 % at 8 Ω Rated Output, 0,10% at 10 watts
Stereo & Mono Speaker Output Impedance:  4, 8 or 16 Ω
Stereo Headphone Output:  High or Low Impedance
Stereo Recording Output:  800 mV, 2 k Ω
Power Bandwidth:  7 - 60,000 Hz  0,5% Dist.
Frequency Response:
Aux:  20 Hz - 20 kHz  ±1 dB
Phono :  RIAA Standard  ±1,5 dB
Damping Factor:  30 : 1 at 8 Ω
Bass Control:  ±13 dB at 100 Hz
Treble Control:  ±13 dB at 10 kHz
Input Sensitivity (for rated output):
Phono : 1,5 mV;  3,8 mV;  8,0 mV
AUX : 150 mV
Input Capability for 1 % Dist:
Phono : 100 mV
AUX : 2,5 V
Hum and Noise (IHF):
Phono : -65 dB
AUX : -80 dB
Vol. Control Min> : -90 dB
Crosstalk:  -40 dB at 1 kHz

Power Requirements:  115 - 125 V, 50/60 Hz, 10 to 100 W fused
AC Outlets:  100 W switched
Dimensions (W x H x D):  16¼ x 5¼ x 14 inches
Weight (Shipping):  30 lbs

Optional Walnut Case:  W-10 (17 x 14 x 6¼ inches)

Sherwood S-8900A

 Sherwood Deluxe Stereo / Dynaquad Receivers  S-8900A FM

280 Watts IHF; 60 +60 Watts RMS (8 Ω, 20 Hz - 20 kHz)
Direct-couple output circuitry with Electronic  Relay protection
Front panel four-channel provision (doubles as a second tape Monitor)
Ceramic FM I.F. Filtering; FET's, Microcircuits
Four-gang tuning capacitor
Built-in Dynaquad 4-channel Matrix circuit


Ampex ATR-700

 When you introduce a new model to succeed the most respected line of portable recorders in audio history, it had better be something special. It must be more than a new recorder  - it must be a significant improvement, ATR-700 is both.
For more than 20 years, Ampex 500 and 600 series recorders have distinguished themselves under the most demanding conditions. Long regarded as the professional's choice for reliability in the field, their reputationfor ruggedness and performance has made them the standard of excellence by which other portable recorders are measured. Through the years, progressive generations of these solid machines have proved themselves around the world and in every conceivable professional application, from on-location sound recording for motion pictures to studio recording and on-the-air broadcasting.

ATR-700 for the audio pro who needs a recorder he can trust or the institution demanding professional performance.
Here's a machine with concert hall quality in a road show package. It fils the need for more versatility and built-in convenience with many standard features that either aren't available or cost extra on other compact recorders. It's a professional in every respect - as a portable broadcast recorder, editing recorder, or remote recorder.
 Every ATR-700 includes 2-channel electronics. So, if you order a single-track machine and develop requirements for 2-channel capability, simply plug in the appropriate heads. Head stacks are precision manufactured and offer plug-in flexibility to permit individual replacement and configuration changes. And they're located for easy access, too.
The capstan servo D.C. motor is of the direct drive type, providing the advantages of greater torque with improved operational control and speed accuracy.
Pick the speed pair that best suits your needs 3¾ and7 ½ or 7½ and 15 ips. No matter which version you choose, you get added flexibility and command with the built-in variable speed control.
A universal power supply makes the ATR-700 truly cosmopolitan. A voltage selector permits operation on AC power anywhere in the world. The optional portable case lets you take it with you - or use the rack mount adapter for easy installation in standard 19-inch racks. Precision operation is assured in both vertical and horizontal positions.
 Electronic motion sensing affords safe and rapid transition between operating modes. You can move from shuttle speeds to playback and cice versa without touching the stop button.
Synchronous reproduce is standard. This feature lets you record a second channel in sync with the sound on the forst channel.
Automatic shut-off is actuated by the tape tension arm, and a cue control permits manual defeat of one of the automatic tape lifters for monitoring at shuttle speeds.
Separate switches are located on the front panel for bias, equalization and reference level, so you can maximize performance with the professional tape of your choice. An edit button permits spilling tape in playback to simplify editing operation.
Three reel sizes can be used with the ATR-700, and the front panel reel selector gives proper tension  for  5" / 7" and 10½" reels
 Additional features help to make ide easier, such as non-glare, back-lighted VU meters, balanced mic input with switchable 20 dB attenuator, and a bult-in 4-in, 2-out mixer with master gain control. A pause  button provides added cueing flexibility and quickstarts, while the pinch roler automatically swings away when in "stop" mode to allow easy threading. Modular design with plug-in PWA's permits ready acces to vital electronics and greatly simplifies mintenance. For extra convenience, an extender board with integral test points is included as standard equipment. Designed in versatility also means reliable operation under a wide range of environmental conditions - to meet the needs of users with special requirements or tough field applications. ATR-700 has the personality of a "seasoned pro".
 New versatility.
3 record/reproduce fromats 93-head configuration)
- Full track (1 channel 
- 2-track (2 channel) 
- ¼ track 92 channel)
All versions include 2 channel electronics
Position for a fourth head
Choice of 2 speed pairs
Universal power supply
Separate 3-position switches for biass, equalization, and record level selection
Adjustable pitch range (variable spped control)
NAB/IEC equalization (switchable)

