Amplifon WT 30 II

 The WT 30-II amplifier is the first device constructed in Amplifon Audio company, based on triodes operating in the A-class. The leading idea during designing this amplifier, was to construct a device with perfect sound features, but devoid of typical limitations of electron-tube amplifiers.

Due to the application of a durable and current-efficient double power-triodes 6N13C we got the output power coming to 31 W in the A-class and a relatively high resistance to a load changes. The low impedance of the power-triodes and the modern deka-sectional triodal output-transformers secure for the wide transfer band with the small extent dependent on the output power.

Very interesting is the system of the power-tube polarization, securing for the direct quiescent current of the power-tubes, independent from the strain ageing effect or from the changes of the power voltage. Apart from its basic functions, this system secure also for the lack of any regulations not only during the exploitation but also during the tube's exchange.

Amplifon WT 30II Features:

Integrated electron-tube amplifier based only on tubes operating in the pure A-class without returnable compression

Automatic regulation of the power-tubes' quiescent currents

Three linear inputs

Triodal input system on the 5963 Philips JAN tube (ECC82; 12AU7; 5814)

Triodal operating system on the 6N1P-EW tube

Push-pull output stage, based on the double triodes 6N13S (6AS7; 6080) operating in the A-class in the parallel push-pull system

Deka-sectional triodal output transformers adapted to work with 4- i 8-ohm speakers groups

Completely separated rectifiers and power supplier's filters for the left and the right channel

Automatic, delayed switching on of the anode voltage with 'Stand by' function

SPECIFICATIONS:

 Power Output:  31 W RMS A-class

Frequency Response:  7 - 62,000Hz -3 dB

Distortions:  less than 0,2% (1W; 1kHz)

Input Impendance:  50 k Ω

Output Impendance:  4 Ω or 8 Ω

Input Sensivity:  270 mV

Signal-to-Noise Ratio:  89 dB

Power Supply:  AC 220 - 240 V, 50 Hz

Power Consumption:  ~315 W 

Dimensions (W xH x D):  435 x 280 x 430 mm

Weight: 16,8 kg

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ALTUS 110 Unitra - Tonsil

Sistema di altoparlanti ZgB 70-8-61 "Altus 110" prodotto negli stabilimenti della Tonsil.

Le "Altus" sono state prodotte dal 1984 fino alla metà degli anni novanta e fino ad ora sono uno dei modelli più popolari e più apprezzati in tutta la Polonia. Conosciute sul mercato europeo con nomi come HGS Electronics, Dynamic Speaker o Geton.
Senz'altro sono un simbolo di culto tra gli appassionati di stereofonia dell'epoca. Amate da tanti ma anche odiate da molti. Loro caratteristica principale è un basso profondo e toni alti acutissimi.
Il mobile della cassa veniva proposto con le diverse colorazioni del legno, dal chiaro allo scuro fino ad un nero satinato. Le griglie rivestite di materiale nero ben trasparente al suono.
La parte frontale delle "Altus" in tutte le versioni veniva sempre decorata con cerchi cromati per tutti gli altoparlanti ma anche per le uscite bass-reflex e per i due controlli di tono per le frequenze medio-basse e alte.

l woofer utilizzato è un GDN 25/40/3 abbinato ad un doppio bass-reflex mentre il midrange, un GDM 12/60, è posizionato in un vano chiuso all'interno della cassa. Per le alte frequenze veniva montato il tweeter GDWT 9/40/5 successivamente sostituito dal GDWT 9/80.

CARATTERISTICHE TECNICHE

Tipo di diffusore : bass-reflex
Numero vie : 3
Altoparlanti : 1 woofer da 25 cm, 1 midrange da 12 cm,
1 tweeter da 3 cm
Frequenze di crossover : 100/7.000 Hz
Risposta in frequenza : 40-20.000 Hz
Potenza : 70 W RMS
Impedenza nominale : 8 Ohm
Sensibilità : 91 Db / 1W / 1m
Note : attenuatori per medi e alti
Griglia : asportabile in tela
Dimensioni (L-H-P) : 33 x 65 x 31 cm
Peso : 19 kg (cadauna)

ANCIENT AUDIO Silver Grand Mono

The construction of the Silver Grand Mono closes ten years of the presence of Ancient Audio on the market. It is also, in my opinion [J. Waszczyszyn – editors note] the conclusion of the current art of making such constructions. The previous model, Silver 300, was made according to the canon of tube amplifiers construction made in the 70-ties in Japan. Those rules, perfected by Hiroyasu Kondo, stood ground perfectly in many hi-end products. However the ongoing improvement in loudspeaker and sound source design imposed the need of changing some of those assumptions. 20th century solutions became not sufficient for the 21th one. Hence the design of the Silver Grand Mono, using some of the canonical solutions as well some new ones, not used before.

