YBA company logo   

The growing success of the brand in the 80s, 90s and even into the 2000s confirmed Yves' philosophy of reproducing the absolute truest sound as accurately as possible. In order to achieve this success, the production of all products bearing the YBA name was based on discipline, precision and patience. While developing and producing such a large number of models, Yves-Bernard never abandoned his philosophy that the owners of his products essentially forgot about the product and heard only the music. Each product, regardless of its technical capabilities, was developed with simple but key goals in mind.

Each piece had to be durable and, importantly, have clarity and purity of sound, resulting in extraordinary musicality. YBA has received numerous awards not only in the French market, but also from many respected international organizations. Demand for YBA products continued to grow over the years, and so Yves-Bernard began to consider the benefits of having a large manufacturing company involved in securing the future. Such an alliance will provide the best of both worlds – financial strength coupled with the production capabilities to produce in large quantities to meet ever-increasing demand, while always maintaining French heritage and design parameters.

In 2009, one of China's leading high-end audio equipment manufacturers acquired a significant stake in YBA. Already manufacturing some of the most iconic and respected companies in the UK and Europe, Shanling has built an enviable reputation for the quality of its products. When the sale was completed, Yves-Bernard André retained a stake in the company and continues to develop products. After spending time researching the products, the current needs of the global market and, importantly, understanding what it was that made YBA such a sought-after brand for three decades, Shanling took time before relaunching it internationally.

They believed that YBA would benefit from appointing a new CEO to lead the sales and marketing capabilities, and so they turned to someone who had years of experience in the audio industry's major markets to lead the company forward. The appointment took place at the end of 2011. Australian native Jackie Pugh is working closely with Yves-Bernard André, using his extensive experience to help YBA rightfully reclaim its position as the market leader in the world of Hi-Fi. The international market has warmed to the reintroduction of the brand and new distributors continue to come on board year after year.

After a short absence from the market, YBA products were relaunched internationally in May 2012. At that time, four lines were announced: DESIGN, HERITAGE, PASSION and SIGNATURE. Each one is highly innovative, taking advantage of the best that today's technology has to offer, but never losing any of the magic. At the end of 2013, four new products and one update were introduced, complementing the existing lines. GENESIS was introduced, a completely new line of amplifiers whose main attraction was the inclusion of Bluetooth throughout the line. In early 2015, additional new products were added to the Genesis (CD player) and Heritage (DAC) line.

Two exceptional phono stages were added in 2016 – one from the Passion series and one from the Genesis model. Further updates to existing products were also announced at the Munich High End Show. YBA products are beautiful to look at and unusual to hear. These are products that do not change every year and are therefore designed to last a long time. Indeed, a product that plays music today will play it tomorrow and 20 years from now. Owning some of the most sought-after and consistent products on the market… there's nothing better.

Yamaha logos since 1898  

The creator of the world famous Yamaha company was Mr. Yamaha Torakusu. In 1887, as a medical equipment repairman in the city of Hamamatsu, he was asked to repair a phisgamonia (organ). Thorakusu was so passionate about working with this musical instrument that he decided to make every detail by hand and assemble his own harmonium.

Founder of Yamaah – Yamaha Thorakusu

After 2 months, he delivered the organ to Tokyo for testing at a music institute. The institute admitted that the body was chalked in the correct shape, but found several shortcomings in the instability of the tuning of the reed organ. Torakusu decided not to deviate from his intended goal and became a lecturer at the Institute of Musical Research.

The first integrated amplifier Yamaha CA-700 (1972) 

A month after studying, the future founder of Yamaha Organ Works returned to his hometown, where he decided to assemble a second harmonium, which subsequently successfully passed the test at the Institute and was a worthy replacement for imported analogues. In 1897, Torakusu founded the Nippon Gakki company, which that same year received a large order from Southeast Asia to assemble 80 organs. During the first half of the 20th century, the company successfully mastered the production technology of various musical instruments.

