Yamaha GT-5000 turntable

Referencing the esteemed turntables of the golden age of Hi-Fi, the GT-5000 expands on this heritage in the pursuit of pure musicality. Including a pure straight and short arm for absolute transparency and openness in sound, balanced signal path delivering absolute purity in signal transmission and design reflective of the GT heritage and absolute quality in craftsmanship and construction, the GT-5000 presents a new era on Hi-Fi from Yamaha

 

Features

Massive yet elegant heavy wooden chassis effectively serve to dampen vibration
Large, heavy double-structured platter for enhanced stability and performance
Heavy 5 kg Aluminium Platter
Custom belt-drive mechanism driven by 24-pole, 2-phase AC synchronous motor
Short, straight tonearm designed to deliver superior rigidity as well as a balanced weight
Specially-designed custom feet
XLR balanced output jacks that enable end-to-end balanced signal transfer from cartridge to speaker

 

 

Straight, Short Arm for Openness and Transparency in Sound

Accurately capturing the audio from the source is the imperative first step in delivering authentic, true, Hi-Fi sound. The flagship GT-5000 adopts a short, straight arm designed to deliver superior rigidity as well as balance of weight and mechanics which results in improved traceability. A rigid mechanism with simple construction means there is no need for an inside force canceler weight.

 

 

Customised Belt-drive for Stabilising Platter

The customised belt-drive mechanism of the GT-5000 minimises the influence of the motor cogging and excludes feedback control for an open and smooth sound. The original GT concept utilised the notion of internal mass to counter feedback control. This is built upon with the GT-5000 which negates feedback control through the belt-drive.

 

Specifications

Phono motor section

Drive System:  Belt drive

Motor Type:  AC synchronous motor

Motor Drive:  Crystal sine wave

Rotation Speeds:  33-1/3 and, 45 rpm

Rotation Speed Variation:   ±0.1%

Rotation Speed Adjustment:  Built-in crystal osc./strobe light

Adjustment Step:  0.1%

Adjustment Range:  ±1.5%

Wow and Flutter:  0.04% or less (W.R.M.S.)

Platter:  Aluminium

Diameter:  350 mm

Sub Platter:  Brass

Diameter: 143 mm

Tonearm Section

Type:  Static balance straight tonearm

Effective Arm Length:  223 mm

Overhang:  −17 mm

Acceptable Cartridge Weight (including head shell): 

Counter Weight Small :  16–23.5 g

Counter Weight Large :  23–34 g

Head Shell Weight:  14 g (including wires)

Audio Section

Output Analog Audio:
1 x RCA Phono Out

1 x XLR Phono Out

Power Supply: AC 220–240 V, 50/60 Hz

[Power Consumption:  15 W (While playing);  0.4 W (While stopped)

Weight:  26.8 kg

Dimensions (W × H × D):  546 × 223 × 411 mm (including feet and protrusions)

Allowable Operating Temperature:  10–35 °C

 

Yamaha NS-2000 speakers

Natural Sound Speaker System

Pure Carbon Fiber Woofer Cone

Improved Beryllium Midrange and tweeter Domes

Unique In-line Speaker Configuration and Rounded Baffle

Uncompromising Choice of Materials and Construction Throughout

Superbly Crafted Cabinetry

 

The lead in sound-oriented technology that has grown out of a hundred-year tradition has been purposefully expanded in this loudspeaker system. Although Yamaha sound transducers are "digital-proof" thanks to fast and precise signal processing, the NS-2000 system is a resounding testament to the fact that research has not rested in this area either.

 

Further refinement of the exclusive beryllium and carbon fiber technology, weight reduction of the membranes and unrivalled experience in processing valuable woods create the Yamaha system in a class of its own, with which digital progress can be heard.

 

The baffle with rounded edges reduces diffraction and ensures increased stereo definition. The precision housing was developed on the basis of irrefutable computer calculations, coupled with knowledge of sound. The bass membrane made of pure carbon fiber is super light and ultra-stable with a diameter of 33 cm. New beryllium domes have a drastically reduced weight of 0.028 g for the tweeter and 0.5 g for the midrange. The crossover is equipped with coils made of oxygen-free copper wire and large-dimensioned ferrite cores. Level controls for the tweeter and midrange are a matter of course in this class.