New Convenience
Feather-touch transport controls
Handles 10 ½", 7" and 5" reels
Switchable reel size (tension) selector
Tape lifter defeat lever (cue control)
Edit button for dump edit in play mode
Rapid-response electronic motion sensing
3 mounting configurations
Fully remotable, electronically controlled transport
Professional XLR input/ouutput connectors
4-digit tape counter with rewind-stop memory

Improved Performance
3-motor tape drive system with capstan-servo D.C. motor
Synchronous reproduce system improved over-all performance for frequency response. S/N, crosstalk, flutter and wow, erasure depth
Full IC logic circuitry
End of tape auto shut-off (tension arm actuated)
Tape Speed:  Switchable two speeds; 3¾ and 7½ in/s  or 7½ and 15 in/s. adjustable pitch range ±5%
Reel Sizes:  5", 7" and 10½" per ANSI and NAB standards
Reel Hub Size Selector:  2 positions; large or Small reel hubs
Tape Width:  ¼"
TapeSpeed Accuracy:  Within ±0,3% at both speds
Wow and Flutter (weighting is NAB measured by the reproduce method):
0,08% WRMS at 7½ and 15 in/s
0,12% WRMS at 3¾ in/s
Shuttle Time:  approx. 90 sec. For 1200-foot reel in either direction
Tape Drive System:  Three-motor direct drive
Capstan Motor:  DC servo motor, direct drive
Head Configuration:  3 heads for erase, record and reproduce,
1-track 1-channel ( has basic 2-channel electronics);
2-tracks 2-channel
¼-track 2-channel.
Tape Timer (accuracy is within ±10% max error): max 99 minutes and 59 seconds (for higher speed)
Line Output:  +4 dBm, 600 Ω, balanced (can be set up for +8 dBm)
Max. Line Input:  =24 dBm
Line Input:  -10 dB (0 dB = 0,775 V), 100 k, unbalanced
Mic Input:  -70 dB (0 dB = 0,775 V), 600 Ω, balanced with switchable;  -20 dB attenuator
Max. Mic Inputs (attenuator Off):  -30 dB (0 dB = 0,775 V)
Input Connector:  Cannon XLR-3-31
Output Connector: Cannon XLR-3-32
Equalization:  NAB or IEC switchable or rear panel
Record/reproduce Frequency Response:
15 in/s :  40 Hz - 100 Hz ±3 dB and 100 Hz - 18 kHz ±2 dB
7½ 1n/s :  40 Hz - 100 Hz +3-2db and 100 Hz - 15 kHz ±2 dB
3¾ in/s :  40 Hz - 7,5 kHz ±2 dB
Distortion (THD) maximum:  NAB equalization, 15 in/s
0,3% at 400 Hz , 185 nWb/m
4,0% at 15 dB above 185 nWb/m
Eq/Bias/Level:  Separately switchable for different tapes
Switch Position Rec Eq./ Rec Bias/ Rec level (456, 406, 641 Ampex tape)
3 :  3M250 / 3M250 / 456/3M250 (=6 dB)
2 :  406 / 456/406 / 406 (+3 dB)
1 :  456/641 / 641 / 641 (185 nWb/m 0 dB)
Erasure:  70 dB at 400 Hz  =10 dB reference
Signal-to-Noise Ratio (overall, A weighted):  NAB equalization referred to 6 dB above 185 nWb/m
¼ track :  55 dB
2 track :  60 dB
IEC equalization referred to 329 nWb/m
2 track :  58 dB
Frequency Response For Synchronous Reproduce:
100 Hz - 12 kHz, ±4 dB at 15 in/s
100 Hz - 8 kHz, ±4 dB at 7½ in/s
Synchronous reproduce S/N (overall A weighted):  NAB equalization referred to 6 dB above 185 nWb/m
¼ track :  40 dB
2 track :  45 dB
Headphone Output:  10 k Ω minimum load, unbalanced, standard 3-conductor stereo phone jack =0,8 volt ±2 dB
Record level Calibration, 0 vu=:  0 dB referred to 185 nWb/m of tape flux
Position 1 :  -0db
Position 2 :  +3 dB
Position 3 :  =6 dB
Power Requirements:  100/120/220/240 V ±110%, 50/60 Hz switchabile
Power Consumption:  159 Watts
Dimensions (H x W x D):  548 x 40 x 254 mm (21-5/5" x 17-3/8" x 10-1/6")
Weight:  approx. 28 kg (62 lb)