First tuner Yamaha CA-700 (1973) 

In 1889, Thorakusu Yamaha founded the Yamaha Organ Works company, and eight years later, in 1897, he created the Nippon Gakki company, whose symbol was tuning forks, and whose trademark was the figure of a Chinese phoenix with a tuning fork in its beak. In those same years, the company received its first order to export organs to Southeast Asia, and in 1900 it produced its first batch of pianos. In 1902, production of the first grand pianos under the Yamaha brand began, and in 1904, the organ and piano produced by the company received the Grand Prix at the World Exhibition in the American city of St. Louis. The company's successes in woodworking were also noted.

Designer cassette recorder Yamaha CA-700 (1972) 

In 1914, Nippon Gakki began producing harmonicas under the Yamaha brand and began exporting in the same year. Success accompanied the company in all its endeavors. In 1921, the Japanese government decided to use Nippon Gakki's woodworking expertise to create aircraft propellers. In 1922, the production of high-quality phonographs began under the Yamaha brand, in 1930 the first acoustics analysis laboratory was founded, in 1932 the production of wind organs was mastered, and in 1941 the production of acoustic guitars began. The company knew how to quickly and effectively repurpose its production. Thus, metalworking technologies were in demand for casting frames for grand pianos and pianos, and later in the production of wind instruments.

The first Yamaha HP-1 headphones (1976)  

In 1914, Yamaha began producing the first harmonicas and began selling them for export later that year. With the outbreak of World War I, the importation of imported (mostly German) musical instruments into Japan ceased, which was taken advantage of by local manufacturers, including Nippon Gakki. Despite the death of the founder, the company expanded rapidly, by 1920 it had 1,000 employees and produced 10,000 harmoniums and 1,200 pianos a year. However, over the next five years, the company found itself on the verge of bankruptcy: the rise of the yen made its products less competitive for export, two of the company's factories burned down in 1922, and the Great Kanto Earthquake of 1923 destroyed the Tokyo office and damaged several more factories. The restoration of the company was undertaken by Kaichi Kawakami, director of the Sumitomo Wire Company, who became president of Nippon Gakki in 1927.

Yamaha CA-1010 integrated amplifier and CT-1010 tuner (1972) 

In 1921, the Japanese government decided to use Yamaha's vast experience in woodworking to create aircraft propellers. Ten years later, the company repurposed production to produce metal propellers and other parts for aircraft, including fighter planes during World War II. Subsequently, metalworking technologies were in demand for casting frames for grand pianos and pianos, and later in the production of wind instruments. In 1922, Nippon Gakki began producing high-quality phonographs; in 1930, the first acoustics analysis laboratory was founded; in 1932, the production of wind organs was mastered; and in 1941, the production of acoustic guitars began. After the bombing during the war, only one plant of the company survived; restoration took place mainly due to American financial assistance. In 1947, the export of harmoniums was resumed.

Yamaha TC-1000 cassette deck (1979)  

In 1950, Kaichi Kawakami was succeeded as president of the company by his son, Genichi Kawakami. In 1954, the Yamaha Music School music education system was created. In the same year, production of the first Hi-Fi audio systems began. Thanks to the accumulated experience in the field of metallurgical technologies, the production of the first Yamaha YA-1 motorcycle was launched. During the year, 125 motorcycles were produced. Due to successful sales, in 1955 it was decided to separate the motorcycle division into a separate company, Yamaha Motor Co., Ltd. In 1956, the company first took part in the exhibition of musical instruments in Chicago, in 1958 the first branch was opened abroad – in Mexico, and in 1960 a branch was opened in Los Angeles (USA), which received a contract for pianos for local schools.

Integrated amplifier Yamaha CA-1010 (1982)  

An archery products business was founded in 1959 (closed in 2002). In 1959, the Yamaha Technical Laboratory was opened, in which the company develops analogue modeling technologies and soon creates the D-1 Electone electric organ, the world's first transistorized electric organ. Thanks to research in the field of metals, the company was able to create a line of fiberglass equipment. In 1961, the company began producing skis, boats and other products made from fiber-reinforced polymer. In 1962, the Yamaha Recreation division opened, which created resort complexes for musical and sports leisure: Nemu-no-Sato in 1967, Tsumagoi in 1974, Katsuragi in 1976, Haimurbushi in 1979 and Toba in 1964.

