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icon Audio
Instruction Manual Covering:
Stereo 60.1
Integrated Amplifier
Contents
1 Introduction & Final Inspection
2 Quick Set Up Guide
3 Connecting inputs & outputs
4 Getting the best out of your
amplifier
5 Trouble Shooting
6 Specifications
7 Valve Replacement
8 Guarantee
9 Packing Instructions
1 Introduction
Thank you for purchasing the
Stereo
60
. A great deal of care has been taken in
the design, selection of components and
production of this amplifier. We are sure that
you will hear the difference.
The
Stereo 60
is a push-pull
Ultralinear stereo power amp, capable of
running in either pentode ultralinear, or pure
triode mode, using the excellent KT88 valves
in fixed bias mode. The driver and phase
splitting is all triode. The pre-amp is a high
quality ‘Passive’ circuit using silver audio
cable and an ALPS ‘blue’ volume control. It is
sensitive enough to be used with all modern
source equipment having an output of 300mv
or greater. Its simplicity coupled with point to
point wiring hand wiring without the use of
printed circuit board’s results in an open
euphoric sound that is wonderfully detailed
and warm sounding.
In order to get the best out of your amplifier,
please read the enclosed notes. Even if you
are experienced with hi fi.
We would
recommend that everyone follow the
‘quick set up guide’.
Should you be
uncertain about anything to do with your
amplifier please contact us for advice.
Hi fi reproduction is a long chain of events
that includes the recording, editing, mixing
etc, before being transferred to a medium
such as LP, CD, or FM, before being played
through your own source unit, the amplifier
and finally loudspeakers.
Your room acoustics will also affect the
sound before it finally reaches your ear.
Whilst the amplifier is arguably the most
important part of a system, it is important to
remember that the weakest link will always
affect the final results when making
judgements. And not all recordings are
‘equal’! Therefore an amplifier which faithfully
reproduces the input signal will also
reproduce imperfections in the tonal balance
and the recording itself. Therefore setting up
and judgements should be made with a
‘clean’ well balanced recording.