 

Specifications

Type:  Fully enclosed bookshelf type

Speakers:

Low Frequency :  JA3301 Woofer carbon diaphragm 330 mm (13") cone

Mid Frequency :  JA0802A Midrange Beryllium diaphragm 88 mm (3-1/2") dome

High Frequency :  JA0526A Tweeter Beryllium diaphragm 30 mm (1-3/16") dome

Nominal Input Power :  125 W

Music Input Power :  250 W

Impedance:  6 Ω

Sound Pressure Level :  90 dB/W/m

Crossover Frequencies:

Low/mid :  500 Hz (12 dB/oct)

Mid-high :  6 kHz (12 dB/oct)

Level Controls:

Mid :  +3 dB (Continuously variable)

High :  +2 dB (Continuously variable)

Enclosure:  Fully enclosed type

Volume :  80 l

Exterior:  American walnut Urethane open pore finish

Dimensions (W x H x D):  440 x 752 x 404 mm (17-5/8" x 29-5/8" x 15-7/8")with grille attached

Weight:  47 kg (103 lbs 6 oz)

 

Yamaha CA-800 amplifier

Yamaha CA-800 stereo integrated amplifier offers, at a surprisingly agreeable features. Like the more expensive Yamaha CA-1000, the CA-800 has been created with emphasis on its primary function, that is to amplify the stereo signals from different program source components with the least possible distortion and without any other form of undesirable coloration. It accomplishes this objective by the use of a direct-coupled OCL complementary power amplifier, a plus/minus dual power supply system, a 3-stage direct-coupled tone control amplifier, and many other advanced features. You will note immediately that the CA-800 is designed with typical Yamaha attention to fine detail.

 

Direct-Coupled OCL Pure Complementary Stereo Power Amplifier for High Power and Low Distortion

The power amplifier of the CA-800 is the most advanced made today. This is the all-stage direct0coupled OCL pure complementary design which provides flat, linear amplification over an extremely wide bandwidth. Power for its operation is derived from an advanced plus/minus dual power supply system that combines an over-sized transformer and a pair of large 6,800 µF capacitors. Moreover, the power supply system drives all amplification stages, with the exception of the power amplifier, at a constant voltage. Such advanced design characteristics contribute greatly to the CA-800's low-range frequency response and stability, as well as to excellent performance specifications. These include RMS continuous power output of 45 watts per channel into 8 ohms, 20 - 20,000 Hz, both channels driven at 0,1 T.H.D., or 55 watts into 8 Ω , 1 kHz each channel driven, also at 0,1% T.H.D..pure, clean sound reproduction - quite enough to fill a large listening room - is only one solid reason to choose the CA-800.

 

Class-A Stereo Power Amplifier for Even Lower Distortion.

While the CA-800 is complete with a large stereo power amplifier of the Class-B operation like any other stereo amplifier available today, it also haas an exclusive feature; a switch to alter the circuit configuration of the power amplifier and convert it to a quality Class-A power amplifier. The difference is significant. A Class-B amplifier is a very effective design for transitor-type amplifiers, and delivers a high power output. A Class-A amplifier, in comparison, is less efficient, yet compensates for its inefficiency by virtually eliminating crossover distortion, which is the major source of distortion, which is the major source of distortion in the high frequency range for a transistor amplifier.

These figures underscore the importance of a Class-A amplifier; the RMS continuous power output is reduced to 10 watts per channel into 8 Ω , both channels driven at a T.H.D. of 0,1% over 20-20,000 Hz. That same distortion figure is reduced to 0,02% or less over 20 - 20,000 Hz at an output of one watt, or even to 0,015% - the very limit of the measuring instruments themselves - at 20 kHz at an output of 8 watts. Obviously, there is simply no better amplifier type to reproduce the transparent, delicate sounds of string instruments at a low volume level. Another conclusion is equally apt; the CA-800 is a most versatile stereo amplifier.

 

Four-Stage Direct-Coupled Phono Equalizer Amplifier for Transparent Tonal Quality

Since the phono equalizer enables the reproduction of the most popular source of music, the disc record, it is the key component of any hi-fi preamplifier, in the CA-800, this component is of the very highest quality, an advanced 4-stage direct-coupled amplifier employing selected low noise transistors. The virtures of this amplifier are three-fold; One; it is capable of handling a phono input signal of up to 310 mV, or approx. 100 times greater that what is required to drive it to the full output (input sensitivity is 3 mV). This capability is significant insomuch as that it practically exceeds the wide dynamic range offered these days by the latest and most advanced disc cutting techniques, as well as the new and improved pickup cartridges. Thus, you can be assured that every subtle shade of sound and every powerful burst of sound cut into your records will be reproduced without distortion. Secondly, the phono equalizer has an excellent Signal-to-Noise Ratio of 80 dB or better. This also contributes to the transparency of reproduced sound. Thirdly, absolute accuracy in the reproduction of stereo records is assured, since the phono equalizer provides an almost identical facsimile of the RIAA disc playback characteristics, keeping deviation from it to within a tolerance of ±0,2 dB.