The first CD player Yamaha CD-1 (1982) 

In 1965, the company began producing pipes at the Kakegawa and Iwata factories; in 1970, Nippon Gakki merged with the wind instrument manufacturer Nippon Wind Instruments (currently Saitama Factory). In 1977 and 1978, respectively, wind instrument workshops were opened in Tokyo and Hamburg. Also in 1965, the first Yamaha music school was opened abroad – in Los Angeles. By 1966, the company had become the world leader in piano manufacturing, producing 100,000 instruments per year.

Speaker systems Yamaha NS1 Classic (1982) 

In 1966, the European branch of Yamaha Europa was opened in Germany, and also, in cooperation with the Japanese Ministry of Education, the Yamaha Foundation was created to improve the qualifications of music teachers and promote music education. Yamaha music schools are opening in Mexico, Canada and Thailand. Also in 1966, lines for the production of electric guitars and drums were opened, Yamaha patented the Air-seal System drum production technology. In 1967, the company introduced its first concert grand piano, the CF series. In 1968, the corporation (at that time Nippon Gakki Co., Ltd) began issuing shares.

Speaker systems Yamaha NS2000 (1982) 

In 1971, the company built a chip manufacturing plant. In 1976, a plant was opened to produce large integrated circuits, allowing the company's electronic instruments to be digitalized. Later, on the basis of these factories, the Yamaha LSI (Large Scale Integration) division was formed. This division is engaged in the production of circuits for FM synthesis, graphic controllers, since 1999 – electronic tone generator chips for mobile phones, since 2002 – microcircuits for digital amplifiers, and chips for GPS navigation since 2005. Unlike many European and Japanese companies forced to sell their semiconductor divisions to Chinese owners, Yamaha continued to produce chips in the 2000s, including LSI (Large-Scale Integration) at our own facilities, which does not bring in too much income (about 5%), but allows us to focus on our own element base when developing AV components.

Yamaha GT-2000 vinyl player (1982)

In 1973, the production of tennis rackets was mastered, and full-scale production and sale of furniture began. From 1974 to 2007, the production of musical instruments operated in the USA. Also in 1974, production began of the NS 1000M loudspeakers (NS series produced since 1967) with a beryllium diaphragm, as well as the first synthesizer CSY-1 and the first analog mixer PM-1000. In 1976, the production of electric pianos began.

CD player Yamaha CDX-920 (1987) 

In 1980, Yamaha established the Piano Technical Academy training center, and at the same time began producing PortaSound portable keyboards. In 1982, the company developed a line of carbon composite materials for golf. In the same year, the company introduced the first CD-1 player and the first Disklavier piano went on sale.

Yamaha TC-1000 cassette deck (1987)  

In 1981, Yamaha Motor attempted to displace Honda as the number one motorcycle manufacturer by mass producing new models. Competitors responded in kind, and Harley Davidson secured restrictive tariffs on the import of Japanese motorcycles into the United States, leaving Yamaha Motor with a million unsold motorcycles, $1 billion in debt and a net loss of $126 million. This had limited impact on the main corporation, Nippon Gakki. effect since it only controlled 39% of Yamaha Motor's shares at the time, and Yamaha's electronic musical instruments were a big success. In particular, in 1983, the Klavinova electronic piano appeared on the markets, and the Yamaha DX7 digital synthesizer was released, which was very popular in the 80s and became one of the best-selling models in the entire history of synthesizers.