KEF Coda

 KEF Coda (1971-77)
The Coda was developed from the ground breaking Cresta design with some useful design elements to provide excellent acoustical performance in an economic package. Its accurate, wide frequency response made it ideal for high quality stereophonic systems in small to medium sized rooms and the dimensions allowed convenient installation in the new, but short lived, quadrasonic format.
 The Coda is a totally enclosed speaker box of 7,26 liters, fitted with two drive units.
Its accurate, wide frequency response makes it ideal for high quality stereophonic systems in small to medium sized rooms. Its dimensions ideally complement quadrasonic installations.
Specification: Coda
System type:  Two-way, bookshelf
Enclosure type:  Closed box
Input Impedance:  8 ohms
Rated Maximum Power:  20 W programme
Amplifier Requirements:  15 - 20 watts per channel into 8 ohms
System Resonance:  60Hz
Nominal Frequency Range:  50 - 40,000 Hz
Specific Frequency Response:  85 Hz - 30,000 Hz  ±4 dB
Crossover Frequency: 3500Hz
Sensitivity:  96 dB (19 W into 8 Ω at 1m in anechoic conditions)
Finishes: Walnut, Teak, White
Grille: Brown Grey, Beige
System: SP1034
Drive units: B110 bass unit (SP1003), T27 tweeter (SP1032)
Crossover: SP1035
Internal Volume:  7,26 litres
Dimensions (W x H x D):  230 x 330 x 146 mm (9 x 13 x 5.75 inches)
Weight:  5 kg (10.4 lb) net each

