A餐與 B餐! 早陣子，不管是那個範疇上的人和事，只要出現二揀一的情況，人們總愛將之說成如在餐廳、酒樓點菜遇上套餐般: 究竟揀 A餐抑或 B餐呢?套到音響發燒中，尤其在合併機或後級的選擇上……又確係在A與B兩個字母之間! 究竟揀 A餐抑或 B餐?在合併機或後級的選擇上，當然不是 Class A 或 Class B 之選，而係 Class A 與 Class A/B 的抉擇。通常，提得上 A餐抑或 B餐作為考慮者，實力必相當，必有所謂取捨之間的考慮，即兩方必各有優點、各有惹人好感之處，放到合併機與後級 Class A 抑或 Class A/B 的選擇上，尤其在同一牌子上，就更叫人難於取捨。假設你已對某牌子的某類作品有好感，但其同級作品上，卻提供 Class A 或 Class A/B 選擇，經驗告訴我，發燒友十之八九會出現取捨困難症! 正如 Luxman 合併機，現役五款合併機中有兩款 Class A 機，當中入門級就有 Class A/B 的 L-505uXII或 Class A 的 L-550AXII，至於今篇主角 L-509X，同級的 Class A 就是L-590AXII。如今 Luxman 合併機命名的一貫做法，型號的三位數字中，第二位數字為0者即為Class A/B機，型號中 有A，加上第二位數字不是0者，即為Class A機。當L-509X及L-590AXII兩同級不同類作品相繼現身 後，肯定為正準備落手的發燒友帶來煩惱，究竟應該揀 Class A抑或 Class A/B? 肯定有人會說 Class A 較厚暖、Class A/B 較有力! 這說法倒也事實，但未免太簡單，實不單要睇本身聲音特性，亦應該看配搭及聆聽條件而論。假設，愛感性、溫暖、厚潤，多聽人聲、提琴、 三兩件樂器者，而聆聽空間只百來方呎或以下的話，配一對如B&W 805 D3或其他兩、三單元的中 等靈敏度喇叭，又或以其溫暖、厚潤 A類功率來夾如 Klipsch Heresy III 類的高效率喇叭，A類幾十瓦輸出的A L-590AXII 應合用。但，如傾向理性，喜歡清新、有勁，音樂口味闊，又要配合較大規模的喇叭或在較大的空間使用的話，選擇 8Ω負載有百二瓦、4Ω負載達二百二十瓦輸出的今篇主角 L-509X，定必更理想!
今次聽到，L-509X 配702 S2 確係一對極之合拍的好拍檔，正合準備在較大的房間，例如二百方呎或以上的空間 中使用。反過來，在百來方呎或以下使用的話，按比例選 用較細規模的喇叭即可，故擁有120瓦(8Ω) 或 220瓦 (4Ω)在手的 L-509X，可謂進可攻、退可守，且聲音正路、 流暢、見音樂牽引力的選擇! 如讀過今回煮酒後仍在 Class A/B 的L-509X或 Class A 的L-590AXII上猶豫不決的話，只要先理性地明白Class A/B 不可能有 Class A 的厚暖聲 ，亦得知道只幾十瓦的 Class A 有一定的配器及使用限制。然後，好應該親身去聽聽、比 較，自己耳朵、自身感覺最誠實，就拋開理性，單憑自己 耳朵加直覺去揀選吧! 至於我嘛?我會選擇較理性，重播不同類型音樂都適 應得來，兼且播得有水準的 L-509X!
