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

Alchemist TS-D1 DAC

The new Alchemist TS-D1, 24-bit 96 kHz compatible DAC will support all sampling rates up to and including the very latest DVD standard of 96 kHz. Therefore making it the obvious affordable upgrade for the latest generation of CD/DCC/DAT/DVD and Mini Disc machines. Bringing true audiophile status to otherwise mediocre performers. It offers the choice of either Coaxial or Optical input connection, along with a digital record output to allow digital recording onto Mini Disc, CDR or DAT types machines.

The TS-D1 is based around the latest surface mount microchips from Crystal and Burr Brown making it the most up to date DAC available today. These coupled with many proprietary filtering enhancements also make it perform beyond its diminutive size.

The TS-D1 is just the beginning of an exciting new range of products that will include a MM/MC phono stage, remote controlled preamplifier and power amplifiers amongst others, all utilizing the extrusion that gives them their unique identity.



DAC-Type 24-bit, 8x Oversampling, Multi Level Delta Sigma

Sampling Rates:  Supports all sampling rates in range 16 kHz - 96 kHz

Data Types:  16, 18, 20 and 24 Bit SPDIF

Level (0 dB) :  2 V RMS

Total Harmonic Distortion (+n) :  -96 dB

Linearity:  ±0,3 dB to 100 dB

Signal-to-Noise Ratio :  104 dB

Dynamic Range:  104 dB

Master Clock :  256 Fs

Digital Filter:  8x Oversampling, 80 dB stopband attenuation

De-emphasis (44,1 kHz):  Digital domain <0,2 dB error

Dimensions (W x H x D):  154 x 45 x 170 mm

Weight:  3 kg (packed)


Denon TU-900 tuner

Digital Display Servo Locked FM Stereo Tuner


Precise station selection tuning is ensured as the tuner is provided with both a dial scale and a digital adops the auto servo lock touch tuning system, to gain high Signal-to-Noise Ratio and low Distortion.

IF amplifier stage combines low distortion (0,025% mono) high selectivity (90 dB or better) with a 2-system (wide, narrow) IF amplifier circuit and a double filter pilot canceller circuit.

Provided with a high sensitivity front-end with a linear frequency type 5-gang variable capacitor that suppress intermodulation distortion

The audio amplifier stage is of DC configuration and specifically designed for the purest amplification possible.

The MPX stage achieves low distortion through a pilot canceller circuit and improving the separation with a unique separate correction circuit. A 440 Hz oscillator offers convenient air check.

Incorporates 2-output circuit system for amp and deck etc.


Precise Tuning with Excellent Performance

The Denon TU-900 employs a "Precise Tuning" system, with tuning accuracy 10 times higher than conventional system. In addition, tuning is quicker and more precise thanks to the automatic touch sensitive servo lock tuning system that automatically disengages the servo locking circuit when the tuning knob is touched with the hand.

It's almost like magic.

Featuring both and easy-to-read analog dispay scale and a digital readout. It is equipped with an automatic servo-lock touch sensor system, making tuning easier and more accurate. And, for improved performance, it is constructed with a high-sensitivity front-end, a wide and narrow 2-band IF amplifier, a wide band detection circuit, and MPX circuit with a pilot signal canceller, a pure DC amplifier, and an array of other features that make possible a high Signal-to-Noise Ratio ratio of 88 dB , a low distortion factor of 0,025%, and superb separation of 60 dB.


Dual-Gate MOS FET and a 5-Gang Variable Capacitor

Denon didn't just improve the Signal-to-Noise Ratio , but went all the way to tackle the task of improving sensitivity to 1,7 µV (9,8 dBf). And, inter modulation distortion has been suppreeed by increasing the interference wave removal capacity, obtaining an image-spurious-IF interference wave ratio of more than 110 dB.



Type:  Digital display FM Stereo Tuner

Receiving Range:  88 - 108 MHz

Usable Sensitivity:  1,7 µV (9,8 dBf)

Effective Selectivity (±400 kHz): 

Wide :  50 dB

Narrow :  90 dB

Signal-to-Noise Ratio;

Mono :  88 dB

Stereo :  85 dB

Total Harmonic Distortion

Monaural (100 % mod.) Wide / narrow :  0,025% / 0,1%

Stereo (90% mod.) Wide / Narrow :  0,035% / 0,3%

Capture Ratio:  1,0 dB

AM Suppression:  70 dB

Image Rejection:  90 dB

IF Rejection:  100 dB

Spurious Response:  90 dB

Frequency Response :  20 Hz - 15 kHz (+0,2 dB -1,5 dB)

Stereo Separation: 

Wide :  60 dB

Narrow :  45 dB

Muting Operation Level :  26 dB

Output Level (100% mod.): 

Deck :  0,6 V

Amp :  3,3 k

Level Check Frequency:  440 Hz

Tuning Indicator:  by LED

Tuning Strength Indicator:  by 5 Leds

Antenna Terminals:  75 , 300

Power Supply:  AC 120 V, 200V/220 V/ 240 V 50 Hz

Power Consumption:  14 W

Dimensions (W x H x D):  505 x 83 x 344 mm

Weight:  6,1 kg

Akai GXC-65D cassette deck

From Akai new sound in cassettes

Akai gives you the most perfect cassette recording in the world today.

