I like listening to old formats: analog records (more than a thousand) and one hundred CDs. Most of composers, players and recording engineers were dead long ago so that my listening style does not contribute to any economic or social activity.
| Equipment | Model | Remarks |
| CD Player | PIONEER PD-10AE | bought in 2019 |
| Cassette Tape Deck | PIONEER CT-970 | manufactured in 1981 |
| Record Player | BSR/SANYO Rim Drive Motor Kit for 16/33/45/78rpm | for playing SP/LP with turn-over ceramic/X'tal cartridges |
| Full Automatic Linear Tracking System | TECHNICS SL-J2(1984/1985)
with T4P cartridge. I picked up others from junk
too, but after some time of use, all went ill-functioning so I threw them
away. Around 1980 many full-automatic linear-tracking models were produced
in Japan and now they are available cheaply from recycle shops. Technics
SL-10 jacket-size linear-tracker and a few Yamaha linear-tracking models are
still highly appreciated by audio-maniacs as monuments. IMO: There is no
essential merit of low lateral tracking angle error +/- 0.15 degree while
the demerit of linear-tracker is uncountable in practice: unstable
mechanically. Another demerit of jacket size turntable: it cannot use record
weight/stabilizer for warped record because of space. SL-J2 with quartz-lock has rather complicated system with band detective sensor beside plug-in cartridge P-30. When this stylus is worn, I have no plan to buy expensive replacement stylus any more. Linear-trackers require regular maintenance generally for arm system： ①change of drive belt for inching arm ②change of grease around worm/pinion gear ③cleaning of rail In fact, slide friction on linear trackers is higher than rotational friction of pivotted swing arm. To keep slide friction low and steady is difficult: not maintenance-free. |
recycled from junk in 2006. |
| Full Automatic Quartz-Lock Turntable System | DENON DP-7F
(around 1987) : swing arm with T4P type cartridge DL-7F Now I am using this model as manual player for more than 15 years. |
recycled from Junk in 2005 |
| Turntable | DENON DP-2000 (around 1977) Quartz-Lock Direct Drive AC Motor - Nude without case and arm. Running more than 10000 hours: I was used to hear average 2 or 3 records almost everyday during 1978-2000 with this turntable. It works still fine but I play other automatic turntable system for easiness now. | Turntable & Arms are placed on Dupont "Corian" board |
| Tone Arms (standing alone) | Micro MA-505 (1976) | Dynamic balance arm with detachable shell |
| CEC HA-937 modified to integral arm | silicone oil damper | |
| SME 3009 Series II improved (early model) | integral arm without fluid bath | |
| Infinity Black Widow | with fluid bath | |
| Keith Monks Laboratory Arm M9BA Mark III, which I assume as most advanced uni-pivoted arm with magnetic anti-skating device & silicone oil damping similar to Decca International Arm | Mercury contacts are dangerous but free from wire friction around pivot. | |
| Cartridges | ADC XLM II improved, Audio-Technica AT33PTG & AT-MONO3/LP(Monaural) | |
| Denon DL-102(Monaural), DL-103, DL-110 | ||
| Dianix Sigma-1000MC by TECDIA | = Clearaudio Sigma (early model) | |
| Dynavector DV-19A | ||
| Excel SS-20, ES-70S, ES-70E, ES-70EX | ||
| FR-6SE, Ikeda 9cV | ||
| Ortofon SPU Classic G[1987] with tip R17micron, SPU Mono G[1989]with tip R25micron & sticker on the box indicating SPU Mono GM , SPU Classic GTE[1994] and MC20S2[1997] | ||
| Pickering 625E-S2, NP-AT plus stylus(D1527) for SP | ||
| Shure M44-7, Me97HE | ||
| Sony XL-55(Monaural) etc | ||
| Plug-in T4P cartridges | Denon DL-7(MM equivalent to Nagaoka C-502M/P because replacement stylus is common) & Technics P-30 with EPS-30ES(elliptic) etc | T4P cartridges are interchangeable: VTF 1-1.5g (average 1.25g), weight 6g, 2cm from connector to stylus. |
| Head Amp for MC | Kaneta-type DC Series No.40 battery amp 26db | built up in 2002 |
| Step-up Transformers for MC | DENON AU-300LC | Input impedance (3-40 Ohm） |
| PEERLESS SLC-1 | Impedance (3 Ohm) | |
| Phono Equalisers (RIAA) | Home-built NF type 34db (1995) | Yasui type Otec NFEQ |
| Home-built LCR type 41db (1996) | LCR: TANGO EQ-600P | |
| Home-built NF-CR type (1998) 37.5/50db | gain (MM/MC)/load CR switches | |
| Pri Amp | San-ei kit PR-300 (tube) 26.5+20.5db | Ampex-Dynaco circuit |
| Attenuator | Home-built T type attenuator： input stage with 0dB buffer and output impedance 600Ω constant (Year 2000) | use after Phono Equaliser/CD and connect to power amp directly |
| Pad Amp/Controller | Cleverish 4 Pad Amp Kit by Trillion | built up in 1989 |
| Integrated Amplifiers | Creek 6060 (65W x 2) | 1991 |
| Onkyo A-9150 (30W x 2) | 2018 | |
| Power Amplifiers | Home-built FET amp (50W x 2) | 1995-2001 |
| Home-built Single Triode Tube Amp (2W x 2) | NEC 6C-A10(50C-A10) 1980 | |
| Line Amp (20dB) for Headphones | Home-built All-FET amp (2002) | Headphone: Sony MDR-CD900ST |
| Speaker Systems | KEF Q10 (only one channel for use of SP playback) | Uni-Q unit (1998) |
| Full-range LC-12S (5 inch) for music
of old sources. IMO: Wide frequency equipment is unsuitable for old recordings which sound unfocused or strange with wide freuency speakers. Frequency range is limited to 80Hz-10kHz +/-3dB, but it sounds real and focused for old monophonic source and vocal. |
Box from Hino Audio in Akihabara who produced copy models of Goodmans Maxim system. | |
| Two-ways bass reflex type speaker system. Unused for the moment. | Hino Audio in the same box as above. | |
| Fostex FF165WK (6.5inch) plus drone-cone (8inch Fostex Woofer FW20 as dummy cone) to enhance bass range. General use including symphonic music. | see drawing |