《Stereo Sound》評論 L-509X 時提到，它雖然是 Class AB 合併機的旗艦，但滲入了 Class A 的音色。實際呢? 他們只說對了一半，假如以它推動 B&W 802 D3，音色的確帶點暖和感，溫度偏高，不過，這對大型座地揚聲器對它來說，駕馭得有點吃力，要試出它最佳表現，B&W 702 S2 才是最佳選擇，L-509X 能夠把每邊三隻 6.5吋低音控制得張弛有道，同時展現極為中性、直率的真本性。
厚? 濃? 錯! 這叫做高密度
將 Luxman L-509X 放到大房，以 Accustic Arts Drive II、Tube-DAC II Mk2 作為訊源，揚聲器是剛才提到的 B&W 702 S2。電源線分別是 Burmester Power Cord (CD轉盤)、Analysis Plus Power Oval 2 (DAC)、Analysis Plus Silver Apex (合併機);線碼線是Analysis Plus Golden Oval Patent AES/EBU;訊號線則有 Analysis Plus Silver Apex XLR;最後是喇叭線，選來 Audio Note ISIS LX168。 接連播放兩張Erato/Virgin Classics CD，分別是 Artemis Quartet、Jacques Ammon的《The Piazzolla Project》;Jean-Guihen Queyras、Alexandre Tharaud 的 《Brahms: Cello Sonatas & Hungarian Dances》。 L-509X 控制力不俗，把一對揚聲器合共六隻低音單元 控制得貼服，但並非控制狂，不會侵吞了各種音尾，保持鬆緊有致，起與收同樣完整而線性。 聲音厚度出色，又或更準備地說，是高密度，因為它既表現出木製樂器的厚度，尤其是大提琴，你可以非常清楚地聽到琴弦直徑、韌度，還有琴腔外壁的厚度，同時又聽得到內部細微的共鳴變化，而鋼琴高音的通透感，亦十分出色。透明的高音、厚度剛好的中音、量感充足又收放自如的低音，結合出一種高密度，一種你覺得實在、輪廓 清楚、弱音明顯的密度，而非濃度，因為它的聲底還是乾淨的，不會化大、肥厚或是霧化細節。
三頻各有特點，但不會各自獨立，一切都是線性、連貫的。音色上，不是朝 Class A的 L590AXII 進發，L-509X 沒有暖聲傾向，亦非 L-509u 那種銀色光澤，新機依然光輝， 不過色彩更加純白，高音純淨度也更加出色。這種高音純度，在重播 Warner Classics 近年得獎的《Aida》中，通過 小號、長號展現出來，光輝而不帶沙石，音色非常中性， 不是銅管樂器常見的金黃色、厚暖。 只不過，L-509X 其實是直率，而不是帶有強烈固有音 色，只因一次過播放多張Muse的專輯，Hard Rock 風格的電結他，總是帶着結他手用心調校的結他 amp 失真聲， 才可令聽眾覺得火辣、刺激，假如重播系統出手修圓、打 磨，那就完全不對味。這台合併機不是「手多之人」，只是注入更多厚度之後，就對所有訊息進行全面放大。錄音 是細緻的，它會給你聽到那是細緻的;應該粗獷的，它亦會將火力直接傳遞。 有人認為，聲底乾淨的器材，播 Rock 會失去味道，只不過真正「乾淨」，其實不會吃走錄音的火氣與刺激感， 會吃走細節的變得「乾淨」的，不是真正的「乾淨」。 實際上，應稱前者為背景寧靜、能夠反映更多細節， L-509X就是這種低噪聲地台、不會流失弱音的器材，懂得 直接重現錄音原貌。那種聽甚麼都有火氣、播任何專題也粗邁的，其實只是一種強烈個性、音染。L-509X 沒有這種固執，所以播放大部分音樂種類的入味，這傳真就是如此。
今次試聽以 SME Model 20/3 唱盤和 SME V 唱臂配上 My Sonic Lab 的 Ultra Eminent BC 唱頭和 T+A PDP 3000 HV CD/ SACD 播放機作為音源，再以 Kubala-Sosna Expression 喇叭線將 Luxman L-509X合併擴音機連接到 Tidal Piano 揚聲器來進行試聽。由於這台 L-509X 是全新的關係，所以接駁完成後再將它堡煉約三十小時後才正式進行試聽。先聽 「Diamonds & Rust in the Bullring LP」，這張專輯是 Joan Baez 於 1988 年在西班牙 Bilbao 鬥牛場舉辦一場演唱會。此專輯的錄音達到很高的水平，今次只是使用 L-509X 的內置唱放，但竟可讓我感到十分驚喜，表現絕不比分體唱放遜色，除了底噪極低之外聲音也十分細緻迷人， Joan Baez 嘹亮的嗓音加上感性的表達方式，徹底展現出她獨特的氣質和成熟的韻味，將歌曲中的濃濃情感詮釋得淋漓盡致，還能如實地展現出結他那份樸素無華的感覺，音場寬廣且深，整體互相配合之下絕對讓人盡興。
試聽 lsolajazz專輯，這張於2017年在意大利熱拿亞舉行的演奏會現場錄音，由Venus旗下多位爵士樂手及歌手演出，整張專輯的現場氣氛相當濃烈」讓人有置身現場的感覺。碟I頭兩首純音樂已讓人感到興奮，特別是敲擊手 Ernesttico 在Theme From Mash 一曲中展現出高超精湛的技藝，L-509X 擁有強大的動態和極佳迅變能力，完全能將快、狠、準的音效重現出來。碟 2 的Quando Quando Quando 由 Denise King 引導現場觀眾一同高歌，全場的情緒非常高漲，可說是彼此打成一片。整張專輯能讓人感到滿載歡樂與熱鬧的氣氛，如此豐厚的現場感覺確實盡顯 L-509X 的功力。
This superb analogue amp is much more than an expensive retro throwback.