That's a mighty big claim. But we can prove it. Our GXC-65D Stereo Cassette  Recorder is innovatively engineered with ADRS. This exclusive system eliminates almost all high frequency distortion above 8,000 Hz.

But we didn't stop there.

We combined ADRS with Dolby, and then added Akai's exclusive GX (Glass and Crystal ferrite) head.

The clear, undistorted signal is a pleasure to behold. And a greater pleasure to hear. What's more, the GXC-65 D is equipped with Akai's Invert-O-Matic - automatically reverses the cassette inside the recorder for continuous repeat/reverse. And the Invert-O-Matic mechanism is unconditionally guaranteed for two years - parts and labor.

So you can stop sitting around waiting for perfect cassette recording. Listen to the GXC-65D - your ears will make up your mind for you.


Illustrated below are the actual output curves of 13,000 Hz signal from a Dolby equipped cassette deck without ADRS, and a comparable curve from the new Akai GXC-65D.



Track System:  4-track, 2-channel stereo system

Tape Speed:  1-78 ips ±2%

Wow and Flutter:  less than 0,12% RMS

Frequency Response:

Chrom Tape :  30 to 18,000 Hz

LN Tape :  30 to 16,000 Hz

Signal-to-Noise Ratio:  better than 58 dB with Dolby

Distortion:  less than 2% at 1,000 Hz "0" VU recording

Crosstalk:  better than 25 dB

Erase Ratio:  better than 70 dB

Bias Frequency:  61 ±3 kHz

Bias Leak:  less than -50 VU


Line :  0 ±1,5 dB (0,775 V) using a 333 Hz pre-recorded tape

DIN :  0,4 V

Phone :  30 mV at 8

Speaker :  6 W each channel at 8


Mic :  more than 0,4 mV / 4,7 k

Line :  more than 50 mV/ 200 k

DIN :  more than 7 mV (low), 70 mV (high)

Recording Capacity:  1 h stereo recording using C-60 cassette tape

F.Fwd and Rwd Time :  68 sec (C-60)


Recording/Playback:   P4-330, 4-track, 2-channel GX rec/playback head

Gap /  Impedance :  1,4 - 1,9 microns/1,200  ±20% at 1 kHz

Erase Head :  E4-150, 1-track, 1-channel erase head

Gap  /Impedance :  0,3 mm / 195  ±10% at 100 kHz

Motor:  Hysteresis Synchronous Outer-roter motor

Typ :  HM-12CS

Revolutions :  1,500 / 1,800 rpm at 50/60 Hz

Power Supply:  100 to 240 V AC 50/60 Hz

Power Consumption:  50 W (recorder type), 20 W (deck type)

Dimensions (W x H x D):  415 x 180 x 290 mm (16,6" x 7,2" x 11,6")

Weight:  9,2 kg (20,2 lbs)


Audio Research D-70 power amplifier

If a preamplifier is viewed as the control center of a music system, then an amplifier can be regarded as the "engine" which power the system.. There is a misnomer among the audio community that amplifiers have no distinct "sonic signature" of their own, and that amplifiers varying widely in design and construction exhibit only minimal sound differences. Whit thirty years of design experience Audio Research has discovered this is not the case.

Claims for amplifier similarity have been strictly based on static performance measurements made into purely resistive loads. This is a poor test basis, similar to comparing a racing engine to a road model at identical idling speeds and concluding that they are equal in performance. In fact, amplifiers vary widely in their sonic character and recent advances in amplifier technology make this easily demonstrable .

From a performance standpoint, amplifiers must meet the same criteria for preamplifiers including clarity. High Definition , harmonic accuracy and dynamic range. Perfect linearity under difficult load coditions is impossible to achieve. However, Audio Research has been responsible in extending amplifier performance to new limits for nearly two decades.


Design Criteria

When designing a high performance power amplifier, the engineer is faced with four primary considerations:

  • Audio quality
  • Construction quality
  • Power
  • Costs.

So successfully blended are these criteria that Audio Research amplifiers now extend state-of-the-art. Performance without sacrifice in power, construction quality or at unreasonable cost.

