The Beogram 4000’s motor unit, arm and cartridge were designed together to work as one optimised system. B&O had considered building a conventional turntable with a long arm but this was rejected in favour of tangential tracking, the Beogram 4000’s most famous feature.
The basic structure comprised a die-cast tray that served as the basis for the slim and elegant plinth. This housed another casting, which formed a floating sub-chassis.
Direct drive was viewed with suspicion here by many in the 1970s. Elsewhere, high-end direct-drive units from the Land of the Rising Sun were snapped up.
The TTS-8000 is now widely regarded as the second best turntable Sony ever made (first place goes to the company’s PS-X9, aimed at studios). But the runner-up reviewed here did a sterling job in straddling both the domestic and professional markets.
Back in the 1980s, Compact Disc’s tantalising promise of ‘perfect sound forever’ was taken as gospel in many quarters. However, one man was dissatisfied with its performance and set about improving matters with typical fervour.
The engineer in question was Stan Curtis of Cambridge Audio and the result of his labours was the CD1 player. Introduced in 1984, it effectively changed the face of CD reproduction – and not just due to its multi-box construction.
British company Ferrograph, as its name suggests, has its origins in the production of tape recorders. After the Second World War it successfully marketed a series of professional machines based around the sturdy Wearite deck.
Having mastered this most difficult of components, it would have been relatively straightforward for Ferrograph to diversify into other lines. But its first integrated stereo amplifier is one of the most interesting.
Naim Audio’s first product, the NAP 160 power amplifier, was introduced in 1971; the NAP 250 appeared in 1975. It was technically unusual in that it used a strictly regulated power supply, whereas the vast majority of power amplifiers, unlikely today, typically made do with an unregulated one.
Arguably, the NAC 12 preamp was even more unusual than the NAP 250. In ultimate form it required a standalone external power supply – the SNAPS – at a time when such an arrangement was virtually unheard of.
The Quad 22 control unit and II power amplifier have both enjoyed a presence on the hi-fi scene almost from its very beginnings. The 22 appeared in 1959 but the matching Quad II power amplifier had been around since 1953.
Like most amplifiers then, the22/II was split into separate units, for mounting inside a larger cabinet. The compact 22 came with a basic metal shell so that none of its working parts was exposed should it be left free-standing.
KEF’s statuesque Reference 5 embodies an overwhelming amount of research and development – it employs various techniques that are really quite new, but puts together many more that have emerged from earlier design work.
The 125mm/25mm driver developed for this new range is the 11th generation of KEF’s Uni-Q designs, while the four 6. 5in bass units are placed as close as possible to this midrange/treble unit to minimise lobeing and interference dips at the crossover point.
But rather than having a conventional cone, the bass diaphragm is a shallow aluminium disc, which gives the driver a lower profile and ensures a minimal effect on the frequency response of the midrange and tweeter.
The guiding philosophy of Magico’s indefatigable CEO and designer Alon Wolf is along the lines of ‘if you want it done properly. . . ’
This extends not only to the largely bespoke drivers but in particular to those famously inert cabinets, employing copious quantities of alloy, innovative scaffold-like internal bracing and constrained-layer damping.
Although the bass and midrange drive units on the twenty. 26 may appear similar to those of the PMC fact 12 [HFN Nov ’13], they are completely new and only found on this loudspeaker so far. The tweeter is the one unit carried over from the existing models and it’s the well proven Solonex 27mm soft-dome unit, developed by SEAS in conjunction with PMC.
Its output is rolled off below 3.
Q Acoustics, established in 2006, is very much a new-wave brand that owes no philosophical allegiance to tradition, even if it is by definition a part of theentry-level British speaker scene.
With the Concept 20, two elements combine to achieve noteworthiness – the cabinet technology and the optional stands. It goes without saying that the price alone (£350 for the speakers, or £550 for the package) automatically qualifies this as of exceptional value.
The 655mm stands are handsome, well-made and clever – they lock to the speaker, hide the cables down the back, feature adjustable spikes, sound terrific and could probably sell by the truck-load on their own.
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