Anniversary power amplifier Yamaha MX-10000 (weight 43 kg – 1987) 

In 1983, a representative of the third generation of Kawasaki, Hiroshi Kawasaki, took over as president of the corporation; his father took over as chairman of the board. Disagreements arose between father and son, which led to several significant miscalculations. Large headquarters were built in London and Buena Park (California), but remained unclaimed. In 1983, the company, without proper market research, began producing personal computers, releasing a series of MSX (Yamaha KUVT) machines, which were not in demand. Somewhat later, the Yamaha CX5 computer was released, which had a built-in SFG-01 synthesizer module (with the ability to connect SFG-05) and was designed specifically for creating music; it was used by some domestic musicians working in the genre of electronic music from the mid to late 1980s.

Vinyl turntable for DJs Yamaha PF-800 (1990)

In 1984, the corporation developed its own technology for producing the first industrial robots. In 1986, the company began selling the first digital sound field processors DSP-1, and in 1986 the SRS (Sound Room System) direction was launched. In 1987, on the occasion of the centenary of its founding, the company was renamed Yamaha Corporation. In 1987, centers for working with artists, Yamaha Artist Services, Inc.[en], were opened in several capitals of the world; later centers were opened in Moscow, London, New York, Paris, Beijing, Seoul, Tokyo, Kakegawa, and Taipei. That same year, English language schools were established in Japan and remain active as of the 2010s.

Top CD player – Yamaha CD-GT1 (1992) 

In 1988, the company acquired Sequential Circuits, and from 1989 to 1993 it owned a controlling stake (51%) of Korg, a competitor in the musical instruments and music production equipment market. In 1989, New York's Museum of Modern Art purchased the Wind MIDI Controller WX7 for its collection. In the same year, the corporation introduced the world's first CD-R drive. In 1990, the production of musical instruments was launched in China. In 1991, the Museum of Modern Art expanded its collection with the Active Servo Processing Speaker YST-SD 90 subwoofer. In 1992, AV equipment production was launched in Malaysia and Indonesia. Also in 1992, under pressure from the corporation's workers' union, the era of the Kawasaki family's rule ended; Yamaha Corporation was headed by Seisuke Ueshima. In 1993, Yamaha created the world's first titanium golf clubs.

Designer speaker systems Yamaha NS-PF7 (2003) 

In 1993, the Silent series pianos debuted, and in 1994, Yamaha introduced pianos from this series to the market. Silent pianos are acoustic instruments that are additionally equipped with electronic keystroke sensors, just like those found on digital pianos. When a musician wants to practice on headphones without disturbing others, he can turn off the mechanics of the acoustic part of the instrument and switch to electronic pickups. Already in the first year, 17 thousand of these pianos were sold at a price of $7,300. In 1995, the production of drum sets of the Silent series began, in 1996 the company released DTX Silent Session drums, the following year it introduced the Silent series violin to the market, and in 1998 and 2002, respectively, the production of cellos and violas of the Silent series began.

The first Yamaha YSP-1 soundbar (2005) 

In 1994, the production of digital mixers was mastered, the first model was the Pro-mix 01 mixer, and in 2001 the PM1D console was released. In 1998, Yamaha combined patented technologies to create a digital sound field processor and home theater system. In 1999, the production of a multimedia speaker system for computers was launched; in 2000, the company founded the recording company Yamaha Music Communications. In 2003, the company introduced Vocaloid singing synthesis technology to the market – software that simulates a human singing voice based on a given melody and text.

Top integrated amplifier Yamaha A-S3000 (2015) 

Since 2004, Yamaha began collaborating with Klipsch; in the same year, production of the new YSP-1 Digital Sound Projector speaker system was launched. In 2004, Yamaha bought Steinberg (Steinberg Media Technologies GmbH), best known for its Cubase program, from Pinnacle Systems, a German music production software manufacturer.

Development of any websites, promotion of websites to the TOP of search engines , improvements and technical support – WEB-studio “CREATIVE Master”. In 2007, Yamaha was awarded the Technical Grammy. On December 20, 2007, Bösendorfer was acquired, and in 2008 the corporation bought Nexo. In 2008, production of the tenori-on synthesizer began. In 2010, Yamaha demonstrated the TLF-speaker, a flexible poster-shaped loudspeaker that emits a highly directional sound wave.