Because Audio Research has given continuous attention to improving all aspects of amplifier design for many years. Audio Research now manufactures amplifiers which appear modest in price compared to state-of-the-art. Models of just a few years ago. Yet the performance capabilities of these amplifiers are so great that they overwhelm recent state-of-the-art. Amplifieres built without cost constraints.



Patented Audio research cross-coupled and fully balanced circuitry

Front panel power switch relay coupled for smooth and reliable turn-on

Front panel LED indicators for line and screen

Front panel fusing for line and screen

Sonically selected components for optimum sound performance

Near military grade construction used hroughout



Power Output:  65 watts per channel minimum continuous at 16 ohms from 20 Hz - 20 kHz with less than 1% Total Harmonic Distortion

Power Bandwidth:  10 Hz to 60 kHz (-3 dB points)

Input Sensitivity:  95 V RMS for rated output

Input impedance:  75 k Ω nominal

Noise:  greater than 90 dB below rated power, broadband unweighted

Dimensions (W x H x D):  19" x 7" x 16,5"


Nakamichi BX-100 cassette deck

2-Head Cassette Deck

Uncompromising performance with sure, simple operation. No other deck can offer so much quality with so much affordability

The BX-100 offers greater affordability, with absolutely no compromise on reproduction performance. The heart of the BX-100 - the transport, heads, and electronics - are identical to that of the BX-125, offering the same performance excellence. The Dual-Speed Master Fader control and Auto Repeat function are found here as well, along with Dolby B noise Reduction. A mechanical tape counter and elimination of the output level control are the only other differences found in features.



Track Configuration:  4-track, 2-channel stereo

Heads:  Two, 1 x Erase head; 1 x rec/pb head

Motors Tape Transport: 

Capstan Drive :  DC servo motor

Reel Drive :  DC motor

Tape Speed:  1-7/8 ips (4,8 cm/s) ±0,5%

Wow and Flutter: less than 0,06% (WTD RMS);  ±0,11% (WTD Peak)

Frequency Response:  20 Hz - 20,000 Hz (recording level -20 dB)

Signal-to-Noise Ratio:  better than 62 dB (Dolby B type NR)

Total Harmonic Distortion

SX Tape :  less than 1,2%

ZX, EX II Tape :  less than 1,0%

Erasure:  better than 60 dB

Separation:  better than 36 dB

Crosstalk:  better than 60 dB

Bias Frequency:  105 kHz

Input Line :  50 mV / 30 k


Line :  0,5V  / 2,2 k

Headphones :  1,2 mW / 8  load

Fast Winding Time:  approx. 85 sec. C-60 cassette

Power Requirements:  100, 120, 120/220-240, 220 or 240 V, AC, 50/60 Hz

Power Consumption:  23 W max

Dimensions (W x H x D):  430 x 110 x 250 mm (16-15/16" x 4-5/16" x 9-7/8")

Weight:  5,5 kg (12 lb 2 oz)

Nakamichi BX-300 cassette deck

The BX-300 incorporates a wealth of original Nakamichi Technology including the Discrete Three-Head Recording System that guarantees 20 - 20,000 Hz ±3 dB response, perfect magnetic azimuth alignment, and maximum MOL; the Asymmetrical Dual-Capstan Diffused-Resonance Transport that eliminates the need for pressure pads and intracapstan guides and so has remarkably low scrape flutter and modulation noise for superior sound clarity; and Nakamicho-quality electronics for reduced noise and distortion. We even created a new high-inertia DD capstan motor and servo for the BX-300 to provide the benefits of direct drive - without its problems. If you'd rather invest insuperior performance than spend a bundle on features you don't really need, you'll find the BX-300 made for you.


The Discrete Three-head System - Perfect Magnetic Azimuth Alignment Ensures 20 - 20,000 Hz

A "3-head" deck should be better than a 2-head deck because separate record and play heads can be individually optimized. A wide recording gap ensures full tape utilization for optimum MOL while a narrow playback gap resolves high frequency recordings. A 3-head deck also allows of-tape monitoring so you can check quality as you're recording. But beware - all 3-head decks are not the same.

Most 3-head decks use "sandwich" heads  - record and play sections are in the same housing. Once the head is made, there's no way to align the sections. Even if the gaps are mechanically parallel, the magnetic gaps may not be , and, without perfect magnetic alignment, response is impaired. And, with the gaps so close together, recording flux may leak into the playback core. In severe cases, this "crossfeed" upsets Dolby tracking and can be heard as a preecho when monitoring compromising the monitor's usefulness.

To Nakamichi, "3-head" means three discrete heads - physically independent heads that are perfectly optimized and magnetically aligned after insstallation to ensure flat response, maximum headroom and minimum noise at all frequencies.