Nikko NA-300 NA-400

 Nikko NA-400 in difference from NA-300 is equipped in addition a Power Level Indicator.  These LED's indicate the output power of the right and left channels in watts. The wattage indicated is equal to the value when 8 Ω speakers are connected to this unit.
Power Amplifier Section
Continuous Power Output(Min. RMS power per channel into 8 Ω , 20 - 20,000 Hz at rated THD both channel driven):  30 + 30 W
Both Channel Driven (at 1 kHz, 1% THD, 4 Ω):  35 + 35 W
Intermodulation Distortion:  Nomore than 0,1%
Total harmonic Distortion (at rated power into 8 Ω):  0,1%
Power bandwidth, IHF:  15 Hz - 35 kHz
Damping Factor (at 8 Ω):  30
Preamplifier Section
Input Sensitivity?Impedance
Phono : 2,2 mV/47 k Ω
Aux : 150 mV/39 k Ω
Tuner : 150 mV/39 k Ω
Tape : 150 mV/39 k Ω
Phono Overload Level:  100 mV
Output Level/Impedance:  100 mV/2,2 k Ω
Frequency Response:
Phono (RIAA):  30 Hz to 15 kHz, ±0,5 dB
Aux, Tepe:  20 Hz to 20 kHz, ±1,0 dB
Tone Control:
Bass : ±10 dB at 70 Hz
Treble : ±10 dB at 10 kHz
Loudness Control (at -30 dB):  +10 dB at 70 Hz; +5 dB at 10 kHz
Signal-to-Noise Ratio, (IHF A Network)
Phono : 80 dB
Aux : 95 dB
Tuner : 95 dB
Tape : 95 dB
Power Requirement:  AC 220/240 V, 50/60 Hz
Power Consumption:  100 W
Dimensions (W x H x d):  440 x 96 x 285 mm

Weight: 5,8 kg (12,7 lbs) net


 Anniversary Model Reflects CEC's Wealth of Expertise
In 1954, the very first high-precision phono motor was born in the research lab of CEC. From the outset, our engineers were fully aware of the critical relationship between vibration control and sound quality. Not surprisingly, this origibal product called FR216 became an instant hit with manufactures as well as with knowledgeable audiophiles. During the forty years which have passed since then, CEC has continued its dedicated pursuit of vibration control in the interest of true musical fidelity. With the FR-XL1, CEC now proudly presents a top-of -the-line model that incorporates the fruits of our relentless research efforts. It is an analog record player boasting superb sound and impressive looks, truly suitable for a 40-year (1994) anniversary model.
 NF Ceramics Material Assures Effective Vibration Suppression
In order to maintain the purity of musical signal extracted from the analog record, the other sections of the player must also correspond to the highest standards regarding choice of materials and quality of construction. Superb results can be achieved only when reliable vibration control is assured throughout. For this reason, the FR-Xl1 employs NF ceramics material for both the dual-layer chassis and the turntable. Among currently available products, this material offers by far the best vibration suppression and damping characteristics. Rigidity and attenuation characteristics are further improved by the dual-layer Y-shaped design of the chasis. Keeping the surface area to a minimum provides a further contribution to ideal vibration control.
 3DD Suspension Revolutionizes the Concept of Vibration Control
When wishing to faithfully extract the highly complex musical information contained on an analog record, total freedom from harmful vibrations and resonances is an essential prerequisite. To realize this aim, the FR-XL1 introduces a new concept called 3-Dimension Damping, or 3DD for short. A Y-shaped dual-layer construction using three-point tiptoe supports at every suspension point ensures total isolation of the turntable in the top layer. Teh 3DD suspension points employ a combination of springs and special rubber belts arranged at a right angle. The elasticity of the rubber provides effective damping in the horizontal as well as the vertical plane. This three dimensional "floating" principle protects not only the drive section but also the turntable itself from any harmful vibrations arising within the unit. Any external vibrations such as caused by sound pressure or transmitted by the floor and other surfacec are also reliably absorbed by this innovative design.
 Other Features
Low-cogging, low-torque 3-phase brushless FG servo motor achieves unprecedented rotational stability.
Electromagnetic interference and maechanical vibrations are totally shut out by enclosing the motor in a metal housing and using belt drive.
Massive turntable (10 kg) uses dual-layer construction of NF ceramics and brass to minimize normal-mode vibrations.
Separate power supply unit eliminates adverse influences on mechanism section.
Cable link between power supply and mechanism uses an outer shield plus separate additional shielding for the two FG servo leads. DIN connector and plug of the cable are gold-plated.
3-speed design accommmodates also 78 rpm records.
Mountable Tone-arms:  Effective length max. 310 mm (up to two tone arms when optional additional arm base is used)
FR-XL1 is supplied without tone-arm, cartridge, and dust cover
Speeds:  33, 45 and 78 rpm
Speed Adjustment:  ±30% control knob (for 78 rpm only)
Drive Principle:  3-phases brushless FG servo motor
Turntable:  Distinct-material dual-layer construction, inertia moment 950 kgcm²
Suspension:  3DD suspension using spring and rubber damping
Main Unit:  Ceramic material (NF ceramics)
Dimensions (W x D x H):  550 x 445 x 137 mm
Weight:  15 kg, inner turntable 6 kg, outer turntable 4 kg
Power Supply:  Housed in separate unit
Dimensions (W x D x H):  100 x 260 x 66 mm
Weight:  2 kg