 

Specifications

Power Output

Dynamic Power IHF

Class-B :  150 watts (4 Ω ); 130 watts (8 Ω )

Class-A :  20 watts (8 Ω )

Continuous RMS Power

Each Channel Driven at 1,000 Hz

Class-B :  70/70 watts (4 Ω ); 55/55 watts (8 Ω )

Class-A :  10/10 watts (8 Ω )

Both Channel Driven :   at 1,000 Hz

Class-B :  60 +60 watts (4 Ω ); 50 + 50 watts (8 Ω )

Class-A :  10 + 10 watts (8 Ω )

Both Channel Driven at 20 to 20,000 Hz

Class-B :  50 + 50 watts (4 Ω ); 45 + 45 watts (8 Ω )

Class-A : 10  + 10 watts (8 Ω )

Total Harmonic Distortion

Power Amplifier Only

Class -B :  less than 0,1% (at rated power): 0,04% (at 1 watt)

Class-A :  less than 0,1% (at rated power): 0,02% (at 1 watt)

Preamp Only Phono to Pre Out

Class-B :  less than 0,1% at rated power

Class-A :  less than 0,1% at rated power

Pream Only Aux to Pre Out :

Class-B :  less than 0,02% at rated power

Class-A :  less than 0,02% at rated power

Overall Aux to Power Output

Class-B :  less than 0,1% at rated power

Class-A :  less than 0,05% at rated power

Intermodulation Distortion (70 Hz : 7 kHz = 4 : 1 SMPTE method)

Power Amplifier Only

Class-B :  less than 0,1% (8 Ω ) at rated power

Class-A :  less than 0,1% (8 Ω ) at rated power

Power Amplifier Only

Class-B :  less than 0,05% (8 Ω ) at 1 watt

Class-A :  less than 0,05% (8 Ω ) at 1 watt

Overall (Aux to Power Output)

Class-B :  less than 0,1% (* Ω ) at rated output

Class-A :  less than 0,1% (8 Ω ) at rated output

Power bandwidth (IHF distortion 0,5% const)

Class-B :  5 to 70,000 Hz

Class-A ;  5 to 100,000 Hz

Load Impedance

Class-B :  4 to 160

Class-A :  (4 ) to 8 to 160

Damping Factor (8 Ω )

Class-B :  70 at 1,000 Hz

Class-A :  70 at 1,000 Hz

Frequency Response (at 1 watt)

Overal Tuner, Aux, Tape Power Bandwidth to Power Output:  10 to 50,000 Hz +0,5 dB -1 dB

Overall Mic to Power Output :  20 to 20,000 Hz +0,5 dB -2 dB

Power Amplifier Only :  10 to 100,000 Hz +0 dB -1 dB

Deviation from RIAA :  30 to 15,000 Hz +0,2 dB -0,2 dB

Channel Separation ( at rated power, 1,000 Hz)

Power Amplifier Only :  better than 60 dB

Overall from Phono 1, 2 :  better than 50 dB

Overall from Tuner, Aux, Tape Pb :  better than 50 dB

Overall from Mic :  better than 50 dB

Hum and Noise (IHF, Closed circuit A Network)

Overall from Phono 1, 2 :  better than 80 dB

Overall from Mic :  better than 70 dB

Overall from Tuner, Aux, Tape Pb :  better than 90 dB

Power Amplifier Only :  better than 100 dB

Volume at Minimum :  better than 90 dB

Input Sensitivity/Impedance (at rated power, 1,000 Hz)

Phono 1 :  3 mV/30 k Ω , 50 k Ω , 100 k Ω

Phono 2 :  3 mV/50 k Ω

Phono 1, 2 Max. Input Capability :  310 mV (T.H.D. 0,1%)

Mic :  2,5 mV/ 50 k Ω

Mic Max. Input Capability :  245 mV (T.H.D. 0,1%)

Tuner , Aux 1,2 :  120 mV/40 k Ω

Tape Pb A, B :  120 mV/40 k Ω

Power Amplifier Input  :  775 mV/ 40 k Ω , 345 k Ω (Class-A)

Output Level / Impedance (at rated power, 1,000 Hz)

Tape Rec Out A, B ;  120 mV/ 2 k Ω

Pre Out :  775 mV/ 2 k Ω ; 3,000 mV (Max. Output T.H.D. 0,1%)