Our recording and playback heads are individually shielded to eliminate crossfeed and noise pickup. They are individually adjustable in height, azimuth, and zenith to ensure perfect tracking, magnetic alignment and tape contact. Our mounting system is unusually sophisticated and allows non-interacting adjustment of each parameter for each head after installation. The results speak for themselves.

Playback head - P2H-3L; with a 0,8 micron gap and low-loss laminated-Crystalloy core, the P2H-3L provides smooth response to 20 kHz. A special hyperbolic geometry virtually eliminates "contour effect" so response is uniform to the lowest frequencies.

Recording head - R-3L; this 3,5 micron gap head produces an extremely sharp critical zone for maximum high-frequency response and MOL. Its laminated-Crystalloy core easily handles the bias needed to record high-coercivity metal tape and ensures exceptional dynamic range.

Erase head - E-4F; with two erasing gaps, a low-loss ferrite core and high-saturation sendust poletip, the E-4F ensures complete erasure for perfect sound clarity


Asymmetrical Dual-Capstan Diffused-Resonance Transport Eliminates Scrape Flutter and Modulation Noise.

Most dual-capstan decks use identical capstans for supply and takeup. They rotate at the same rate and concentrate wow at specific frequencies making it much more audible. Tape tension within the "closed loop" isn't constant -  the whole point of a closed-loop system - so a pressure pad is used to maintain tape-to-head contact. With a pressure pad, tape-to-head contact becomes erratic and, unless the pad is perfectly oriented, the tape skews causing mistracking and azimuth error. Thus an intracapstan guide needed.

After years of research, Nakamichi created the "asymetrical Dual-Capstan Diffused-Resonance Transport" -  the only mechanism that eliminates coherent wow and exercises such precise control that neither pressure pad not intracapstan guide are required.

The pad and guide have audible effects. As the tape passes them, it vibrates causing "scrape flutter" and "modulation noise" which destroy sound clarity. Modulation noise varies with recording level so it's not suppressed by noise-reduction systems. In fact, the perceived quality of digital recording is largely due to the absence of modulation noise. Reoving the pad and guide virtually eliminates scrape flutter and modulation noise and allows music to emerge with digital-like tansparency. To eliminate coherent wow, the transport is "asymmetric", capstan are of different diameter and rotate at different rates so they don't resonate and concentrate wow at specific frequencies.


High-Inertia Direct-Drive Capstan Motor and High-Precision Servo Ensure Ultra-Low Wow and Flutter

"Direct Drive" should be superior to belt drive because a belt can introduce speed variations if it doesn't run true. But, direct drive mercilessly reveals motor cogging becasue there's no compliant belt to filter it. Cogging causes high frequency flutter that is heard but ignored in specifications. All DD decks are not the same.

The BX-300 takeup capstan is directly driven by an outstanding new motor that is virtually cog-free thanks to its unusually high inertia. The motor has an exceptionally heavy rotor with the mass concentrated at the circumference to create a flywheel that ensures smooth rotation. It is brushless, slotless and coreless so torque fluctuations are inherently low.

To further reduce flutter, we extended the servo bandwidth to correct torque variations up to 1 kHz - the key element being a 160-segment frequency generator that senses speed every 2-1/4 degrees of rotation. A careful choice of components ensures excellent stability over time and temperaature.

The BX-300 features Nakamichi's "Silent Mechanism" in which a microprocessor=controlled Motor-Driven Cam replaces conventional solenoids. There's no mechanical shock to upset head alignment and each operation is performed swiftly and precisely.

The motor actuates three switch cams to inform the microprocessor of the current status. This "dialogue" between mechanism and microprocessor permits sophisticated precise control.


Nakamichi Electronics On A Par with The Finest Preamps

To realize the full potential of nakamichi heads and use the Dolby NR system to best advantage, we developed new electronics for the BX-300. with distortion under 0,005%, they're equivalent to the finest preamps.

Recording, line and headphone amplifiers are direct-coupled and bipolar-powered for maximum dynamic range. The Double-NF recording equalizer is directly coupled to the recording head for low distortion and precise compensation.

Playback amplifiers are sensitive to power supply fluctuations; our special circuitry overcomes this problems and yields excellent Signal-to-Noise, High-gain low-noise input FETs and Double-NF topology reduce distortion and noise and ensure perfect head matching

A central power supply feeds each circuit separately to eliminate noise and crosstalk.

Dolby chips are handpicked to ensure perfect matching and realize Dolby-C's full potential.