Base : 600 x 510 x 50 mm (W x D x H), additional arm base

Sony TA-1ES

 High-Resolution Audio
High-Resolution Audio takes your digital music to another level. By converting analogue music to digital at a higher rate than CDs – 24-bit/192 kHz, as opposed to the 16-bit/44.1 kHz rate of CDs – High-Resolution Audio is able to deliver better than CD quality sound, so you can get closer to the original studio recording. 
FET input buffer
The amplifier has been fitted with a FET input buffer and discrete circuit for the pre-amp. This reduces the effects of distortion while enhancing the sound quality of High-Resolution Audio.
 Optimum gain volume control
Weve combined the electronic volume with a discrete buffer amp – co-developed with Sony – to enhance the overall sound quality by reducing the gain error experienced by conventional amps.
Simplified power amp circuitry
By including fewer transistors and eliminating the emitter resistor and coil & capacitor needed in the amp’s final stage circuitry, we’ve reduced the distortion that affects the quality of your music. This means the amp can deliver a higher power output, so you can push up the volume and enjoy great, undistorted, High-Resolution Audio.
 Make a secure connection
Poor component connections can have a significant impact on overall sound quality. The new screw-type terminals and deluxe quality shaved pin, 18mm pitch jack ensure a tight, secure fit between the amp and your components, reducing the chances of sound degradation.
Smart BIAS
The built-in smart BIAS system controls the amp’s BIAS based on the volume position. In doing so, the amp is able to utilise a field that experiences good transistor linearity without generating heat, so the sound quality always remains true.
Independent HP-AMP
To reflect the growing popularity of premium-quality headphones, this amp includes a specialised discrete amp with gain optimised to match headphone impedance.
 Main features of the amplifier

This power amplifier achieves dynamic output by using a single push-pull amplifier.
The power amplifying stage, which determines sound quality, consists of a single pair of transistors, successfully eliminating the emitter resistance used by conventional amplifiers to suppress overheating. The transistor output drives the speaker directly, reproducing sound with less undesired character.

Frame beam base chassis (FBB chassis).
A frame beam base chassis has been developed for the stereo amplifier. By combining a conventional frame beam chassis with a transformer  base, providing high accuracy and stiffness, the frame is more stabilized, reproducing better sound with less overall distortion.

A preamplifier constructed of completely discrete  stages.
This amplifier employs a relay for signal switching to eliminate sound loss, and discrete circuits for entire stages to optimize and upgrade the circuits.
 Newly-designed large speaker terminals.
The terminals of this amplifier minimize sound quality deterioration. Y-lugs and speaker wires can be tied securely.