Tone Controls

Bass :  ±15 dB at 50 Hz

Treble :  ±10 dB at 10 kHz

Filters

Low :  -3 dB at 20 Hz, 70 Hz (12 dB/oct)

High :  -3 dB at 6 kHz ; 12 kHz (6 dB/oct)

Loudness Control (Continuous Loudness Vol. At Minimum):  +10 dB at 100 Hz; +5 dB at 10 kHz

General

Semiconductors:  2 FETs; 49 Transistors; 12 Diodes; 4 Zener Diodes

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

Pc :  300 watts Max; 190 watts Rated

AC Outlets :  2 x Switched; 2 x Unswitched

Dimensions (W x H x D):  436 x 144 x 323 mm (17-1/4" x 5-3/4" x 12-3/4")

Weight:  13,5 kg (29,7 lbs)

Yamaha R-700 receiver

Natural Sound AM/FM Stereo Receiver

Combining technology  and musical sensitivity

The R-700 is a direct development of Yamaha's unique design philosophy - an approach that aims first and foremost at achieving the very highest in music reproduction accuracy. In addition to electronic measurements, extensive subjective and comparative listening tests by teams of music specialist monitor overall progress toward our design goals as well as indicate which areas need to be focussed on in order to maximize audible improvement in performance. These uncompromising efforts have resulted in a number of significant design innovations, as well as many subtle refinements which are continually improving the reproduction quality of Yamaha audio products.

Every detail and feature that can possibly affect sound quality - even to the slightest degree - is given thorough consideration and testing to ensure that its incorporation in the product will result in a positive benefit in terms of sound quality. The exciting new Yamaha spatial expander control offered on the R-700, for example, lets you "spread" the stereo sound field beyond the limits imposed by speaker location to more accurately recreate the image of a live performance.

In short, our approach combines both scientific method and musical sensitivity, allowing us to apply our technology to those areas of each product where it will do the most good; where you con hear it.

Super-Stereo Spatial Expander

Advanced Yamaha technology overcomes the last barrier to true high-fidelity reproduction. The Spatial Expander puts "ambience" back in the reproduced sound - the one element that conventional stereo cannot provide. With normal stereo reproduction, the apparent locations of the various music instruments are limited to the space between the left and right stereo speakers. Many so-called "ambience enhancement" systems attempt to overcome this by adding an extra pair of speakers - naturally requiring an extra amplifier plus the separate ambience unit - thereby considerably increasing system cost and inconvenience. The Yamaha Spatial Expander control, however, offers continously variable expansion of the stereo sound image, putting a more realistic distance between the musicians and creating an incredibly "live" sound without the need for any extra speakers or amplification.

DC Configuration Power Amplifier Section

Like the rest of the R-700, its power amplifier section is specifically designed to amplify and transmit the music waveform to your speakers without adding distortion. In fact, the R-700's excellent 0,015% distortion figure is maintained even at full 50 watts per channel power output. This has been accomplished by using a direct-coupled power amplifier design that eliminates capacitors in the signal path so distortion caused by phase shift of the music signal is minimized. The result is that you hear the music - not the amplifier - exactly the way it was originally recorded.

Other features

Continuously Variable Loudness Control

Record any source while listening to any other

Subsonic and High filters

lowNoise Phono Equalizer

 

The Tuner a better design for better sound

Station Locked Synthesizer Tuning System Quartz PLL

Synthesizer tuners actually have built-in noise, distortion and interference. Their internal quartz oscillator and frequency dividers, although accurate, are generating radio frequency signals within the tuner itself so some interference due to leakage of these signals is virtually unavoidable.

Station Locked Syntesizer Tuning Systems ICs

The R-700 tuner section, on the other hand, uses Yamaha's unique StationLocked tuning system which,in addition to being extremely accurate because it locks the tuner's frequency directly onto that of the broadcast station, produces no interference causing RF noise. You get pinpoint tuning accuracy plus pure, distortion-free reception - precisely what a first-class tuner should provide.

Ultra-Linear Direct FM Detector

Another impressive Yamaha technological feature incorporated in the R-700 tuner section is the ultra-linear direct FM detector circuit. It features greatly improved linearity even when compared to the recent pulse-count detector designs, and a greatly simplified signal path ensures that no noise or distortion is added to the music signal. The is just one of the innovations incorporated in the R-700 tuner section that help to raise FM reception to the level where if can justifiably be called "high fidelity".