An Array of Truly Features for Superb Operating Convenience

Dual-Speed Master Fader: once you've set maximum recording level and channel balance with the BX-300's left and right Rec level sliders, you can create professional fades at the touch of a button. Press lightly on UP or DOWN for a 4-second fade; press and hold for a 2-second fade

Auto Repeat: turn on Auto Repeat and the tape automatically rewinds and replays when it reaches the end. Or, use Auto Repeat with Memory Stop to repeat playback from counter zero.

Bias Fine Tuning: even tapes of the same general type differ somewhat in bias requirements. The BX-300's Bias Fine Tune control allows you to adjust bias to create perfect recordings.

Pitch Control: it's no problem to "true" the BX-300 to your piano or other musical instrument. Its Pitch Control allows you to alter playback speed by ±6% - one semitone - to correct an off-pitch recording.

Dolby B/C Noise Reduction: B-type NR reduces noise in the upper frequency region by approximately 10  dB . C-type NR gives you 20 dB noise reduction from 2 kHz to 8 kHz where tape hiss is most audible.

Wide-Raange Peak-Responding Meters: LEDs accurately indicate recording level over a wide 50 dB range (-40 dB to =10 dB)

4-Digit LED Tape Counter: referenced to "0000", this precision counter reads bidirectionally from "-999" to "9999"



Track Configuration:  4-tracks, 2-channel stereo

Heads: 1 x erase; 1 x record and 1 x playback heads



FG servo, brushless, slotless, coraless

1 x DD motor for capstan drive

1 x DC motor for reel drive


1 x DC motor for cam operation

Tape Speed

Recording :  1-7/8 ips (4,8 cm/sec) ±0,5%

Playback :  1-7/8 ips (4,8 cm/sec) ±6%, adjustable

Wow and Flutter

WTD Peak ;  less than ±0,048%

WTD RMS :  less than 0,027%

Frequency Response:  20 Hz - 20,000 Hz ±3 dB (-20 dB recording level, )

Signal-to-Noise Ratio

Dolby C NR :  better than 70 dB

Dolby B NR :  better than 64 dB

Total Harmonic Distortion (400 Hz, 0 dB):

ZX Tape :  less than 0,9%

SX, EX II tape ;  less than 1,0%

Erasure: better than 60 dB (100hz, 0 dB)

Separation:   better than 36 dB (1 kHz, 0 dB)

Crosstalk:   60 dB (1 kHz, 0 dB)

Biass Frequency:  105 kHz

Input Line :  50 mV / 30 k Ω


Line :  1,0 V (400 Hz, 0 dB, output control max.)/ 2,2 k Ω

Headphone :  5 mW (400 Hz, 0 dB, otput control max.)/ 8 Ω

Power Requirements:  100, 120, 120/220-240, 220 or 240 V AC 50/60 Hz

Power Consumption:  approx 27 W

Dimensions (W x H x D):  430 x 100 x 250 mm (16-15/16" x 3-15/16" x 9-7/8")

Weight:  5,6 kg (12 lb 6 oz)

Pioneer CS-22 loudspeakerrs

Slim, versatile 2-way speaker system

This compact, trim speaker system is ideal for home stereo systems. Its 16 watts of input will provide you with excellent tonal reproduction over the full audio range. The combination of the woofer, tweeter and infinite baffle enclosure offer superb, natural tone , at any volume level. It's space-saver (it can be placed anywhere - on a bookshelf, even hung on the wall) yet its high efficiency assures you of rich, natural music reproduction.

The CS-22 is aslo perfect for background music, or as a second set of speakers in a sophisticated high fidelity system.

Versatile use

This is a true high fidelity, easy-listening speaker system - free from distortion and listening fatigue - in a most attractive cabinet. The CS-22 is highly recommended for smaller home stereo system, as an extension speaker for high quality stereo systems, and for background music.

Power Handling Capacity

Despite the compact, bookshelf type enclosure, the CS-22 handles up to 16 watts of power input for true hi-fi stereo reproduction over the entire audio frequency range. It is practically distortion-free even at the highest power levels, while maintaining an excellent efficiency of 95 dB/w. comparable to higher priced, larger speaker systems, the CS-22 is perfect for a home stereo system or as an extension speaker for background music.


The CS-22 incorporates a newly developed 8" high performance, cone type woofer. Well-matched with the infinite baffle enclosure, it provides smooth bass response down to 55 Hz. The CS-22 includes a tweeter with excellent dispersion characteristics, and delivers transparent and clear mid-range and highs up to 20,000 Hz, with fine separation.


Finished on all sides in synthetic resin woodgrain, the CS-22 will anhance the attractiveness of any room. Carefully chosen absorbent material lines the inside of the cabinet for optimum acoustical balance. The unit may be placed vertically or horizontally, and is provided with a mounting bracket for hanging on a wall. Compact size permits easy positioning on a bookshelf.



