Technics Chronicle

The Technics 50A, a transistor integrated amplifier, was based on Technics’ tube amplifier expertise. Its new OCL method later became the transistor amplifier standard for many companies.

The 10A was the first stereo preamplifier in the Technics series. Comprising an amplification section with two-stage NF circuitry, the amplifier achieved lower distortion and great dynamic range.

The Technics 20A was the first power amplifier in the Technics brand. This high-power amplifier used twenty 50HB26 pentode tubes and OTL circuitry, which was exceptional for the time.

The Technics 50A, a transistor integrated amplifier, was based on Technics’ tube amplifier expertise. Its new OCL method later became the transistor amplifier standard for many companies.

With high-fidelity waveform transmission as its theme, extensive R&D was conducted from every angle to thoroughly pursue sound quality. As a result, the ST-3500 set the standard for premium hi-fi tuners.

The SU-10000 represented the pinnacle of preamplifiers. By developing the first three-stage operation amplification in the equalizer stage, it became an industry leader among high-end amplifier separates in Japan.

The SE-10000 was the world’s first power amplifier using a highcapacity constant-voltage power supply. Its VU meters allowed direct readings of accurate peak values and later became standard.

With high-fidelity waveform transmission as its theme, extensive R&D was conducted from every angle to thoroughly pursue sound quality. As a result, the ST-3500 set the standard for premium hi-fi tuners.

The SL-10 was a fully-automated turntable incorporating Technics’ advanced technology, sized like an LP jacket (31.5 cm). Its acclaimed design led to its acquisition by the Museum of Modern Art in New York.

With its U-shaped tape path, enabled by the direct-drive motor and ‘Isolated Loop System,’ the RS-1500U achieved stable tape transport. This stability ensured its lasting popularity and expanded the series.

The SB-10000 was a linear phase, bass-reflex, three-way speaker using horn-type units for mid- and high frequencies, developed with advanced Japan-first and world-first technologies.

The SL-10 was a fully-automated turntable incorporating Technics’ advanced technology, sized like an LP jacket (31.5 cm). Its acclaimed design led to its acquisition by the Museum of Modern Art in New York.

The SST-1 was a twin load horn speaker system that achieved reproduction ability with higher efficiency and lower distortion. This system is part of the permanent collection of the Museum of Modern Art in New York.

The SL-XP7 was a portable CD player with quality sound and functionality. Following the direct-drive system, the brushless DD motor for the spindle motor section attained high-revolution precision for outdoor use.

The SB-RX50 was a speaker system with newly developed flat coaxial construction. It attained excellent sound image localisation and flat frequency response through separate baffling and other vibration analyses.

The SB-AFP1000 was a superlative flat-panel speaker that used twin cabinets based on a unique acoustic theory. This speaker achieved highly faithful sound reproduction and was used by the Vienna State Opera.

The SST-1 was a twin load horn speaker system that achieved reproduction ability with higher efficiency and lower distortion. This system is part of the permanent collection of the Museum of Modern Art in New York.

The SU-C7000 was a preamplifier with a battery-driven power supply. By separating the AC power supply from the signal circuitry, magnetic flux leakage was eliminated, resulting in improved sound.

The SE-A7000 was a power amplifier featuring newly developed MOS Class-AA circuitry, using MOS FET inputs for the voltage control amplifier. It excelled in faithful signal control and high-frequency response.

The SU-C7000 was a preamplifier with a battery-driven power supply. By separating the AC power supply from the signal circuitry, magnetic flux leakage was eliminated, resulting in improved sound.