Influence of the power supply on sound in audio devices is commonly known. An ideal power supply should be a voltage source, what means that its impedance for direct current and alternating current should be equal to zero – voltage does not change to any load, DC or AC. There is no such power supply. But we can approximate the ideal. When an amplifier works in class A (every Single-Ended amplifier) the supplying current is steady. But this is only true for the mean value. For circuits with inductive elements (chokes or transformers) during one cycle the amplifier is a current receiver, in another cycle it is the current source. Hence the big impulse changes in current draw from the power supply: their magnitude as well as their direction varies. To provide stable voltage, the power supply needs to have a very low internal impedance for alternating current. A classic design, with a rectifier tube, a big choke and small capacities provides satisfactory damping of the power current fluctuations, but is at the same time very sensitive to transient current changes – for those the impedance of the choke is very high. But to reproduce the dynamics of music, attack of the instruments, we need exactly the opposite. Experiments with the concept: “large capacities, solid state rectifiers, no chokes, active circuits lowering the impedance of the power supply” were the first step to construct the new Silver. Reproduction of dynamics and bass control were a class better, than with classic amplifiers with tube rectifiers.

The power supply turned out to be so worked out, that it had to be transferred to a separate enclosure. In addition separation to two monoblocks and two monophonic power supplies minimized their mutual interference, especially those caused by dissipated magnetic fields. Every power supply has three independent power transformers: high voltage and heating of the E88CC tubes, heating of the 300B and amplifier control. All voltages are stabilized. The amplifier has a battery of capacitors, which can hold a significant amount of energy. For example the high voltage capacitors can hold over 1000J of energy. This would be enough to start a gasoline engine or light a 100W bulb for 10 seconds.

Loudspeaker transformer
This is an element, which is key for every tube amplifier. This is why the best manufacturers make their transformers themselves. Ancient Audio has come with a proprietary technology of making the windings from silver wire. The silver wire, prepared in a special laboratory (99.99% pure) goes through a full cycle of heat treatment. This wire is then used to hand wind the secondary winding of the loudspeaker transformer. The whole transformer is hand made using a “double C” core. The transformers are made in pairs, and after each technological step are undergoing tests and measurements. A novelty in this aspect is the usage of Teflon isolation. This material minimizes losses, provides low capacitances and lack of hysteresis. Silver Grand Mono is the only amplifier, which utilizes this technology.
Silver foil
Silver is a very good conductor. It has similar impedance to copper, but conducts current much better at low signals. Silver oxide (always present after melting) is also a conductor. In difference to that, copper oxide is a semiconductor, and the border between the oxide and copper has rectifying capabilities. This is why at low signals and zero crossing copper cables cause large losses of signal. Please remember, that high frequency currents flow on the surface of the conductor (skin effect). To further minimize the losses of acoustic signals, all connections are made by a silver ribbon, with 3mm2 cross-section and 20mm diameter. Only Teflon is used as dielectric.

Teflon signal capacitors
The difference between Teflon and other synthetics is noticeable already with small surface areas (like in interconnects). And the composite surface of the signal capacitor plates is measured in square meters. The quality of the dielectric and the plates has a significant influence on the sound. Yet commonly used dielectrics, like polyester, polypropylene or paper are non-linear. Their dielectric constant depends on capacitance, temperature, and worst of all, on voltage. In addition there is a memory effect – after discharge, the capacitor “remembers” some of the previous state. The solution is the best of the available dielectrics (besides vacuum), Teflon. Unfortunately the low dielectric constant, high costs and technological difficulties limited its usage. Mass production of elements utilizing it started only five years ago. And only a few companies offer those. The best, currently manufactured capacitors, are the V-caps, designed by Chris VenHaus, which have tin foil plates, better than the commonly aluminum dusted ones.