Enclosure:  Infinite baffle type

Mounted Speakers

LF :  8" cone type woofer

HF :  2-3/4" cone type tweeter

Impedance:  8

Frequency Response:  55 - 20,000 Hz

Sensitivity:  95 dB/w

Maximum Power Input:  16 watts

Crossover Frequency:  6,000 Hz

Dimensions (W x H x D):  270 x 470 x 210 mm (10-3/4" x 18-1/2" x 8-1/4")

Weight:  4,7 kg (10,3 lbs)

Pioneer CS-63DX speakers

A truly great speaker system can only be achieved by meticulously balancing three elements, speakers, crossover network and cabinet. All three of these elements are of the finest quality. Each has Pioneer's three decades of experience behind it. The result is a startlingly smooth response from 20 Hz - 22 kh. The CS-63DX works superbly with any amplifier or receiver; however, particularly excellent results are obtained with Pioneer's SX-1500T and SX-1000TD


Features of CS-63DX


To reproduce low frequencies, large masses of air must be oved. There is no other way. Obviously an 8" speaker cannot move as much air as a 15" woofer. Pioneer's woofer features special cone paper and heavy magnet with more total flux than just about any other unit on the market today. Superb trtansient response results.


For better wider dispersion in the mid-range and for a perfect match with the three exponential horn tweeters, we have used two mid-range units. Featuring a roll-edge cone for smooth linear excursions, these units have been carefully integrated into the totalsystem for just the right balance.


Many system use only tweeter someuse two, but Pioneer uses three for very good reasons. A tweeter that gives satisfactory dispesionusually cannot reproduce the extremely high frequencies efficiently. So Pioneer designed a horn tweeter for moderate highs, and two super tweeters for the critical ultra-highs. The result is more highs with a wider Dispersion than has been possible until now.

Tone Controls

No room is quite any other room.that is why a tone control is essential. By using this control to compensate for the particular acoustics of your room, optimum high fidelity reproduction is achieved. Pioneer's controls are unusually sophisticated. There are two, one for high and one for mid-range units. Each control has three positions, normal; increase; decrease. These controls are, in fact, desirable audio refinements.'

Crossover Network

This expensive crossover network assures that each speaker handles only those frequencies for which it was specially designed. From woofer to mid-range there is a gradual attenuation of 6 dB per octave, but for mid-range and tweeters there is a sharp 12 dB per octave attenuatiopn.


This master-crafted cabinet is fully lined with fiber glass and rigidly constructed to eliminated undesirable reflections and spurious resonance. Of infinite baffle design, the enclosure is finish ed in oiled walnut and features a most attractive grille. Here is a spacious enclosure that you can proudly place in any room.





Enclosure:  Infinite baffle type


LF :  15-inch cone woofer

MF :  5-inch x 2

HF ; horn tweeter, horn super tweeter x 2

Impedance:  8

Frequency Range:  20 to 22,000 Hz

Maximum Input Power:  80 watts

Sensitivity:  92 dB/W at 1 m

Crossover :  770 Hz; 3,300 Hz; 12,000 Hz

Dimensions (W x H x D):  480 x 720 x 332 mm ( 18"-7/8" x 28-3/8" x 13-1/16")

Weight:  28,5 kg (63 lb)

Pioneer SX-535 receiver

 Advanced stereo receiver featuring 20 watts per channel, min. RMS at 8   from 40 Hz to 20,000 Hz with no more than 0,8% T.H.D.

Why pay for watts are wasted? The pioneer SX-535 combines practical power with advanced features and high performance to prove that high power is not always the answer when it comes to good high fidelity listening.. The FM tuner section employs a low-noise FET and a frequency-linear 3-gang variable capacitor in its front end to result in a high sensitivity of 1,9 µV (IHF). The FM IF stage uses a 5-stage limiter and phase-linear ceramic filters to boost FM station selectivity to 60 dB (IHF), capture ratio to 1,0 dB (IHF) and Signal-to-Noise Ratio to 70 dB. And to ensure stability under all operating conditions, the FM MPX circuit is the advanced PLL (Phase Lock Loop) type with an IC. Accurate high fidelity reproduction of all sounds is achieved by using a particularly precise phono equalizer in the Pioneer SX-535.. It keeps RIAA deviation within ±0,5 dB. As for versatility, the SX-535 has special circuits for two tape decks (deck 1 to deck 2 tape duplication is possible),, a dual meter tuning system with FM-linear dial scale and other control luxuries. And as for power, the SX-535 is ideal for use in the average-sized listening room with its continuous power output of 20 watts, per channel, min. RMS at 8 ohms from 40 Hz to 20,000 Hz with no more than 0,8% Total Harmonic Distortion. There are no wasted watts in the Pioneer SX-535  a stereo receiver value you shouldn't pass up.