Top-end speaker systems Yamaha NS-5000 (2017)

In 2014, the corporation announced the takeover of Line6, a manufacturer of equipment for digital guitar processing and amplifiers. Also in 2014, Yamaha announced an agreement with Revolabs, Inc. (headquarters: Sudbury, Massachusetts) is a company that designs, manufactures and markets wireless microphones, phones for corporate conference rooms and other products. As part of the agreement, Revolabs becomes a wholly owned subsidiary of Yamaha. The main activities of Yamaha Corporation: Musical instruments – the corporation accounts for about a quarter of the world's production of musical instruments.  Audio equipment – production of professional and consumer audio equipment.  Electronics – production of electronic components (electric compasses, video controllers), speakers for laptops.  Other – includes the production of golf clubs, factory machines and wooden elements for car interiors, as well as resort complexes (Tsumagoi, Katsuragi Kitanomaru, Katsuragi Golf Club)

The equipment that is currently in the WiiM catalog will certainly be of interest to many music lovers. These are streaming players, the use of which as part of a Hi-Fi system will significantly expand its functionality. There are currently two models available: WiiM Mini and WiiM Pro streamers. They have similar parameters, and their main feature is the ability to listen to music using online services (Tidal, Spotify, Qobuz, Deezer and others). To control the work of streamers, a mobile application is used, while the smartphone or tablet on which it is installed does not participate in any way in audio playback. Signal processing occurs within the WiiM devices themselves, supporting audio at up to 24-bit/192 kHz. The Pro model has an audiophile-grade DAC.

In addition, WiiM Mini supports AirPlay2 technology and has built-in Bluetooth, while WiiM Pro additionally has Chromecast built-in. This makes it possible to create a modern multiroom system on their basis. In full accordance with the company's ideology, WiiM devices also have voice control. Analog and digital optical outputs are provided for connection to an audio system.

Linkplay Technology, working at the forefront of modern audio technology, of course, does not plan to stop there. This means that in the near future the WiiM lineup may be expanded, and already released devices will receive new functions thanks to the constant updating of their software.

The choice of direction was not accidental: in the mid-eighties of the last century, the music market was experiencing another stage of rebirth, many cult bands emerged (not only at that time, but also at the current moment), which, instead of semi-basement hardcore punk, degenerated into demonstratively careless, but verified in little things grunge and similar styles. Well, after record companies took notice of what was happening, musical groups needed to hone their skills at concerts while maintaining an outwardly carefree aesthetic. And here it was no longer possible to do without monitoring during the game. But let’s return for a moment to technology in general. What exactly are armature headphones? They are based on a U-shaped armature plate with a coil located on its axis. This plate is suspended in a magnetic field in such a way that it can rotate in it. Then everything is simple: a sound signal is supplied to the coil, a magnetic field arises, and the armature deviates from its normal position. Through the connection, the movement of the armature is transmitted to the membrane, which produces sound.

In 1990, an important step in the production of headphones for musicians took place: Westone became the first to use armature drivers in monitors. The peculiarity of headphones with a balanced armature is that the effect on the radiating membrane occurs using a movable armature.  In 1995, Alex Van Halen had a problem: he couldn't hear what the other members of his band were singing and playing behind the drum kit. Louder monitors didn't help. Jerry Harvey, the band's sound engineer, found a solution: he assembled dual-driver headphones that could block noise and produce fairly high-quality sound. At first, other band members became interested in the development, then Skid Row, who were touring with Van Halen at the time, got involved – they sold six pairs for three thousand bucks. After pop singer Engelbert Humperdinck also wanted one, Harvey decided to found Ultimate Ears. And the Westone company helped refine these headphones and began producing them. In 1998, UE's clients already included The Rolling Stones, Enrique Iglesias and Red Hot Chili Peppers. In 1996, together with Shure, universal in-ear monitors were developed, which came with a set of attachments. It’s not as convenient as using a cast, but you can choose the best option. The photo shows the E1 soundproofing monitor. All Westone headphones are with a balanced armature, or armature. These simply don’t happen in the lower price segment.

