In the grand scheme of things, this tuner is famed for its superior design and ergonomics. It features classic aesthetics that Yamaha has lately reintroduced for their hi-fi separates; only a small patina of age on a CT-7000 indicates that it was designed in 1973 rather than 2013. It’s regular size at 436x144x352mm, but it’s […]
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Many abroad audiophiles must have been praying for us in our darkness when it came to the late 1970s British hi-fi scene. Linn’s Sondek LP12 captivated the UK hi-fi press. This deck was (is) unquestionably excellent, however contrary to popular belief, it was not the only ace black vinyl spinner available at the time. In
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Small-scale specialty producers have a lot to offer. Their products are frequently more innovative, concentrated, and tailored to the demands of a fast changing market. However, big businesses can perform just as well, if not better, in other areas. Consider the enormous engineering resources available to the large international Yamaha brand, which is responsible for
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The original Spendor SA1 loudspeaker was released soon before the BBC LS3/5a in the early 1970s, and many people thought it sounded better than its more popular competitor. The SA1 you see here, on the other hand, is a distant cousin that has evolved much since then. Only the dimensions (305x165x190mm) and the usage of
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This was one of the swankiest British turntables at the time, having been released in 1978. The STD 305D was an attempt to bring comfort and ease of use to the high end – without sacrificing the beautiful sonics of the finest British decks – in a sea of Japanese direct drives that worked with
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This monstrous integrated amplifier, which cost £3,499 when it was first released a decade ago, was a Sugden A21a on steroids. The IA-4 set out to provide that crystalline Class A sound to a larger audience, with significantly increased power and additional features. The biggest difference between it and its smaller A21a S2 sibling was
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Until the 1983 release of the Naim NAIT, integrated amplifiers were thought to be something you bought before you could afford a ‘real’ preamplifier/power amplifier combo. It’s fair to assume that the breed was not well-liked. Instead of presenting low-cost circuitry in a costly cabinet adorned with acres of brushed aluminium and bouncing power meters,
This is a fascinating story. Karl Heinz Fink of Fink Audio Consulting in Essen, Germany, and Steve Reichert of Armour Group in Cambridge, England, are the two main protagonists. The former is one of his generation’s top speaker designers, while the latter is a pleasant chap with a good ear and an Arcam sales and
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The name SME precedes the brand. Everyone in the audiophile community knows it’s a terrific firm with a fantastic history. Any SME product is guaranteed to be of high quality, and it has never produced a dud. Is that the case? Some people don’t consider the Series III, which was introduced in 1978 and won
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Look no further than this if you’re ever unsure about Naim Audio’s philosophy. The purest elements of the company’s DNA are contained within the NAT 01’s tiny (86x206x300mm) casing. It is devoid of fripperies, stripped down to the bone in terms of practicality, and brazen in its minimalism, and is designed for the maximum fidelity
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