Amplifier Section

Continuous Power Output

 from 20 Hz to 20 kHz (both channel driven)

20 W + 20 W at 8  (rated power)

22 W + 22 W at 4

 at 1 kHz (both channel driven): 

22 W +22 W at 8

25 W + 25 W at 4  

Total Harmonic Distortion

40 Hz - 20 kHz (Contiuous Power Output):  less than 0,8%

1 W + 1 W, Power Output) :  less than 0,08%

Intermodulation Distortion

Continuous Power Output :  less than 0,8%

1 W + 1 W, Power Output :  less than 0,08%

Power Bandwidth (IHF, Both channel driven):  10 Hz - 70 kHz (T.H.D. 0,8%)

Output Speaker: A; B; A + B, 4  - 16  

Headphone Output:  4  - 16

Damping Factor (1 kHz, 8 ):  more than 30

Residual Hum and Noise (8 , Pre & Power Amp.):  less than 0,5 mV

Input Sensitivity/Impedance

Phono :  2,5 mV / 50 k

Phono Overload Level (rms/p-p):  110 mV / 31 mV

Mic :  7 mV/ 85 k

Aux :  150 mV/ 75 k

Tape 1, 2 :  150 mV / 75 k

Tape (DIN) :  150 mV/75 k

Output Level/Impedance

Tape Rec 1, 2 :  150 mV

Tape Rec 2 (DIN) :  30 mV/80 k

Frequency Response:

Phono (RIAA equalization):  30 Hz - 15 kHz ±0,5 dB

Aux, Tape :  20 Hz - 30 kHz ±1 dB

Tone Controls

Bass :  =9 dB, -8 dB at 100 Hz

Treble :  ±6 dB at 10 kHz

Loudness Contour (Vol. Control set at -490 dB position):  +10 dB at 100 Hz; +5 dB at 10 kHz

Hum and Noise (IHF, short circuited, A network)

Phono :  more than 70 dB

Mic :  more than 65 dB

Aux, Tape :  more than 90 dB

FM Section

Usable Sensitivity (IHF):  1,9 µV

Capture Ratio (IHF):  1,0 dB

Selectivity (IHF):  60 dB

Signal-to-Noise Ratio:  70 dB

Image Rejection (98 MHz):  60 dB

IF Rejection(98 MHz):  90 dB

Spurious Rejection:  75 dB

AM Suppression:  50 dB

Total Harmonic Distortion

Mono :  less than 0,2%

Stereo :  less than 0,4%

Frequency Response:

 20 Hz - 15 kHz (+0,2 -2,0 dB)

50 Hz - 10 kHz (+0,2 -0,5 dB)

Stereo Separation

At 1 kHz :  more than 40 dB

From 50 Hz to 10 kHz :  more than 30 dB

Sub Carrier Suppression:  40 dB

Antenna Input:  300  (balanced); 75  (unbalanced)

Muting : On - off

AM Section


Ferrite Antenna ;  300 µV/m

Ext. Antenna :  15 µV

Selectivity:  35 dB

Signal-to-Noise Ratio :  50 dB

Image Rejection:  40 dB

iF Rejection:  70 dB


Semiconductors:  1 FET; 3 ICs; 29 Transistors; 15 Diodes

Power Requirements:  AC 110, 120, 130, 220 and 240 V 50/60 Hz

Power Consumption:  130 W - 180 W

Dimensions (W x H x D):  480 x 147 x 405 mm (18-7/8" x 5-13/16" x 15-15/16")

Weight:  10,3 kg (22 lb 8 oz)

Genesis I 60 amplifier


The Genesis Integrated 60-Watt Stereo Valve Amplifier uses proprietary technology, high quality components, and state-of-the-art vacuum tube topology to deliver sonic performance rivaling other amplifiers costing much more. The design objectives of this product are to:

1. Deliver musically accurate amplification,

2. Provide a vacuum tube amplifier that would approach the reliability and ease of use of solid state amplifiers,

3. Provide an affordable vacuum tube amplifier that would be able to drive the Genesis family of loudspeakers.

A valve amplifier matched with an appropriate loudspeaker can produce a sound that we can only call magic. The hard, brittle, and edgy presentation of many transistor amplifiers is contrasted with the rich, lush and silky sound of the tube amplifier. Often, tube amplifiers offer much better imaging and sound stage presentation compared to an equivalently priced solid-state amplifier. It is more musical, and the performance seems almost alive. A properly designed and built tube amplifier, such as the Genesis I60, is capable of reproducing midrange and treble with crystal clear definition – the

sound can only be described as smooth and silky, and musically accurate with the right timbre and harmonics.