Westone's credo is the development and production of headphones that absolutely uncompromisingly convey all the nuances of sound. The company's long history provides invaluable experience in this field, which means that when you choose Westone, you get the very best in comfort, ergonomics and acoustic performance. The Westone company offers its customers not only universal armature headphones, but also custom (personal) headphones made from a cast of the inner ear. In addition to headphones, Westone has been involved in hearing care and hearing protection for decades, allowing the company to bring advanced medical technology to the professional headphone industry. The company creates custom hearing tips that provide comfortable wearing and effective sound transmission. In addition to its line of custom monitors and custom hearing instruments, Westone provides a variety of professional hearing care and hearing aid services, offering its customers a broad line of accessories ranging from hearing care products to clinical medical equipment. Interestingly, Westone also produces products for military applications. Military service and noise exposure are two sides of the same coin. You can hardly imagine how destructive noise can be. Long-term exposure to noise above 90 dB can cause permanent hearing loss. A blast wave with a noise level of up to 120 dB can give the same result. This is where Westone custom products, which are used by members of the US Army, also come to the rescue.

We treat people the way we would like to be treated. If you have a problem, we will help you solve it. If we make a mistake, we will correct it. Our goal is the complete satisfaction of our customers. The company currently produces five product lines – headphones and monitors for musicians. The first is Universal Series monitors. It includes models UM Pro 10, UM Pro 20, UM Pro 30, UM Pro 50.  The next line is W Series. Elite Series monitors are made from a mold of the musician's ear. And the fifth “family” is universal adapters for headphones and monitors UM56.

By the mid-30s, the production of dynamic drivers for loudspeakers was established near Bradford, which were of impressive quality. The popularity of radio in those days was enormous and information about new speakers gained momentum in the vicinity of the production, which created a demand for the product. In 1933, Briggs and his team took part in the annual Bradford Community Radio competition, where they won two prizes. Successful performance in the competition allowed the company to receive its first large order, which brought Wharfedale Wireless Works to a new stage in history. By the beginning of World War II, the company was already producing about 9,000 units per year.

Gilbert Briggs 

In the post-war era, there was a continued demand for sound reproduction devices in North America, and Wharfedale was well positioned to meet these trends with quality speakers. In 1945, the first prototype of a modern speaker was presented – the first two-way loudspeaker, which was large in size and had a 10-inch tweeter and crossover. In 1948, Gilbert presented Loudspeakers: The Why and How of Good Reproduction, which quickly gained popularity on both sides of the Atlantic.

Wharfedale SFB-3 (1956)

In the 1950s, Gilbert conceived an ambitious project with his friend at the sound reinforcement company Quad – a series of demonstrations were organized in the UK and USA to provide the listener with the opportunity to compare live performance with the capabilities of the equipment, which aroused great interest among the audience. “There is practically no aesthetic difference between the original sound and the one reproduced on the Wharfedale acoustics,” this is how experts ultimately responded about Gilbert’s work. In 1958, Gilbert's company was sold to the Rank Corporation, which invested a lot of money in development, and production of other audio equipment began under the Wharfedale brand. Gilbert continued to work for the company until his retirement in 1965. The company's products were gaining popularity due to their impressive quality and successful design, and it was decided to create a new production company.

Wharfedale Denton (1970)  

In the 1970s, the company's legendary models, the Linton and Denton, were released, and by the end of the decade, production volumes reached 800,000 units.   In the early 1980s, significant investments in manufacturing equipment led to the advent of laser holography for more thorough testing of components, SCALP (laser scanning) and FRESP (frequency cutoff) technologies, which generally allowed a deeper understanding of the physics of processes and movement forward. In 1981, a landmark product for the company was released – Wharfedale Diamond.  The history of the Diamond series began in 1982, when a small 2-way speaker system with a volume of only 5 liters was released. It was equipped with a 19 mm tweeter and a 120 mm speaker with a polypropylene cone. The first-born Diamond quickly gained popularity due to its combination of small size and surprisingly reasonable price. The model immediately became a bestseller. A new version, Diamond II, released a year later, consolidated the success achieved. Since then, Wharfedale engineers have prepared more than a dozen updates.

