Firstly, you need to understand what types there are:

There’s the ‘Pre-Amp’ – simply it’s a the switch box selector (phono/tuner/tape/aux) with the ability to manipulate the sound with knobs such as treble/bass/volume.

Here’s an image of a Pre-amp & Power amp:

The Pre-amp sends the audio to a Power Amp which amplifies the sound (this is where the ‘grunt’ is provided). The Power amp drives the speakers.

Then there’s the Integrated amp – The Pre-amp & the Power amp, integrated into one box!

Finally there’s the Receiver – an Integrated amp with a radio tuner built in – in Classic HiFi’s context, that means an AM/FM radio.

If you think you may want to listen to the radio, get a receiver, they are beautiful to behold. They are easily identified as they have a radio ‘dial’ across the front panel.

Most of our customers choose an integrated amp or a receiver – they both accept Turntables as a source, as well as iPods, CD or DVD players, even audio from your TV or computer.

Your turntable connects into the ‘Phono’ inputs of the amplifier using the red’n'white RCA cables usually hardwired into the turntable – if the Tt has female RCAs at the rear, you’ll need male-to-male cables of about 1m long which we have in-stock. The red plug is right, the white(or sometimes black) is the left side. If there’s another small single wire or terminal, it’ll be the earth (or ground) wire which also needs to be attached to the Gnd terminal on the rear of the amp.

If there’s any hum coming from your Tt, this earth wire should eliminate it.

Next, the amp needs to be connected to the speakers. On the rear of the amp, there’ll be 1 or 2 pairs of speaker terminals – if you only have 1 pair of speakers, use speaker system 1 (or ‘A’). They’ll be labelled ‘Left’ & ‘Right’ for the appropriate speaker, with ‘+’ and ‘-’ and red is always positive which goes to the positive (red) terminal on the speaker.

Quality speaker cable identifies (with a stripe or lettering or something!) one side of the cable so you know which is positive at the other end. These terminals at both the amp & speaker can be thumb nail screws, spring clips, or maybe ‘Banana’ plugs which also facilitate a screw down type – it’s essential that there is no chance of a ‘short’ across these speaker wires, either at the amp or speakers as it’ll blow the amp & that can be costly. Make sure they are attached firmly with no renegade bits of wire hanging out – once attached, give ‘em a gentle tug to ensure they won’t fall out & have a final check before powering up the amp. If you can’t see properly, as these connections are often in dark corners, get a torch!

HINT: if wrapping exposed copper cable around screw type terminals, twist the copper strands together to eliminate ‘renegade’ bits sticking out & curve these ends clockwise around the terminals, so when the screw is tightened clockwise, it grabs the wire, rather than throwing it out.

So, it’s time to power up the amp, but first, check all the facia controls – speaker switches should be off, volume down, Loudness off, tone controls to flat, Tape monitors off – in other words, everything off!

Then, turn on the power, wait a few seconds, turn on the speaker switch, wait another couple of seconds, & bring up the volume gently to see if there’s any hum, which can highlight any wiring problems. Next, volume back down, put a record the Tt, select ‘Phono’ on the amp, & gently bring the volume. Use the Balance control to ensure you have both channels, then investigate the tone controls to your preference.

If there are any issues (drop-out, scratchy controls……) work the switches & knobs, as we all need a massage some times to get going again. A different source (like an iPod) into an ‘Aux’ input can help with trouble shooting.

CLASSIC HIFI’s FAVOURITE RECORD STORES

Bi-wiring Speakers………………some high-end speakers have 2 or more pairs of terminals on the back!

It enables an amp to provide bass to the woofer, and treble to the tweeter, but as standard, there’s a ‘bridge’ between them, so ‘normal’ users can just use standard twin cable speaker to either of the terminals.

Some enthusiastic owners of bi-wireable speakers, remove the bridge, & either connect 2 sets of cables to the single set of terminals at the back of the amp, or use speaker system ‘B’ if the amp has them, to power the other set of speaker terminals.

It’s our opinion that, all it’s doing is to move the bridge from the speakers, to the back of the amp, or inside the amp. So we’re not convinced there’s any advantage.