Tested at £8,500
Within hi-fi circles, the conventional wisdom of an inverse relationship between amount of features and quality of performance prevails.
It’s a point of view that came into prominence back in the 1970s and, in our experience, still holds true today. But for every rule there’s usually an exception – in this case it’s the Luxman L-509X.
This is a fully loaded analogue amplifier. Anyone who thinks such a unit should also include digital inputs should know such modules are rarely great, even when fitted to high-end products – they are generally outperformed by outboard digital-to-analogue converters such as Chord’s sub-£400 Mojo. At this price, such a level of performance is just not good enough.
The inclusion of digital modules also tends to make the analogue side of things sound worse, which in our view is a compromise too far.
The L-509X packs a moving magnet/moving coil phono stage, headphone output, tone controls and switchable speaker outputs – all things in demand back when its decidedly retro appearance was the latest fashion.
There’s no shortage of connectivity. Alongside the phono stage, this Luxman also has four single-ended RCA line-level ins and two balanced XLR options. We can’t think of a typical stereo set-up in which this integrated might get caught short.
The company has kept this amplifier as flexible as possible – so, although it’s an integrated amp, it’s possible to split the pre- and power sections (at the press of a button) and use them separately.
You can connect two sets of speakers and switch between them, or use them together.
Take a look inside and it’s hard not to be impressed by the standard of construction.
Everything looks neat and carefully planned. We’re pleased with the quality of the components used, right down to the material from which the circuit board is made. It’s clear Luxman hasn’t skimped.
The internal view is dominated by the power supply arrangement. There’s a chunky mains transformer (600VA) and dedicated banks of smoothing capacitors (40,000 micro Farads) for each power amp channel.
The power amp circuitry is a Class A/B design capable of 120W per channel and, even more impressively, able to double output as impedance halves. On paper at least, this is an amplifier that will have no trouble driving difficult speakers to high volume levels.
The preamp side of things hasn’t been ignored either, with Luxman developing its own 88-step volume control system and using the basic circuit from its top-end preamp.
The message is clear: this may be an integrated amplifier, but it really is more like a separate pre- and power amplifier in a single box rather than a compromised electrical design.
General build quality is excellent. The L-509X feels immensely solid and weighs in at almost 30kg. Fit and finish is terrific, and good enough for amplifiers costing considerably more.
We love the feel of the controls – they’re nicely damped and pleasingly precise in use.
Even the remote handset is nice to hold and use, even if its button layout is a little odd. Handsets tend to be a blind-spot for most high-end manufacturers, but overall there is much to like here.
This Luxman may be an expensive amplifier but we feel, physically at least, it’s well worth the money – and then some.
That view doesn’t change once we start listening. The L-509X is an amplifier that creeps up on, rather than wows, the listener when the music starts.
It has an understated presentation it takes a while to appreciate. Those looking for sonic fireworks will find them here only if they’re in the recording. This amplifier doesn’t spice things up for entertainment’s sake.
Tonally, the Luxman is as neutral and balanced as they come – provided you leave the tone controls alone. It sounds a touch cleaner and crisper with the Line Straight button pressed – doing so bypasses the tone and balance controls, and gives a purer signal path.
We also switch off the backlighting on the power meters. We do this not just to avoid distraction but for the slight increase in transparency it offers. These are tiny gains in the whole scheme of things, but in the context of an amplifier with such talent we think they’re justifiable.
Equally, such an amplifier deserves a top-class source and speakers.
We use our usual Naim NDS/555 PS streamer for the line level inputs, together with Clearaudio’s Innovation Wood record player (including the Stradivari V2 moving coil cartridge) to test the phono stage. As for speakers, our reference ATC SCM 50s are pressed into service, along with KEF’s Reference 1 standmounters.