As for the bass, the I60 is designed to maintain tight control over the bass, and deliver the powerful punch and dynamics at the low end with the solidity and weight of transistor amplifiers.


Design and Construction

The I60 is an integrated amplifier with four high-quality selectable inputs and a discrete resistor ladder potentiometer as a volume control. It uses a single 12AX7 per channel as the main voltage gain stage, with 6SN7’s as the driver stage. No ordinary 6SN7’s for the I60 – military spec 6N8P are selected for their reliability and durability, and then hand-picked for linearity and low noise. Two sets of matched-pair KT88 power output valves are used to deliver a very conservative 60 watts RMS per channel.

While the I60 is developed as a value-priced product, quality has not been scaled down. Extensive listening tests were done throughout the design process, and expensive components were used where they were appropriate. Custom-made military-spec paper-in-oil capacitors with aluminum cans are selectively used; a hand-built discrete resistor stepped attenuator is employed as a volume control; low-noise gold plated militaryspec ceramic tube sockets are used throughout.

Very little feedback is used – just enough to make the amplifier unconditionally stable. Not the excessive amount that is sometimes employed to make amplifiers measure better at the expense of musicality.

During construction, all components are handselected and precisely matched. The output transformers and power transformer are laboriously hand wound to precise specifications tailored to the circuit and tubes used. Point-to-point wiring using solid-core silver wire is used in the entire signal path. This reduces the resistance, capacitance and  nductance normally associated with ordinary printed circuit boards.


The only PCBs you see in the “guts” above are the boards associated with biasing of the power tubes, and the soft-start lectronics. The output transformers are custom designed and hand-wound with a core of grain-oriented silicon steel specifically for the output tubes used. Two output taps are provided on the secondary – 4ohm and 8ohm – with the 4

Ohm tap specifically tuned using Genesis loudspeakers. Each amplifier is extensively inspected and tested at every stage of manufacturing. It is also allowed to burn-in before the valves are biased and calibrated, and then run-in for 100 hours before finally being electronically tested prior to packing for shipment. Hence, it should come to you ready to use straight out of the box.






The Genesis Integrated 60-Watt Valve (or vacuum tube) Amplifier is a limited-edition product that was created as proof of concept that a welldesigned, well-executed, value-priced amplifier will be able to drive any Genesis loudspeaker with ease and authority.

The transparency, detail retrieval, dynamics, and wide frequency extension of Genesis loudspeakers place great demands on the quality of amplification. Because of our emphasis on absolute fidelity™ above all else, the speakers do represent a difficult, but not impossible load for an amplifier to drive. The I60 was created as a partner to a pair of Genesis loudspeakers, and as a result, it has the quality of amplifiers costing much more.


The I60, together with a pair of Genesis loudspeakers, will give your entire music collection a whole new life. In a well set-up system, it is capable of transporting the musical performance into your room. The hiss and hum normally associated with vacuum tubes are completely absent, while retaining the richness and rightness of the best of this genre of amplifiers.

While developing a value-priced product, quality has not been scaled down. Hand-selected, precisely matched components are used throughout: custom-made military-spec paper-in-oil capacitors with aluminum cans are

selectively used; tantalum-film resistors are used on a hand-built discrete resistor potentiometer as a volume control. The output transformers and power transformer are laboriously hand wound to precise specifications

tailored to the circuit and tubes used. Point-to-point wiring using solid-core silver wire is used in the entire signal path. This reduces the resistance, capacitance and inductance normally associated with ordinary printed circuit boards. Each and every unit is first burned-in on the test bench, and then run in for over 100 hours before final test and packaging.

Very little feedback is used – just enough to make the amplifier unconditionally stable. Not the excessive amount usually employed to make amplifiers measure better at the expense of musicality. The result of all this obsessive attention to detail is a fabulously musical amplifier capable of driving almost any loudspeaker in the world.




Vacuum Tubes:  4 x KT88; 2 x 12AX7: 4 x 6N8P (or 6SN7 equivalent)

Rated Power Output:  60 W + 60 W RMS

Total Harmonic Distortion :  less than 2,0% at full rated power

Frequency Response:  20 Hz - 30,000 Hz, (<1% T.H.D.)

Input Impedance:  250 k  

Output Impedance:  4   or 8  

Preamp Input Sensitivity:  380 mV

Signal to Noise Ratio:  >90 dB

Dimensions (H x W x D):  185 x 480 x 380 mm (7 ¼” x 17” x 15”)

Weight:  27 kg  (60 lbs)