Fast electrolytic capacitors
Electrolytic capacitors are a necessary evil. In places where large capacity is needed, they have to be used. But they need to be as good as it gets. Black Gate capacitors were standard, due to their low impedance. But after 30 years of production, those were pushed out by modern elements, designed to work in switching power supplies. Switching power supplies impose very high requirements on those: high currents, low intrinsic inductance, low impedance, high operating temperature, high frequencies. Modern power supplies work in the megahertz range. This allows them to be smaller, with better parameters and higher durability. This is the reason behind the development of modern passive elements and quick development of their technology. The capacitors used inside the Silver Grand Mono amplifier use those abilities. The battery of capacitors in the heater circuit has an impedance in the mΩ range for the whole acoustic frequencies range.
Tubes
The voltage tubes are the E88CC from old stock, NOS (Philips, Telefunken, Valvo, Siemens). The tubes are still available from significant stock. They work with low current, what makes them last for 10000 hours or more. The power tube is the 300B, designed by Western Electric, is the one, most commonly used in hi-end SET amplifiers. Due to high linearity it is able to work without any negative feedback loops, global or local. The demand for those tubes was so great, that the manufacturer decided to restart production after 50 years… But also here progress was achieved. The Taiwan company TJ designed a version of those tubes with a mesh anode. Those were splendid tubes, although the research for the optimal construction and materials continue. Two years ago, TJ created 300B tubes with graphite anode. Graphite has a large heat inertia, it also dissipates it well. Those are the best available tubes at the moment. Their durability is around 3000 working hours.

Anode current meter
Each 300B tube is different, this is why the tubes are prepared in pairs. But sometimes during transport, the mesh deforms slightly. That is why the amplifier is equipped with a bias current meter. This meter consists of a row of ten LEDs. Each LED means 25mA of anode current. The nominal current (two tubes) is 150mA, 6 LEDs lit. Higher current can be harmful for the tubes, this is why the LEDs indicating it are bigger. The 2006 edition of the Grand has automatic bias – no adjustments are needed. This solution increases the safety and durability of the amplifier.
Mechanical construction
Silver Grand Mono is mounted on a granite plinth. The 2006 version uses three granite elements separated by a soft, vibration reducing material (sandwich). In effect this is a splendid base: heavy, rigid and damping. The audio elements are mounted directly to the chassis. All connections are made point-to-point using silver foil.

The company quotes the following characteristics of this exact unit:

two monoblocks + two monophonic power supplies,
output power : 2 x 18W/4-8Ω,
directly heated power triodes 300B,
Parallel Single-Ended,
no global or local feedback,
hand wound loudspeaker transformer,
silver secondary winding, Teflon isolated,
point-to-point connections,
silver ribbon cabling, with Teflon isolation,
Teflon capacitors with tin foil V-Cap TFTF (signal path),
oil capacitors V-Cap OIMP (power supply),
full solid state power supplies,
six power supply transformers,
160 000μF heating circuit capacitance for the 300B,
1000J energy in the high voltage capacitors,
all voltages stabilized,
tubes: 4 x 300B, 4 x E88CC,
bias voltage meter,
bias current stabilization for power tubes,
input sensitivity 500 mV,
noise: - 100 dBA,
granite plinth for the monoblocks,

STRUSS CHOPIN MkIV

The amplifier Chopin MkIV from the company Struss Amplifiers is a small, but very happy device. Its power, although lower than that from the model 140 (respectively 105W/8Ω vs. 140W/8Ω) has more meaning, because it almost doubles when impedance halves (195W/4Ω). From listening sessions it turned out, that the amplifier has a very good dynamics. This is an element, that was perfected by the company for a long time, what resulted in an European patent (RP Zdzisław H-S, PL176514), describing the symmetrical audio signal processing path.

The enclosure is made from sheet metal, the front from a thick aluminum block, and on the sides wooden elements were bolted.
Their function is aesthetical, but they reduce also the vibrations of the enclosure. The front is nicely composed, a chrome plated steel rhombus is placed on a black background. Almost all functions controllers were placed on that rhombus. We have there a medium sized volume knob with a red LED showing its position, a small knob for the headphone amp volume (sadly without any markings) and the input selector with blue LED indicators.

There is also a headphone socket, 6.3mm diameter. On the other side of the front panel the power switch was placed. On the back we have four line inputs, all RCA unbalanced, MM cartridge input with a ground connection and two pairs of loudspeaker sockets, gold plated. Those aren’t of the “jewelry” kind, but they look very solid. However those are quite close together, so I’d recommend to use banana plugs, as the spades could short circuit.