We throw the L-509X in at the deep end with Orff’s Carmina Burana and it swims confidently. This is an impressively detailed and insightful performer, one that’s capable of class-leading clarity.
It recovers subtleties, even in a production as dense as this, and keeps them audible as the piece becomes demanding. The low-level reverb defines the acoustic space the concert was recorded in, and spatial clues help us identify the exact positions of the orchestra and choir upon the sound stage.
The music’s wild dynamic swings are delivered with enthusiasm, the amplifier’s generous power output obvious in the punch and solidity of the presentation.
There’s no shortage of drama in the sound ,yet we become aware of the L-509X’s impressive composure and the sense of control it imparts. There’s an ease of delivery here that shrugs at high volume levels and the readings on the power meters.
We’re pleased to report it’s not the case. Feed the Luxman a hard-charging track with a complex rhythm and the L-509X renders the music with a hand-on approach that keeps all the energy and rhythmic organisation intact.
We’re particularly impressed with the way this amplifier can deliver deep bass with such texture, agility and power.
The story remains positive when we try the phono stage. The amplifier loses none of its even-handed nature with this input, delivering a good dose of insight and entertainment.
There’s just a mild drop in transparency compared to the line stages, and a slight loss of the low-level finesse. Still, the phono module has more than enough gain to work with most cartridges, and stays commendably quiet when it comes to background hiss and hum.
We’re less taken with the headphone output. The tonal character of this output is consistent with that we hear through speakers, but using a range of headphones from Grado’s RS-1s and PS500s, as well as the Beyerdynamics’s T1s, we feel the sound is less lively and expressive than we’d like.
If you’re an occasional headphones user, the circuit in the Luxman is fine. However, if you’ve got high-end headphones and want to hear them at their best, a good dedicated outboard amp will do the job better.
Overall, though, we’re deeply impressed by the L-509X.
On the surface it might present like an expensive retro throwback, but it’s so much more than that. It has a blend of build, features and performance that’s hard to better at anywhere near this price.
If you’re lucky enough to have this kind of budget and are looking for a neat package without sacrificing performance, this Luxman demands your attention.
They don’t make’em like they used to – until you see the new Luxman LX-380 valve amplifier from Japan that I’m reviewing here. Japan went down the nostalgia road somewhat before the UK and this new amplifier mines Japan’s not-so-distant past beautifully. It doesn’t just look good, it feels solidly hewn and its controls are delicious to use. Luxman always produced great products – I’ve owned many and this amplifier gets right back to the qualities that attracted me and so many others decades ago.
The LX-380 is not quite pure though: it is a hybrid.The preamplifier stages are solid-state; only the power amplifier is valve (tube) equipped, using 6L6GCs. These are compact tetrodes considered good for 30 Watts in guitar amplifiers where overload is tolerated, but for around 20 Watts in everyday audio use where long life from lower anode volts is preferred – and indeed Lux make this point in their user manual, “operating conditions of the output tubes having some allowance“ they say.
So the LX-380 delivers 20 Watts per channel. It may seem feeble against the 100 Watts or more we expect nowadays, but in conjunction with sensitive floorstanding loudspeakers (90dB from 1 Watt) it is more than enough for very high volume. If you don’t want to wake the dead then it will drive smaller loudspeakers nicely too but I’d recommend large standmounters as a minimum for reasonably high volume coupled with strong bass.
I’ve seen worries about the unreliability of valve amplifiers, the expense of running them and what have you.Yes, power output valves do need replacement after a few thousand hours of use but 6L6GCs are plentiful and around £42 for a matched pair -not a king’s ransom. Expect around 3 years for three hours of use per day, every day – heavy going. Auto-bias makes bias adjustment unnecessary.
The LX-380 is very user friendly then: it is what it looks, an everyday integrated amplifier, built to standards long gone and with a sound only valves can give – easy going, free from transistor fatigue and with a capacious soundstage. The tubes are hidden and heat output is moderate, so everyone -including the cat – is safe.
Like any self-respecting valve amplifier the LX-380 is heavy, weighting 17.6 kg (39lbs). But it doesn’t take up a lot of space, measuring 440mm (17.3in) wide, 403mm (16in) deep and 197mm (7.8in) high. Most of the weight lies in the two output and one mains transformer but the case is solidly built and Luxman don’t skimp, using a chunky machined alloy fascia with a superb standard of finish.The control knobs and switches are likewise solid machined alloy, having beautifully smooth yet silent actions. I should mention that Luxman advise space be left around the unit for heat dispersal; I’d suggest 6in (15cms) or so above.