DC NFB PLL Multiplex Demodulator

The purpose of the multiplex demodulator is to separate the left and right chanels of the composite stereo signal. Most high-performance tuners nowadays use a method which involves turning the composite signal on and off at a 38 kHz rate. Because the switches used for this are in the signal path, however, switching distortion can be a problem. The multiplex demodulator of the R-700 solves this by incorporating high-speed switches into the NFB loop of a high-slew-rate DC amp., thereby throughly absorbing any trace of switching distortion. Overall, this circuit provides excellent stereo separation, low harmonic and intermodulation distortion, and superior transient response for the most natural FM stereo reproduction.

Other Tuner Features:

Sophisticated tuning convenience, like pushbutton search tuning, and 5 FM/5 AM station preset tuning.

Optimum reception in any conditions, with automatic DX/Local switching, Auto Blend, and signal quality meter.

 

Specifications

Audio Section

Minimum RMS Output Power per Channel:

50 W (17 dBW) , 8 Ω , 20 - 20,000 Hz , 0,015% T.H.D.

55 W (17,4 dBW), 8 Ω , 1 kHz, 0,01% T.H.D.

Dynamic Headroom (8 Ω ):  2,5 dB

Total Harmonic Distortion (30 - 20,000 Hz)

Phono MM to Rec Out (3 V output) :  0,005%

Aux?Tape to SP Out (8 Ω , 1 W):  0,005%

Intermodulation DIstortion Ratio

Aux/Tape to SP Out (8 Ω , 25 W):  0,01%

Power Bandwidth (8 Ω , 25 W, 0,02% T.H.D.) :  5 to 40,000 Hz

Damping Factor (8 Ω , 1 kHz):  better than 40

Frequency Response (Aux/Tape to SP Out, 8 Ω ):  5 - 1000,000 Hz -1 dB

RIAA Deviation Phono MM :  ±0,5 dv

Input Sensitivity/Impedance:

Phono MM :  2,5 mV/47 k Ω  , 220 pF

Aux/Tape :  120 mV/47 k Ω

Input Sensitivity (New IHF)

Phono MM :  0,35 mV

Aux/Tape :  17 mV

Max. Input Level (0,01% T.H.D.)

Phono MM (20 - 20,000 Hz ) :  200 mV

Phono MM (1 kHz) :  250 mV

Output Level/Impedance:

Rec Out :  120 mV/470 Ω

Headphone Output :  259 mW (0,015% T.H.D.)

Signal-to-Noise Ratio (IHF A network)

Phono MM (5 mV, input Shorted) :  85 dB

Aux/Tape (input Shorted) :  100 dB

Signal-to-Noise Ratio (new IHF)

Phono MM :  74 dB

Aux/Tape :  85 dB

Residual Noise (IHF  A Network) :  115 µV

Channel Separation (1 kHz, Vol -30 dB, 5.1 k Ω )

Aux/Tape to Other Channel :  -53 dB

Phono MM to Other Channel :  -53 dB

Tone Control Characteristics

Bass (boost/cut) :  ±10 dB at 50 Hz

Treble (boost/cut) :  ±10 dB at 20 kHz

Turnover Frequencies

Bass :  350 Hz

Treble :  3,500 Hz

Filter Characteristics

Low (Subsonic, EQ Built-in):  15 Hz, -12 dB/oct

High :  8 kHz, -6 dB/oct

Continuous Loudness Control (Level-Related Equalization)

Max. Attenuation:  -20 dB at 1 kHz

Rec Output Level/Impedance (Fixed)

FM (100% mod. 1 kHz) :  500 mV/4,7 k Ω

AM (30% mod. 1 kHz) :  150 mV/4,7 k Ω

Tuner FM Section

Tuning Range:  87,6 to 108 MHz

50 dB Quieting Sensitivity

Mono (DX) :  3,2 µV (15,3 dBf)

Stereo (DX, Auto Blend) ;  25 µV (33,3 dBf)

Usable Sensitivity IHF Mono (1 kHz, 100% mod.)

300 Ω  :  2,5 µV (13,2 dBf)

75 Ω  :  1,25 µV (13,2 dBf)

Image Response Ratio (98 MHz):  62 dB

IF Response Ratio (98 MHz):  100 dB

Spurious Response Ratio (98 MHz):  100 dB

AM Suppresion Ratio (IHF):  65 dB

Capture Ratio:(IHF):  Local 1,5 dB; DX 2,2 dB

Alternate Channel Selectivity (IHF):  Local 30 dB; DX 82 dB

Selectivity (Two Signals):  DX 68 dB

Signal-to-Noise Ratio

Mono :  84 dB

Stereo :  80 dB

Distortion Mono

100 Hz :  Local 0,06%; DX 0,1%

1 kHz :  Local 0,06%; DX 0,3%

6 kh :  Local 0,08% DX 0,7%

Distortion Stereo

100 Hz :  Local 0,07%; DX 0,1%

1 kHz :  Local 0,07%; DX 0,5%

6 kh :  Local 0,09% DX 0,8%

Intermodulation DIstortion (IHF)