Where use of the multiple speaker terminals is an advantage, is if you have twin stereo amps (or 4 mono-blocks) with an external cross-over to direct bass to the woofers & treble to the tweeters – now that’s serious stuff! This is not so much Bi-wiring, but Bi-Amping.

This is purely a summary of what all those extra terminals are on some of our hi-end speakers our customers buy from us. Unless you want to get into Bi-amping, just make sure the bridge between the terminals are securely in place – red are bridged together & black together – NEVER bridge red to black or you’ll blow your amplifier!

SO! WHAT’S THIS BIG WEIGHT AUDIOFILES PUT ON TOP OF THE RECORD ON THE SPINDLE?

Here are just a couple of other record weights to choose from below.

Well! It not only looks ‘chunky’, but it actually has a couple of very good functions………..

The majority of your records will have some degree of warp, no matter how perfect you think they are. The slightest undulation sets up distortions & low frequency noises amplified through to your speakers that were never intended to be there. One quick fix is a switch on your amp called ‘Low Filter’ or something similar – trouble is, it cuts off the low frequencies of the music as well!

So why not put something heavy on the centre of the record when it is on the platter to flatten it out? Also, it adds more weight to improve inertia as well, achieving a smoother 331/3rpm.

There are a couple of versions – just pure weight, a clamping type device or a screw down version but the spindle needs a thread & not many turntable manufacturers are that accommodating.

Here’s a copy of a very high end UK manufacturer’s brochure supplied with the clamp they offer as an optional extra ( and yes, we stock them):

By the way, you might think that the new 180gram (or even 200 gram records are starting to emerge) will overcome the warping problem, but even very thick records will not be dead flat & what are the chances of these weight/clamping systems flattening them out on the platter? Let alone if over time, these heavy thick records start to warp even more!

Linn, an unusual company started by an unusual individual for unusual reasons……..

Back in the early 70’s, the conventional industry wisdom was that sound quality was determined by good or bad speakers.

The experts believed the hi-fi chain started with the speakers and worked down to the source of the music – at that time – the turntable.

This understanding dominated the way the industry designed new systems.

But Ivor, Linn’s founder, believed the exact opposite to be true.

The source of the music was the most important element.

As odd as it seemed at the time – his reasoning was pretty straightforward.

Common sense really.

To pick up the music on a turntable, the needle follows the record grooves for information stored in the groove walls. Movements so minute, they are measured in microns.

It’s when you scale the ‘groove world’ up to inches that things start to get pretty hair raising.

Suddenly you are in a deep crevice. The walls are undulated. Approaching at an alarming speed is a bobsled. As it hurtles through the passage it has to pick up tiny pieces of information – the bobsled is, or course, the needle.

To pick up a deep organ note it has to swerve 10 feet 6 inches.

For a high violin note it’s less than an inch. A difference which may not seem staggering in itself. Until you stop to consider that the needle is travelling 6 miles per second. And that the pivot point of the lever controlling it is 4 miles away.

In these terms you can see how easy it is to miss out on critical information.

These same principles apply today. No speakers in the world can bring back lost music. It must be dealt with at its source, for example, the CD player, DVD player or tuner.

A painfully obvious idea. Yet at that time the entire industry ridiculed it. Because it pointed out they were wrong.

So Ivor ignored them. And quietly set about building a turntable.

In 1972 Linn Products was born.

In a nutshell, it comes down to dollars!

Quality amplifiers in the 70′s & 80′s, on average, cost about 1/2 the price of an average vehicle.

Spend that sort of money today & you’ll get yourself a truly ‘killer’ amp.

Spend $500 to $800 today on a quality classic amp compared to the same value on a modern amp, and the difference will be like chalk & cheese – just the weight of the old amp will indicate quality – to smooth out our rough old 240v power supply, you need transformers & copper wire that’s heavy – pick up a modern amp for that value & it’ll be like a black empty shoe-box! Pick up a quality modern amp (say $10,000 worth) & it’ll be heavy, really heavy.

These quality issues also extend to nearly every other part in the amp – the capacitors, transistors, resistors etc. Whereas in modern budget amps mostly made in Asia somewhere, are just that – a budget product for a fast living, disposable orientated consumer.