Although the volume control looks like a conventional motor driven (remote control) Alps, in fact it is an electronic attenuator with discrete resistors selected by relays operated from a normal volume potentiometer. This gives the feel of a volume control and allows a motor to be used to rotate the knob by remote control.
Such a system has the accuracy and quality of a resistive attenuator, including its immunity to overload, whilst also ensuring frequency response is unaffected by volume control position, as it unfortunately can be when a conventional volume control is used in a poorly designed circuit. To do this you must use logic to switch the relays – it is a complex but very purist way of changing volume.
Clever stuff then – electronically sophisticated and expensive to produce – but effective in theory and in practice our measurements showed. The volume control of the LX-380 is a great piece of modern audio engineering in an amplifier that’s seemingly old by looks.This well illustrates what Luxman are offering here: the best of today with the best of yesterday. The past brought up to date.
Like all Luxman amplifiers this one carries a wealth of facilities. It has four Line inputs to accept CD, DVD players and what have you.They are very sensitive, suiting low output devices like low gain external phono stages and old portable players or analogue tuners with low output.
There is a phono stage for LP, front panel switched to suit MM or MC cartridges.The entire preamplifier is solid-state so you don*c
get valves here.
Unlike most modern amplifiers this one has Record Out and Monitor input RCA (phono) sockets to handle externa! open-reel recorders, or cassette decks – a real blast from the past! The valve power amplifier can be accessed direct from Main In sockets – useful for today’s portable players and DACs that have their own volume control and high output (IV or more).
Like amplifiers of yore, there are Bass and Treble tone controls, here with switched turnover frequencies. This makes fine adjustment of frequency extremes possible – great for subtly tailoring the sound of connected loudspeakers. In true audiophile fashion the tone control circuitry can be switched out with a Line Straight lever switch.
The front panel switches and controls do not appear to switch directly: rather they actuate relays, so there was a small kerfuffle when I flicked a lever, because this initiates mute/relay/unmute sequences.You get longer life and better sound quality over that life with this approach but not the instantaneous response of switching direct.
A solidly carved remote control unit alters volume and has a Mute function but does not select input or the other controls and has no On/ Off function.
The rear panel carries two pairs of *speaker sockets, for A and B loudspeaker pairs. Front panel switching selects A, B, or A +B together.
The rear panel carries chunky modern loudspeaker terminals – no sign of the horrible spring clips or shaky screw terminals of the past that allowed shorts and tarnished quickly.They accept spades, 4mm banana plugs or bare wires. All other inputs are unbalanced through the usual RCA type phono sockets; there are no balanced XLR connectors.
Internally there is one protection fuse within the mains transformer primary circuit but none in the secondary HT lines, to protect the output transformer primaries in event of tube failure – something I consider important. Since fuses and fuse holders are cheap I am surprised at this.
The Luxman sounded unhappy driving our in-house reference Martin Logan ESL-X hybrid electrostatic loudspeakers: bass was limited. This surprised me because valve amps like our Icon Audio Stereo 30SE (30W) are a perfect match.
Contrarily，PMC’s twenty5.24 loudspeakers were a match made in heaven.The PMCs have obvious and well-extended bass as well as strong treble with a smooth and easy midband. This did not just suit the LX-380 but the two sounded fabulous together. This does suggest however that the LX-380’s limited bass power of 8 Watts (see Measured Performance) needs to be understandingly accommodated Loudspeaker matching is an issue but I believe it will suit most conventional floorstanders.
Digital was fed in from an Oppo BDP-205D Universal disc player, meaning CD and hi-res from an optically attached Astell&Kern AK120 portable player. For LP I used our in-house reference Timestep Evo modified Technics SL-1210 Mk2 turntable with improved control circuits and linear external power supply, carrying an SME309 arm with Audio Technica VM750SH MM cartridge and, alternatively, an Ortofon Cadenza Bronze MC cartridge to assess both MM and MC inputs.
Spinning Josefine Cronholm’s ’In Your Wild Garden’（CD) the reason for buying a valve amplifier was thrown at me: her voice had enormous contrast against a silent background that made for a feeling of great dynamic power.
“There was ease of deIivery, a fluidity of event that makes for a lifelike presentation free of the mechanical sound from transistors.”