Mono :  Local 0,07%; DX 0,5%

Stereo :  Local 0,08%; DX 1%

Stereo Separation (Local)

50 Hz :  44 dB

1 kHz :  50 dB

10 kHz :  45 dB

Frequency Response

50 Hz to 10 kHz ±0,3 dB

30 Hz to 15 kHz ±0,5 dB

Subcarrier Product Ratio:  50 dB

Muting Threshold (DX):  5 µV (19,2 dBf)

Auto-DX Threshold:  30 µV (34,8 dBf)

Tuner AM Section

Tuning Range:  525 to 1,605 kHz

Usable Sensitivity (loop antenna):  200 µV

Selectivity:  30 dB

Signal-to-Noise Ratio:  50 dB

Image response Ratio:  40 dB

Spurious response ratio:  50 dB

Distortion (1 kHz):  0,3%

General

Semiconductors:  42 Transistors; 20 ICs; 3 FETs; 31 Diodes; 14 LEDs

Power Requirements:  110 - 120 V, 220 - 240 V 50/60 Hz

Power Consumption:  120 W

Dimensions (W x H x D):  480 x 122 x 337 mm (18-7/8" x 4-3/4" x 13-1/4")

Weigth:  9  kg (19 lbs 13 oz)

Yamaha CR-620 receiver

Natural Sound FM/AM Stereo Receiver

Pure, low distortion power and wide NDCR

FM section with NFB-PLL-MPX

Completely independent tape recording and audition

Continuous Loudness Control

 

The Power Section

Distortion Cut in half - to an incredible 0,05%

Our first complete receiver line, with 0,1% distortion, astounded the audio world. Others rushed to improve their performance specs, but no other manufacturer has equalled that figure for its whole line. Now, in the new Yamaha receiver line, Intermodulation DIstortion and Total Harmonic Distortion are reduced even further to 0,05%. Makers who had not succeeded in matching the 0,1% figure are going to find it even harder to attain the new Yamaha level of 0,05%.

What SVR means in Reducing Dynamic Crosstalk

With many conventional power supply circuits, a loud signal in one channel will draw heavy current which produces a spurious signal - distortion - in the other channel. Supply Voltage Rejection (SVR) must be high if this form of distortion is to be kept well below the level of audibility. The special power supply circuit of the CR620 is even more effective, and gives a higher SVR, than expensive dual power supplies, providing a marked improvement in detailed accuracy in the loudest and most complex passages.

 

The Pre Section

Supern Signal-to-Noise Ratio

Precision circuit design gives the CR620 outstanding Signal-to-Noise characteristics. This results in an extra measure of clean quiet music performance

Accurate RIAA Equalization

The CR620 boasts an equalizer section with only ±0,5 dB deviation from RIAA characteristics, for faithful reproduction of everything recorded on the disc. And at 120 mV (1 kHz), the phono dynamic range is amply wide enough for top quality enjoyment of high cutting level discs with high output cartridges.

Continuously Variable Loudness Control

The CR620 features the same continuous type loudness compensation control as on the Prestigious C-1 control amp, letting you retain an unvarying, natural tonal balance at any and all listening levels, compensating perfectly for the ear's constantly changing loss of sensitivity to bass and treble frequencies at lower levels.

Record One Program while listening to another

This Yamaha original feature lets you choose a source for recording by the Rec Out selector while listening to that source, or any other, selected by the Input switch. You can record an FM program while listening to a favorite record on your turntable, and you can let a friend tape a record or copy tapes without having to give up listening to the tuner.

Full Tone and Filter Controls

Tone Controls

The bass and treble controls on the CR620 have turnover frequencies carefully chosen for the best control of tonal quality to suit your mood, the music, and the acoustic of your room. In the flat position the response is completely unaffected by the tone control circuits.

Filters

Both high and low filters are provided, with 12 dB/ocatave cutoffs, to reduce record scratch or tape hiss noise above 10 kHz, and to cut turntable rumble or subsonic noise from warped records or line noise below 25 Hz

 

The Tuner Section

Direct Assessment of Differential Gain

The world famous CT-7000 tuner offered switched narrow/wide selection modes for ideal reception under all conditions. Now, however, direct visual cheks of the critical differential gain linearity enabled Yamaha engineers to give you the best of both mode settings in the CR620; the high selectivity of the narrow mode (70 dB) and the low distortion of the wide mode (0,25% for stereo at 1 kHz) - without the need to choose between them.

