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Heathkit stereo tuner (AJ-43D) and amplifier (AA-21D) (1972) Heathkit stereo preamplifier (AA-141) (1962) Point-to-point construction of a Heathkit stereo preamplifier (AA-141) (1962) After the success of the oscilloscope kit, Heath went on to produce dozens of Heathkit products.
Heathkit began a program to develop their own kit that would be much superior to the Altair, [2] which was known to have poor reliability due to a number of design decisions. [ a ] The concept of building a computer remained a heated issue in the company, but started moving forward after one engineer stated "All right, we'll build a computer.
HH Electronics is a British amplifier manufacturer that was founded in 1968 by Mike Harrison, Malcolm Green and Graham Lowes in Harston near Cambridge, England, where its first solid state TPA and MA range of studio quality amplifiers were designed and manufactured. These amplifiers were used by many recording and broadcasting studios ...
Media in category "Audio amplifiers" The following 2 files are in this category, out of 2 total. NAD3020 amplifier.JPG 1,000 × 381; 69 KB. NAD3020DYK.jpg 492 × 373 ...
Musical Fidelity is a British producer of high-end audio equipment focusing on streaming music players, and its core product range of amplifiers of various types (power, phono, headphone, integrated and pre-amplifiers). Other products have included headphones, Digital-Analog Converters (DACs), CD players, Bluetooth Receivers, ‘all-in-one ...
Threshold Audio is a high-end audio equipment manufacturer originally established in California in 1974 by audio engineer Nelson Pass and graphic designer René Besne. The company, today based in Houston Texas, manufactures mono-block and stereo power amplifiers, multi-channel power amplifiers and stereo control amplifiers.
During the 1970s, the MC-2300 was an expensive piece of audio equipment, with a retail price of $1799 by the time of its discontinuation in 1980. [1] That being said, its outstanding power and sound production quality made it a valued part of many recording studios and although some people prefer the sound of tube amplifiers, the overall greater reliability and freedom from repair of the newer ...
[a] The KWS-1 final amplifier use a pair of 4X150 power tubes and operated at a power input of one kilowatt, the maximum allowed under Federal Communications Commission (FCC) regulations at the time. The transmitter appearance matched the receiver, but its high voltage power supply was packaged in a separate pedestal.
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