Valve amplifiers do this，they have seemingly muscular delivery that suggests primary feedback taps.
The result was an utterly gorgeous sound, vocalists having a lovely rounded presence and lively nature. Treble was as sweet as I could hope for, the emphasis of the PMC’s being reasonably obvious at times, but also contributing to conspicuous and precise stereo images across the sound stage.
The Berliner Philharmoniker playing Strauss ‘Don Quixote’ (24/96) stretched wide and filled our large listening room, massed horns having a lovely brassy quality and plenty of dynamic push. But when all fell silent for a solo violin the Luxman tracked this change beautifully, conveying its emotional impact in full.
Whatever I played, digital from the Oppo was graced by the Luxman^ signature sound – but so too was analogue from LP after switching from Line 1 to Phono and pressing the Technics On button. With Audio Technical VM750SH MM cartridge the bass line behind Mark Knopfler’s ’Madame Geneva’ was firm, expressive and easy to follow via the PMC loudspeakers.The whole delivery was liquidly smooth, atmospherically spacious and a performance to wallow in.
At high volume there was no hiss or hum, LP sounding as deeply silent as CD. I swapped the VM750SH for our Ortofon Cadenza Bronze MC cartridge and flicked the front panel lever switch to MC (no clicks or thumps).
Again, there was virtually no hiss and plenty of available gain – so no apparent matching problem. But the Cadenza was less glassy up top and a tad more amenable and considerably more powerful in its bass.
The reggae-like bass line of Dire Straits ‘Ride Across the River’ was expressed superbly well, sounding strong, deep and articulate. So in spite of poor measured figures I heard a great result here.The PMC’s give strong bass without drawing bass current and this suited the LX-380 perfectly.
They don’t make like they used to: in the LX-380 they now make ‘em better.You pay for this sort of quality and attention to detail but Luxman amplifiers always were more expensive than the herd.They have to be with all the facilities that come included.With ourTimestep Evo updatedTechnics SL1210 Mk2 turntable and a new Audio Technica VM750SH MM cartridge, spinning LP in particular brought past wonders back to life in entirely modern form, giving a luscious sound. So if you hanker after an easy to use amplifier built the way they were – with no digital in sight – the new LX-380 from Luxman is a must. Just use it with suitable loudspeakers to ensure strong bass.
The 6L6GC power amplifier output stage is quoted at 20 Watts and just about managed this within a 1% distortion limit. However, it was down to 8 Watts output absolute maximum (3% distortion) at 40Hz due to output transformer core saturation — quite a severe drop. Together with a damping factor of 1.7 the LX-380 will be no bass machine. However, with floorstanding loudspeakers of 90dB sensitivity — not uncommon — 5 Watts or so is enough for extremely high volume so the LX-380 is fine if used in an appropriate system.
Distortion was low, measuring 0.2% at 1 Watt and 1kHz, comprising mostly second harmonic. This figure rose slightly to 0,26% at 10kHz — still a good result. Distortion increased with rising output, hovering around 0.5% at full output (volume).
The output transformers swap power, which needs big cores, for bandwidth — easier to achieve with small cores and bobbins. Frequency response measured flat to a high 60kHz our analysis shows — very wide for a valve amplifier. It also reached flat down to 3Hz — not the best idea as core saturation occurs very early at such low frequencies. Digital usually contains no deep lows but LP can have strong warp signals at 5Hz, but a Subsonic filter is fitted.
Frequency response was unaffected by the 88dB stepped LECUA volume control that is placed within the preamplifier that is solid-state. Line input sensitivity was very high at 120mV and noise low at -95dB, with no hum.
Phono stage equalisation was accurate, giving flat response from 10Hz to 20kHz with MM and MC. The Subsonic filter rolled off output below 100Hz, being -1d13 down at 50Hz and -17dB down at 5Hz — plenty enough to suppress LP warp signals. The Bass tone control, set to 150Hz turnover, compensated for subjective lightening of bass reasonably well when turned up by a very small amount; it has fine resolution.
Phono input sensitivity was very high, 2mV MM and 0.12mV MC being enough for full output. Overload was high at 85mV and 11 mV respectively and noise was also low at -82dB and -65dB respectively, the latter representing a superlow 0.07pV equivalent input noise.
The LX-380 measures well in all areas except bass power, where a limit of 8 Watts was out of keeping with all else. NK