FM/Original: Direct Comparison

The CR620 was developed by comparing reproduction of a sound source heard first through the amplifier section alone, and then as received by the tuner section after FM modulation. That way our music specialists could switch back and forth to compare, immediately detecting any sound coloration introduced by the tuner, and correcting for the last measure of fidelity.

Unique Negative Feedback Multiplex Section

Full negative feedback applied overall to the whole FM multiplex demodulator section reduces distortion in this unique Yamaha circuit to the level where it cannot be measured even on the most sensitive test equipment. Phase-locked loop circuitry adds the ultimate in stability for FM reception quality found in no other receiver of its class.

Special Sharp Cut-off MPX Filter

This high performance filter performs the difficult job of suppressing the 19 kHz pilot sinal (which can interfere with other audio equipment) while retaining full treble response to a5 kHz. Sharp cut-off and low distortion combine to give the best possible audio quality.

Signal Strength and Quality Meter

In addition to a center-zero FM tuning meter for precise FM tuning, the CR620 features a signal strength meter which doubles to show signal quality for FM reception. The presence of multipath signals often appears as needle flutter during FM signal strength readings.

Superb AM Tool

AM quality on the CR620 is also excellent. For top sound quality the AM signal is passed through the FM multiplex section to take advantage of its low distortion characteristics. Special equalization then compensates for the built-in FM frequency deemphasis curve.

 

Specifications

Audio Section

Minimum RMS Output Power per Channel (from 20-20,000 Hz at no more than 0,05% T.H.D.)

40 Watts at 4 Ω

35 Watts at 8 Ω 

Continuous RMS Power (both channel driven, 1 kHz)

50 Watts at 4 Ω

40 Watts at 8 Ω

Total Harmonic Distortion (20 - 20,000 Hz)

Phono to Rec Out :  0,12% , 2 V output

Aux, Tape to Sp Out (8 Ω ) :  0,02% at 20 W

Intermodulation Distortion (Aux, Tape) :  0,05% at 35 W

Input Sensitivity/Impedance

Phono :  2 mV/ 50 k Ω

Aux, Tape 1, 2 :  120 mV/45 k Ω

Maximum Input Level

Phono :  120 mV at 1 kHz

Output Level/Impedance

Rec Out terminals (Phono):  120 mV/ 200 Ω  (rated); 7,2 V (max. 1 kHz)

Frequency Response

Phono RIAA Deviation :  ±0,5 dB

Aux, Tape 1, 2 to Sp Out :  20 Hz to 20 kHz ±0,5 dB

Tone Control Characteristics

Bass Turnover Frequency :  350 Hz

Bass Boost/Cut :  ±13 dB at 50 Hz

Treble Turnover Frequency :  3,5 kHz

Treble Boost/Cut :  ±10 dB at 20 kHz

Filters and Loudness Control Characteristics

Low :  25 Hz (12 dB/oct.)

High :  10 kHz (12 octave)

Loudness Control :  level-related equalization

Signal-to-Noise Ratio (IHF-A network)

Phono :  92 dB (for 10 mV, shorted)

Aux, Tape :  97 dB

Residual Noise :  0,11 mV

Noise Distortion Clearance Range (NDCR) for 0,1% into 8 Ω  , 20-20,000 Hz, from 100 mW to 35 watts with Vol -20 dB (Phono Input to Sp Out)

Power bandwidth (IHF) :  10 Hz to 50 kHz (at 0,05% T.H.D.)

Damping Factor (at 1 kHz):  40 into 8 Ω

FM Section

Tuning Range:  88 - 108 MHz

Usable Sensitivity:

300 Ω  :  10,3 dBf / 1,8 µV

75 Ω  :  10,3 dBf /0,9 µV

50 dB Quieting Sensitivity:

Mono :  15,3 dBf (3,2 µV)

Stereo :  38 dBf (43,5 µV)

Image Response Ratio (98 MHz):  50 dB

IF Response ratio (98 MHz):  75 dB

Spurious Response ratio (98 MHz):  75 dB

AM Suppression Ratio (98 MHz):  56 dB

Capture Ratio:  1,0 dB

Alt. Channel Selectivity (IHF):  70 dB

Signal-to-Noise Ratio (at 65 dBf, IHF)

Mono :  77 dB

Stereo :  73 dB

Mono Distortion (at 65 dBf)

At 100 Hz :  0,15%

At 1 kHz :  0,15%

At 6 kHz :  0,3%

Stereo Distortion (at 65 dBf)