To the retro buyer, quality and style oozes out of the classic amps – steel chassis, steel covers, solid alloy fronts & knobs, VU meters, timber cases, all things beautiful! Play with the front of a modern budget amp (say under $1000) & it’s all plastic.

What about the sound they produce? The sort of classic quality amps we stock, offer a wonderful tonal warmth only the highest quality amps produced today can offer.

Here’s some un-solictored words from a recent client who bought a gorgeous old Linear Design amp -

“just want to say how pleased i am with it – it is a beautiful amp in every way and compliments my ancient honky old speakers beautifully. i put it to the test – which means both sides of yes’s “close to the edge” on vinyl quite loud and it really delivered. it even makes those silly little CDs sound good. i couldn’t be happier. thanx again.”

1972, LP12 turntable introduced.

1974, Main-bearing liner changed. Sub-chassis strengthened by addition of strap, spot-welded in place. Motor control circuit changed from terminal strip to small printed circuit board. Mains switch changed from two buttons to single with mains neon. [s/n 2,000]

1978, Top plate modified adding two holes for 6 x 0.5 self-tappers into wood block. [23,000]

1979, Lid prop removed, hinges changed to spring loading. [27,000]

1981, Nirvana mechanical components. [32,826]

1982, May. Valhalla crystal-driven electronic power supply made standard. [38,794]

1984, Enlarged plinth corner bracing. [53,000]

1984, Sub-chassis strengthening bar epoxy glued instead of spot-welded. [54,101]

1985, August. Cap head screws on bearing housing. [60,383]

1985, September. Diode modification to Valhalla board [61,090]

1985, December. Strengthening blocks on corners of plinth.

1986, May. New clear lid.

1986, Suspension springs improved.

1987, March. New bearing housing, New Formica and MDF arm-board. [69,161]

1987, April. New springs. [69,591]

1987, Bearing improved with better lining material and tighter tolerances. Change to black oil. Suspension springs ground to improved tolerance. Arm board composition improved. [70,000]

1989, Motor thrust pad changed. Valhalla surge guard modification. PCB mains lead (UK). [79,700]

1989, New medium density arm-board, laminated top and bottom. [79,160]

1989, Harder suspension grommets fitted. [81,000]

1990, External Lingo power supply available as add-on.

1991, motor thrust pad cap added to Lingo models. [87,047]

1991, Valhalla board with 45RPM capability added [87,047]

1991, motor thrust pad cap added to Valhalla models. [87,206]

1991, Introduction of LP12 Basik, a stripped down version of the turntable [87,672]

1991, Solid base board replaces hardboard. [87,672]

1991, Trampoline base board with isolating feet available as an option [87,672].

1992, Improved top plate fixing. [88,950]

1993, Cirkus upgrade (larger and better machined inner platter and new bearing, new springs, arm-board, belt) fitted as standard. [90,582]

2000, 4th bolt added near motor on top plate, fitted as standard. Required extra cross beam on plinth.

2001, New motor used (first new motor since original 1972).

2002, Maple plinth introduced adding to existing black, walnut, rosewood and afromosia options.

QUAD

Following the development of stereo records in 1958, the QC 22^[1] control unit was developed and released in 1959. This was a stereo control unit that was designed to be used with a pair of QUAD II mono amplifiers. To complement the QUAD II, the company also produced AM and FM tuners for use with the QC II & 22 control units.

The company made the transition to transistor-powered models in 1966 with the “professional” QUAD 50 monoblock which had a tapped transformer output and then the commercial 33/303 preamplifier and stereo power amplifier combination and later with the 44/405 and subsequent 66/606 and 909 models. They also made a range of AM and FM tuners.

Up until 1995 (the end of the British QUAD era) the number of the power amplifier indicated the total power output i.e.
the 303 was 30×3=90W or 45w per channel 8Ω load
the 405 was 40×5=200W or 100W per channel 8Ω load
Even the 606 was 60×6=360W or 180W per channel but this time into 4Ω load
The 500 series was a slight variation

Product Range