From the very beginning the company’s amplifiers were made in dual-mono setting, with two power transformers. It did not change in the Chopin. But we can also directly see some details, which are not easy to find in more expensive constructions. The most important ones are related to the mechanical setup. Below the transformers, two large toroidal ones, made to the company specs by a Danish company, 400W each, we have a thick copper plate, making the enclosure more rigid and at the same time working as a shield. Also the power stage PCBs have a nice basis. This is a big slab of aluminum – a part of the heat sink, the power transistors are bolted to it - and at the same time a perfect strengthener of the construction.

The circuitry is divided between a few, specialized, PCBs. The input sockets, are not gold plated at first sight. But Mr. Struss tells: “The gold plated RCAs come from the company Yalco (Japan) and are imported from UK. According to the RoHS norm those are gold plated on the outside, and the soldering connectors are covered with lead-free solder with addition of silver (this is why they do not look gold plated). Those are much more expensive than the Chinese ones, where varnish is called gold.”

At input we have a PCB with hermetic relays. There is a single chip there, the Burr-Brown OPA2134, and it seems to be responsible for the RIAA correction for the MM phono input. Then the signal goes to a small PCB with a symmetrical input on J-FET transistors and a single IC TLE1072. Initially I thought this is a part of the preamplifier, but Mr. Struss corrected me: “This is not a preamplifier. This is an inverter (patent pending) built on J-FET transistors, which is there to introduce the second harmonic, what deprives the amplifier from “solid state dryness”. The TLE1072 is a auxiliary element, not in the sound path.” The PCB is bolted to a heat sink, which helps in cooling of the power transformer aluminum plate.
From that PCB we go via shielded Gotham GAC-1 cables to the mechanical, motor controlled Alps Blue Velvet potentiometer, and then, with long cables, to the power stage PCBs. The power transistors are two pairs of HEXFET transistors (IRFP240+IRFP9240) working in push-pull. The whole power stage is solid state. The signal on the PCB runs via short traces, and the whole circuit is not very worked out.

The filtering capacitors, the mentioned Jamicons, have a total capacity of 88 000μF. The power supply for the preamplifier is taken from one of the channels power stage supply. Everything looks very solid, and although I would change some elements (like bolter RCAs, a better headphone socket [the socket is maybe not very pretty, but we can give 100 years of warranty for it, we use this simple, yet effective solution on purpose – J. Struss], long interconnects), but in general this is a very competent design – mechanical and electrical. Big companies, like Primare, can make better enclosures, but this is just the fate of small companies like Struss. Fortunately the sound allows for a simple choice. The remote controller is ugly, big, but extremely easy to use – we have only two buttons: louder and quieter. The company VTL has a similar solution, and this is enough. Maybe a mute button would be handy. Let’s add, that the power amplifier has a full, 100% protection against short circuit on the loudspeaker
outputs and DC protection.

Technical data (according to manufacturer):
Sinus power: 2x105W/8Ω, 2x195W/4Ω
Music power: 2x125W/8Ω, 2x210W/4Ω
Frequency response:10Hz-150kHz (+/- 0.1dB)
Input sensitivity: 325mV – line inputs (4), 2.5mV - "phono" MM
Input impedance: 100kΩ line, 47kΩ "phono"
Output impedance: 0.05Ω
THD: <0.1% (1W/8Ω)
Noise on loudspeaker output: max 60μV – wide band measurement
Dynamics: 130dB
Current output: 50A/1ms
Maximum operating temperature: 50oC