Discrete amplifier for exclusive use with headphones.
This amplifier has a discrete amplifier used exclusively to drive  headphones. The impedance can be switched among LOW, MID, or HI to match that of the headphones
Amplifier section
Rated Power Output80 W + 80 W; 20 Hz to 20 kHz 0.09 % 8 Ω (Measured under the following conditions:)
Power Requirements:  230 V AC, 50 Hz/60 Hz
Supported Impedance of speakers4 Ω  or higher
Distortion0.008 %1kHz 10W 8ohms
Frequency Response10 Hz to 100 kHz ±3 dB (8 Ω)
Sensitivity:  150 mV
Impedance:  47 kohms
S/N ratio:  96 dB (Input short, A, 20 kHz LPF)
Impedance: 20 k Ω / 20 k Ω
S/N ratio: 96 dB (Input short, A, 20 kHz LPF)
Headphones Amplifier Section
Supported Impedance
LOW:  from 8 ohms to less than 50 Ω
MID:  from 50 ohms to less than 300 Ω  (+10 dB against LOW)
HI:  300 Ω  or higher (+16 dB against LOW)
Distortion0.1 % or less (20 Hz to 20 kHz)
LOW (8 Ω load impedance) 500 mW + 500 mW
MID (150 Ω load impedance)500 mW + 500 mW
HI (300 Ω load impedance) :  250 mW + 250 mW
Frequency response10 Hz to 100 kHz +0.5/3 dB (at LOW mode 8 ohms load impedance)
Power Requirements230 V AC, 50 Hz/60 Hz
Power Consumption300 W
Power Consumption (during standby mode)0.4 W
Dimensions (W x H x D)430 mm × 130 mm × 420 mm (including projecting parts and controls)

Mass (Approx.)18.0 kg

ADC LMF's Tonearms

 The ADC LMF  Carbon Fibre Low Mass Tonearms
The LMF-1 has an integrated head for lowest mass.
The LMF-2 has a removable head.
 We chose carbon fibre because of its low mass to high tensile strength ratio. Then we were able to further lower the mass by abandoning the traditional tubular shape and engineering the fully tapered profile. Carbon fibre has yet another asset which anyone with a serious love of quality music reproduction will love. The inherent properties of the material are antiresonant.
The combination of a fine cartridge and the LMF low mass tonearm will not interact with typical building resonant frequencies or with typical record warp frequencies. The LMF tonearms are styled in mat-black to blend into the design of any high quality turntable.
 The cueing is viscous damped in both directions for optimum stylus care. Tracking forces are calibrated in 1/10 th gram increments with a precision click-stop dial. Anti-skate adjustments are infinitely variable to 2 grams.
The LMF tonearms each come with three cylindrical counterweights to enable you to achieve zero balance with minimum effective tonearms mass, regardless of the weight of your favorite cartridge even up to 11 grams. 
 The LMF-2 has a removable head.
This allows the audiophile whose tastes require alternative phono cartridges to make premounted changes in seconds, both permit the use of the highest compliance cartridges with lowest tracking forces.
 The pivot system uses stainless steel instrument bearings, which are hand picked and perfectly matched to both the outer and inner races for virtually frictionless movement without the vulnerability to damage found with typical "knife-edge" bearing sytems.
Tonearm Lenght:  237 mm (9,33") Pivot to stylus Tip
Head Offset Angle:  20 °
Stylus Tip Overhang:  15 mm ( ,590")
Tracking Angle Error:  Zero error at 82 mmR (3,2"R)
Anti-Skate Adjustment:  0 to 2 grams
Height Adjustment Range:  35 mm (1") to 80 mm (3") from base to cartridge mounting surface
Rear Clearance Radius:  76 mm (3")
Tonearm Overall Length:  313 mm (12.33") rear to stylus Tip
Cartridge Weight Range [LMF-1 / LMF-2]:  4 - 11 grams / 3 - 11 grams
Zero Balance Weights [LMF-1 / LMF-2]:  7, 15 and 30 gram / 15, 30 and 45 gram
Stylus Force Range:  Calibrated 0 to 1,5 gram in 0,1 steps
Bearings Type:  Instrument type stainless steel ball bearings factory adjusted for maximum stability and low friction angular contact
Effective Arm Mass[LMF-1 / LMF-2]:  5,5 grams / 8 grams
Arm Wiring:  18 pF per channel
Lead Wires (stereo):  220 pF per channel (normal)
leadWires (CD-4):  100 pF per channel (available accessory)
Arm and Head Material:  Non-resonant Carbon Fibre molding
Counterweight Assembly:  Elastometric mounting
Arm-Cartridge Resonance:  Nominal 10 Hz with typical high-compliance cartridges
Tonearm Lifter
Cue Control:  lever Control
Damping:  Viscous oil daamped in both Up and Down directions
Height Adjustment:  Factory adjusted; adjustable if required