At 100 Hz :  0,25%

At 1 kHz ;  0,25%

At 6 kHz :  0,4%

Intermodulation DIstortion (IHF)

Mono :  0,1%

Stereo :  0,2%

Sub-Carrier Product Ratio:  50 dB

Stereo Separation

At 50 Hz :  30 dB

At 1 kHz :  40 dB

At 10 kHz :  30 dB

Frequency Response

50 Hz to 10 kHz :  ±0,5 dB

30 Hz to 15 kHz :  +1,0 -3,0 dB

Muting Threshold:  19,2 dBf (5 µV)

AM Section

Tuning Range:  525 to 1605 kHz

Sensitivity (IHF, Bar Antenna):  316 µV/m (50 dB/m)

Selectivity (1,000 kHz):  25 dB

Signal-to-Noise Ratio:  50 dB (at 80 dB/m)

Image Response Ratio (1,000 kHz):  50 dB

IF Response Ratio (1,000 kHz):  40 dB

Spurious Response Ratio (1,000 kHz):  55 dB

Total Harmonic Distortion :  0,6% (at 80 dB/m)

Tuner Section Output Level /Impedance

FM (100% mod at Rec Out) :  450 mV/6,5  k Ω

AM (30% mod at Rec Out) :  120 mV/6,5 k Ω

General Section

Semiconductors:  68 Transitors; 3 ICs; 1 FET; 29 Diodes; 5 Zener Diodes, 4 LEDs; 4 Ceramic Filters

Power Requirements:  AC 110/ 120/ 130/ 220/ 230/ 240 V switchable, 50/60 Hz

Power Consumption:  190 W

Dimensions (W x H x D):  508 x 167 x 395 mm (20" x 6-3/8" x 15-1/2")

Weight:  12,5 kg (27 lbs 8 oz) U.S.A. and Canada 11,5 kg (25 lbs 5 oz)

Yamaha K-950 cassette deck

Yamaha claims this model K-950 cassette deck "closes the gap" between cassette tapes and discs, in terms of performance, while still providing the traditional benefits of tape, including elimination of dirt problems and uninterrupted playback of long selections. One reason for improved performance is the capability to play metal tape. Wow and flutter rated at 0,025 perceent WRMS, results from use of an independent two-motor drive system. This spec, it's pointed out, is comparable to the drive stability of a quartz-locked turntable. Frequency Response is 30 to 22,000 Hz, 3 dB, with metal tape.

The K-950 also features a pure plasma process sendust head for better frequency response and reduced dropout and modulation noise. The use of a core/coil design and silver wires substantially lowers head impedance to provide improvend square-wave response, improved linear phase response at high frequencies,, greater dynamic range and better channel separation, according to Yamaha.

Other performance and/or convenience features include; a fluorescent bar-graph peak meter to facilitate home recording; IC logic controls; continuously adjustable bias control; timer recording switch; subsonic and MPX filters. Dolby noise reduction; a focus switch to extend high-end frequency response, or to improve phase coherance.

Specifications

Track Configuration:  4-track 2-channel

Tape Speed:  4,8 cm/s ±1%

Wow and Flutter:  0,028% WRMS

Rapid  F.FWD/Rew:  75 sec. C-60 cassette

Motors

Capstan :  FG servo DC motor

Reel :  Governorless DC motor

Operation

Logic Controlled Feather Touch Operation

Full Auto Shut-Off System

Heads

2 head Recording/Playback :  pure &Plasma process head

Erase :  Ferrite head

Frequency Response Rec/Pb

LH Tape ;  30 to 17,000 Hz ±3 dB

Cr02 Tape :  30 to 19,000 Hz ±3 dB

Metal Tape :  30 to 22,000 Hz ±3 dB

Input Sensitivity.Impedance

Mic :  0,3 mV/5 k Ω

Line :  60 mV/50 k Ω

Output Level/Impedance:

Line :  340 mV/50 k Ω

Phones :  5 mW/150 Ω (1 mW)

Variable Bias Range:  ±8%

Signal-to-Noise Ratio [CrO₂]:  better than 52 dB

Overall Distortion

LH Tape :  less than 1%

CrO₂ Tape :  less than 1,5%

Metal tape :  less than 1%

Power Supplies;  120 V, 220 V - 240 V, Ac 50/60 Hz

Power Consumption:  26 W

Dimensions (W x H x D):  435 x 140 x 305 mm ( 17-1/8" x 5-1/2' x 12")

Weight:  8,8 kg ( 19,4 lbs)