AUDIO ACADEMY PHOEBE III

Audio Academy Phoebe III are two-way floorstanding loudspeakers with bass-reflex. Following drivers were applied: – tweeter 27 TBC/GTV from SEAS – and Visaton's low-midrage W 170 S, Ø 170 mm. The tweeter consists of an aluminum-magnesium alloy diaphragm and paper cone coated with material eliminating its own resonance. Visaton is equipped with medium size magnet and inexpensive die-cast basket. Below we find a bass-reflex port. At the back there are single, golden plated binding posts but the space between them is too small. That's a flaw of the whole terminal plate – you buy them together. I think that Audio Academy could think of some kind of upgrade kit – they could call it “special addition” or whatever. They could offer aluminum, nicely described plate with WBT's binding posts. They could also add some better internal wiring, better spikes and so on. Another option could be upgraded crossover – with point to point design, better resistors and cross coils. The costs of such upgrade will be significant – most likely not much lower than the price of the speakers but I can assure you it is worth it! Cabinets are made of MDF and strengthened inside with cross-bars. The interior is dumped with thick felt plates, fixed at the sidewalls, on the top, behind low-midrange speaker, and some also at the bottom of the cabinet. The crossover is fitted to printed-circuit board, that is screwed down to a small MDF block. The latter is glued to the back wall behind the bigger driver. There are polypropylene capacitors (e.g. from Philips) and core coils. Internal wiring (to binding posts and to the drivers) is executed with OFC wire. There is a very nice natural veneer outside. Loudspeakers are equipped with black bases – bit bigger in the front than speaker's outline. They stand on brass spikes with round ends. Speakers are offered with grills.

Technical data (according to manufacturer):
Frequency response: 40 Hz-20 kHz
Nominal impedance: 4 Ω
Sensitivity: 87 dB
Maximum power: 60 W
Recommended amplifier power output: 20-150W
Dimensions: (WxHxD): 830 x 190 x 290 mm
Weight: 14 kg (per piece)

Unitra Fonica GS 424 ADAM

Giradischi di classe HiFi prodotto in Polonia all'inizio degli anni '80 nel Istituto Radiofonico *Fonica". Uno dei "piatti" migliori mai prodotti, dotato di braccio tubolare ad S e con la trazione diretta per il movimento del piatto. Ci sono due separati comandi per la regolazione della velocità del piatto e uno per la selezione da 33 o 45 giri; interessante l'uso del display elettronico per visualizzare la velocità dei piatto. Il braccio dotato di regolazione antyskating ed anche di un sistema elettro-meccanico dell'alzabraccio con il ritorno automatico a fine corsa. I due modelli si distinguono fra di loro nel posizionamento del tasto Power e nelle diverse forme della luce strobo, sono dotati di due fonorilevatori diversi Mf-104 per GS 424 e Mf-100 per GS 420. Le finiture dello chassis sono; nero oppure in legno di mogano con strumentazione in alluminio.

Specifiche:

Piatto; in alluminio pressofuso

Braccio; tubolare ad S

Velocità giri; 33e 45 giri/min

Wow & Flutter; ≤ ±0,1%

Rumble; 60dB

Regolazione velocità piatto; ÷0,3%

Compensazione della forza skating; 0÷30mN (0÷3G)

Regolazione della forza d'appoggio; 0÷25mN (0÷2,5G)

Risposta di Frequenza. Mf-104; 20 - 20000 Hz

Dimensioni; 440x380x150 mm

Peso; 8kg

UNITRA RADMOR Series 5100

Stereo Radio Receiver Series OR-5100

It is a luxury hi-fi radio set capable of receiving stereo and mono programs in FM range and mono programs in AM ranges. It is sultable for operation with external devices such as tape recorders, record players and mixers. The OR-5102 provides means for playng back mono and stereo programs from tapes, if a tape recorder is used, and from records, if a record player employing a piezoelectric or magnetic pick-up is used. It will operate with external sound sources, such as all-frequency-band radioreceivers and mixers. The OR-5102 employs many modern facilites such as noise suppressor, ARC, lighted indicators, touch controls and electronic memory which provides means of immediate selection of one of any eight pre-selected FM stations, etc. Its circuitry consist of modern sub-assemblies emplayng transistors, integrated circuits, ceramic and hybrid filtres to provide a high rellability. Owing to its four quasi-quadro system loudspeaker outputs, it is capable of producing pseudo-quadro effects. This radio receiver has modern appearance and is able to meet the requirements of connoisseurs of music.

RADMOR 5100

RADMOR uno dei marchi più prestigiosi nella produzione Polacca della seconda metà degl'anni settanta. Sotto la "tutela" di UNITRA, unico gruppo Polacco nel settore audiovisivo, con diverse aziende sparse su tutto il territorio nazionale. La Radmor con la sede a Gdynia (vicino di Danzica) ha cominciato la progettazione del Sinto-amplificatore OR-5100 già nel 1976 ma soltanto un anno dopo parte la produzione di serie, e prosegue fino a 1986. Nel periodo di produzione ci sono state 4 variazioni del modello base, dal 1979 al 1981

OR-5102, dal 1981 al 1985 versioni OR-5102T e OR- 5102TE. Nella fase finale della produzione viene aggiunto un Tuner AM-5122.