 The recent success of ADC's foray into the component tonearm business with the LMF-1 seems to have prompted the release of a less costly version, whereby the tapered carbon-fibre tube of the LMF has been replaced by aluminium and the end product labelled the ALT-1. this detachable headshell arm is also used in a similar form in the 1600 and 1700 turntables. The counterweight assembly is shorter than that on the LMF-1, and is of a rotating scale rether than the more complex calibrated dial type. The arm is supplied with a simplified sliding base compatible with SME fixing centres which made for easy setting up and alignment (the SME type base is an extra with the LMF-1).
 Proving not to be as well adjusted as we would have liked the horizontal bearing was rather slack and showed a moderate if not particularly low friction of 40 mg. However biasing was fine, and downforce calibration very good. The resonance graph revealed an untidy characteristic, although as the modes were well-controlled the result was in fact above average. However, if this is compared with the new graph for the LMF-1, the latter's superior performance in this department is only too apparent, albeit at twice the price. Lead capacitance was 180 pF, which is fairly high and may be worth bearing in mind with some cartridges.
 The value is quite good, and the fact that there are few low mass arms around at this price level works to the ALT-1's advantage, since the more compliant cartridges should work well in this model.
On a good turntable the sound quality produced by this arm was judged as above average, despite some imprecision of stereo imaging.
Tonearm length:  237 mm (9,33') Pivot to stylus tip
Cartridge Offset Angle:  24,6°
Stylus Tip overhang:  19 mm (0,760")
Zero Tracking Angle Error:  at 69 mm (1,7") and 129 mm (5,06")
Maximum Tracking Angle Error:  1,25° at 60, 94 and 146 mm (2,38", 3,69" and 5,75")
Cartridge Weight Range:  4 to 11 grams
Stylus Force Range:  Calibrated 0 to 4 in ¼ g steps
Bearings Type:  Stainless steel ball bearings
Effective Arm Mass:  7,0 grams with counterweight (set for ADC XML cartridge)
Anti-Skate Range:  0 to 4 grams
Arm Wiring:  18 pF per channel
Lead Wires (stereo):  220 pF per channel (normal)
Lead Wires (CD-4):  100 pF per channel (available accessory)
Tonearm Lifter
Cue:  lever control
Damping:  Viscous oil damped
Height Adjustment:  Lifter is factory adjusted


 With so many cartridges on the market, it'w easy to get confused. Unless you choose one with an outstanding track record.  Like the ADC 10/E Mark II.  Widely acclaimed as the "Critic's Choice", it is crafted by hand using our exclusive induced magnet design.
 The 10/E Mark II recreates sound faithfully. And tracks perfectly at the lowest possible pressures for optimum fidelity and long record life. It is as durable as any cartridge made regardless of price, and can be used with virtually and model changer or tonearm.
So end "cartridge confusion" forever by insisting on the ADC 10/E Mark II. For $59.50, you won't find a souder value.
Type:  Induced Magnet
Output:  4 mV at 5,5 cms/sec. recorded velocity
Tracking Force:  ½ to 1½ grams
Frequency Response:  10 Hz to 20 ,000 Hz  ±2 dB
Channel Separation:  30 dB from 50 Hz to 12,000 Hz
Compliance:  35 x 10⁻⁶ cms/dyne.
Vertical Tracking Angle:  15"
Recomm. Load Impedance:  47,000 Ω nominal
Elliptical Stylus Tip: 
Contact Radius :  .0003"
Lateral Radius :   .0007"

Mass:  6,50 g