Pursuing quality over quantity, and realizing easy operation. Among the numerous lower-priced integrated amps available, one of the ones that made you sense Yamaha refinement and conscientiousness was the A-5, released in Briefly stated, it emphasized quality over quantity, and its design combined high performance and easy operation.
It followed in the footsteps of the A-1 with its simple, calm panel face, and among the other amps of same class that competed to be larger and more magnificent, this model had a unique attraction. The first stage of the phono equalizer also used a luxurious current mirror differential amplifier built with fully discrete components.
The MC cartridge compatibility was unusual for its price range, and was achieved through a gain switchover. The input selector had a recently added TV setting, which was probably intended to handle the new multiplexed audio on TV broadcasts that began that year.
The aluminum panel had a restrained gloss and a silky feel and the handsome knob layout gave careful attention to the spacing, while meticulous care was also given to the colors and illumination level of the self-illuminated buttons, resulting in a high-class, natural design that appealed not only to audiophiles but to many customers that had a sensitivity to product design.
The A-9 was introduced in to replace the CA as the new generation flagship integrated amplifier. During this period, there were many amps that were advertised to be high efficiency pseudo Class A amps with the sound quality of Class A and the efficiency of Class B, but the principle of changing the bias current depending on the signal level was controversial, and Yamaha stayed away from this approach.
Audio-like appearance and huge material resources. The Yamaha No. It was the realization of the audio amp dream of using pure Class A operation in all operating regions and was a great advance. The view after removing the top cover was just that of a separate amp, and the unit massed a big 26kg. The A did not have the bold looks of the CA and A-9, but on the other hand Yamaha was no longer playing catch up, but was in front, and the marketplace itself was reaching maturity, so these factors were no doubt reflected in the design.
A super-high end integrated amp that used the HCA power amp that was the pride of the Series, and held fast to analog amplification in the digital age. With the growth of CD, DAT and audio-visual, the amps of the second half of the s were groping towards a fusion with digital and video sources.
The old AX applied technology developed for the Yamaha year anniversary monumental product " Series". Finally with the AX Series it was possible to change the input selector or adjust the volume by remote control, and the selector circuit used a discrete FET electrical switch to prevent sound degradation.
The chassis was completely separated into preamp and power amp sections with completely symmetrical two-box construction, the chassis and frame were completely copper plated, and the power amp circuit board was located so as to be in contact with the non-metallic wood panel on both sides to reduce mutual interference and electromagnetic distortion. History of Integrated Amplifier. Integrated Amplifier Separate Amplifier. Yamaha Integrated Amplifier History Since From the CA that whipped up a whirlwind and brought Yamaha recognition in the audio world, to the AXA that after groping around with digital technology managed a comeback to pure analog.
The A starts off sporting a very robust power supply with lots of headroom. There are two beefy capacitors per channel of 33, and 22, microFarads respectively. To deal with the added heat generated by class A operation, there is a huge aluminum heat sink that runs down the middle front-to-back and which also serves to separate and isolate the preamp and power amp sections.
The Yamaha also contains circuitry called Zero Distortion Rule, which I believe to be a feedback network of some kind. Finally, there is a Direct button which bypasses the tone controls, loudness circuit and high filter to reduce noise and distortion.
Many modern components lack a phono input of any kind but the A has two! Phono 1 is switchable between moving magnet and moving coil circuits, while phono 2 is strictly for moving magnet cartridges. The input jacks for the two phonos are gold plated for corrosion resistance. The secondary functions and the headphone jack are hidden behind a fold-down door.
With the door closed, the only knob visible on the front panel is the large volume knob which is graduated in 5 dB intervals. These are annoying but hardly fatal flaws. For the frugal music lover or audiophile an integrated amp is often the ideal, cost-effective solution, yet here in America the integrated amp has been the ugly stepchild in the marketplace behind the lowly receiver and the highbuck alternative of separates.
An integrated amp usually but not always has better circuit design, better parts quality and more flexibility and useful features than a receiver and in that regard the Yamaha is outstanding. Muting button? Dubbing in either direction between the two tape monitors? Got it. Using the A has been a delight. If you have small speakers that are bass-shy, the A does have the variable loudness control that Yamaha pioneered and that they still use today.
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