Vintage

Meanwhile, there are three inputs. One suits a standard MM cartridge, one is for a tape recorder built to the DIN standard and the other is labelled 'AUX', although it is also suitable for connecting a turnable fitted with a ceramic cartridge. One may think this would be the ideal place to connect a CD player, but I would advise caution. As with many early designs, most of the inputs (and the built-in tuner) pass through the phono stage whose gain is reduced and response flattened to give the correct characteristic. This approach is less than ideal from an overload/noise point of view and those keen on obtaining the best quality sound should use the tape input instead because this bypasses this stage.

Finally, I found it surprising that the FM tuner has no preset stations, since it is electronically controlled. There is even a space for the buttons between the short wave and Automatic Frequency Control (AFC) keys, but it's manual tuning only. On the plus side, you do get a built-in ferrite rod antenna for MW and LW.

Tim Listens
It is always fun to take a guess at how a piece of equipment will sound before turning it on for the first time. I'd imagined the One Ten would have a slightly thick, warm presentation, but in practice the opposite turned out to be true. The tonal balance of the amplifier is, if anything, a bit thin – a surprise given that it is a DC-coupled design. The Contour (loudness) option was not the answer as it had the effect of sucking out most of the midband without really boosting the bass or the treble. Apart from a sharp crack through the loudspeakers at switch on, the other characteristics of the amplifier section are favourable. Its noise performance is subjectively very good, with only a slight hiss audible with the volume control set to maximum. It also goes without saying that there is plenty of power, most of which is accessible without too much audible strain. The main issue is a strident midrange, which comes to the fore when playing at high levels. Perhaps a fuller bassline would have put this into better perspective.

The One Ten's character was fully revealed when playing 'Lady Writer' by Dire Straits [Communique; Vertigo 800 052-2) at what I call 'concert volume'. The sound was clean, but Knopfler's vocals and the lead guitar were exaggerated to the point where it sounded like he was shouting over the rest of the band. Otherwise I liked what I heard, as both clarity and texture were well portrayed and imaging was vivid and solid. This would have been a good amp to have kept in one's system into the CD era.

While the amplifier earns a cautious recommendation the tuner requires no such caveats. Given a strong signal it delivers excellent results on FM, with accurate centre tuning and really effective AFC. The design of the stereo decoder may not be as sophisticated as some, but it serves up a wide soundstage and doesn't introduce an excessive sound penalty when cut in.

Live Lounge
Listening to Radio 3 In Concert on BBC Radio 3 (90.3MHz) was a real pleasure, the BBC National Orchestra of Wales providing a demonstration of why no hi-fi system is complete without a quality FM tuner. Yes, the stereo image was slightly diffuse compared to hearing the same pieces played on CD at home, but otherwise it was easy to relax into the idea of being present at a live performance. The design of the tuner sections in receivers isn't always of the highest quality, but this one is uncommonly good.

I enjoyed my time spent getting to know the One Ten. Not only is it is a quality product that works well in most of the important areas but it's well built and well finished throughout. Adding a period pair of Goodmans Magister loudspeakers with their 15in bass units might well add some body to the One Ten's overall tonal balance, but I think you'll be pleasantly surprised by its sound nonetheless.

Buying Secondhand
One Tens are still easy to find provided you don't mind the wooden ones. The white One Ten and all-black 120 versions are considerably harder to come by, but are worth seeking out if you want the ultimate in 1970s cool.

The main weakness is the poor quality of the components available to most of the British firms of the era. In particular, many of the resistors used take the form of a carbon rod with a metal ring pressed onto each end. This interface can form a poor contact over time, leading to noise and erratic operation. Similar observations apply to the small transistors, many of which are the half hexagonal 'Lockfit' type. Some are prone to absorbing moisture from the air, leading to all manner of faults.

Both these issues are more than offset by the excellent service manual, however, which is among the best and clearest I've seen. Every component is listed with its value, rating and function in the circuit – top marks. Note, though, that the DC-coupled output stages have no facility to adjust the offset at the speaker terminals, so if it's out of specification you have no option but to find the faulty component.

Hi-Fi News Verdict
While not eclipsing receivers from the top Continental names in terms of outright performance, the Goodmans One Ten is still a fine piece of equipment that deserves serious consideration. The amplifier is muscular, but the real trump card is the FM tuner, which really takes some beating. Perhaps best of all, One Tens aren't expensive, so why not give one a try? Make mine a 120 in black over black please...