RADMOR 5102

RADMOR OR-5100 è stato costruito con l'uso anche di elementi stranieri tra i quali; indicatori ad ago della VARIA, i transistori 2N3055 TOSHIBA ma anche TUNGSRAM. Nella progettazione sono state rispettate tutte le norme di HI-FI e DIN dell'epoca. Modello 5100 è stato dotato di doppi finali di potenza e tutta la costruzione si basa su sistemi modulari. Il panello frontale in aluminio annodizzato è disponibile in due colorazioni; argento oppure nero, con lo chassis rivestito in legno di mogano. Bisogna annotare la particolare cura nella creazione dei pomelli e dei tasti a sensori. Il pomello è stato creato con due separati elementi di aluminio, prima torniti poi fresati e in fine lucidati , con l'effetto di creare un pezzo unico e indistruttibile nel tempo.

RADMOR 5102T

Le prime due versioni OR-5100 e OR-5102 sul panello frontale sono state equipaggiate di 5 indicatori ad ago, due a sinistra per unità di volume (canale sinistro e destro), tre a destra per la sintonia delle onde radio. Il primo per la scelta di frequenze radio AM(165 - 285 kHz) e FM(65,5 - 73 MHz), da notare la scala più bassa usata nell'epoca in Polonia per le trasmissioni radiofoniche in FM. Indicatore centrale per la potenza del segnale e infine quello a destra per la massima precisione della sincronizzazione con la minima distorsione del segnale.

RADMOR 5102TE

Successivi modelli 5102T e 5102TE vengono prodotti senza indicatori per unità di volume e con nuovo sistema a LED per la sezione della sintonizzazione, tranne l'unico rimasto per la frequenza radio. In più la versione 5102TE ha un ingresso specifico per l'equalizzatore esterno prodotto da Radmor in due versioni 5470 e 5471.Tutti ingressi/uscite audio sono tipo DIN5 e l'ingresso per le casse acustiche tipo "punto-linea"

RADMOR 5122

Radmor OR-5100 faceva parte dei sistemi audio più avanzati tecnicamente nel periodo della Repubblica Popolare Polacca perciò veniva anche esportato in Francia.

TUNER FM - (65,5 - 73 MHz)

USEFUL SENSITIVITY:

- stereo; 35 µV

- mono; 2 µV

LIMITING THRESHOLD: 2 µV

SELECTIVITY: 50 dB

AUDIO PASS BAND: 40 - 15 000 Hz (mono and stereo)

NON LINEAR DISTORTION:

- mono; 0,3 %

- stereo; 0,7 %

IMAGE REJECTION; 60 dB

STEREO CROSSTALK REJECTION; 30 dB

S/N RATIO; 60 dB

REPRODUCTION TYPES; mono, stereo, quasi quadro

DIPOLE ANTENNA IMPEDANCE; 300 Ω

TUNER AM - (165 - 285 kHz)

USEFUL SENSITIVITY:

- Ferrite Antenna; 2 mV/m

- External Antenna; 80 µV

SELECTIVITY: 40 dB

AUDIO PASS BAND: 100 - 3 000 Hz

NON LINEAR DISTORTION: 6 %

IMAGE REJECTION; 55 dB

REPRODUCTION TYPES; mono

ANTENNA:

- Internal; ferrite antenna

- External; 10 - 15 m long

AMPLIFIER

TAPE RECORDER INPUT: 300 mV

RECORD PLAYER INPUT: 3 mV

TAPE RECORDER OUTPUT: 0,1 mV/kΩ

FREQUENCY RESPONSE: 20 - 30 000 Hz

DISTORTION: 0,3 %

TONE CONTROL RANGE: ± 12 dB

POWER OUTPUT:

- Speakers 2 x 4 Ω (front); 2 x 25 W

- Speakers 2 x 4 Ω (rear); 2 x 15 W

- Headphones 400 Ω; 2 x 75 mW

PHONO INPUT:

- 1 magnetic pick-up;

- 1 piezoelectric pick-up

POWER REQUIREMENTS: 220V, 50 Hz

POWER CONSUMPTION: 130 VA

SIZE: 524 x 330 x 137 mm

WEIGHT: 10,5 kg