Wharfedale Diamond MK 1 (1982) 

The number of models in the series has also increased so that, in addition to stereophony, the acoustics are also suitable for home theater systems. Thanks to the organization of a full production cycle (even the speaker baskets are cast from aluminum in the Wharfedale workshops), the company has achieved impressive results: analogues from competitors are much more expensive. Therefore, Diamond has always remained in demand in the Hi-Fi market. The series does not use expensive finishing materials (note that, according to statistics, about 70% of the costs go to the manufacture of cases), but there are no compromises in terms of sound quality.

Wharfedale Airedale (1960)  

In the 1990s, a merger took place with the Verity Group, which, in addition to Wharfedale, included Mission, Cyrus, Quad, Roksan and Premier Percussion. In 1996, after The Changs purchased a controlling interest in Quad and Wharfedale, IAG Corporation was formed, and Verity decided to concentrate on NXT flat-plate driver technology and sell the Hi-Fi audio portfolio.

Wharfedale W60 (1961) 

Wharfedale is part of the IAG Group Ltd. since 1996. Being at the forefront of loudspeaker development is a concept that has not changed since the days of Gilbert Briggs. Wharfedale have always been renowned for making their own speakers, avoiding sourcing them externally as the vast majority of speaker brands do. IAG capital continues this tradition by allowing it to invest in and develop its own manufacturing capabilities and technologies.

Wharfedale Jade-7 (2012) 

Modern Wharfedale speaker systems are today assembled in the “Special Economic Zone” – the city of Shenzhen at one of the largest factories in the world, the parent company of IAG. Full vertical integration means the company can manufacture virtually every part of every product on site, allowing complete control of cost and quality at every step of every process. The key to this is streamlining the new product development process. Direct access to raw materials and tooling means that prototypes can be translated directly into finished products after final beta testing.

Wharfedale Diamond 11 (2017) 

Today Wharfedale is a legendary company with traditions, whose products meet the most demanding tastes; Wharfedale engineers develop products with the highest possible sound quality in their price segment.

Many Vincent devices are hybrid, that is, they combine semiconductor and tube elements. This helps achieve a unique effect. Components from Vincent, made using hybrid technology, combine the main advantages of transistor and tube devices and at the same time avoid their disadvantages. It is thanks to the ideal sound, as well as stylish design, that Vincent products are especially loved by audiophiles. Today Vincent occupies a leading position in the high-end equipment market.

Vincent is a comprehensive range of Hi-Fi products from components and loudspeakers to accessories. Vincent products are widely known all over the world not only to specialists, but also to amateur audiophiles. There are many rave reviews about Vincent components in the world Hi-Fi press. What is the success of this brand? Undoubtedly, in the price/quality ratio. Experts unanimously claim that at an extremely attractive price, the quality of the devices is so high that the sound level corresponds to the level of High-End equipment. The particular fame of Vincent components is based on their ability to transmit sound with the highest degree of precision and authenticity.

Vincent's fairly extensive line features components that are created using so-called hybrid (transistor-tube) technology, which enhances the musical experience by combining the dynamics and pressure of transistors with the sophistication of tubes.

Top-notch technology packed into an equally attractive package. Stylish, elegant Vincent components in classic black or fashionable silver will fit seamlessly into any interior.

This family-owned company, run by Harry Weisfeld and his son Mat Weisfeld, remains such a company to this day, although over its 40-year history production volumes have grown significantly, and the company's products – turntables, record cleaning machines and accessories – have become world fame and has taken its rightful place among equipment of this type.

The very first product released by the company was a turntable disc in two different sizes, then, a little later, the company introduced a vibration isolation platform for turntables to the public. The first significant product that is still produced by the company, albeit in an improved form, was the HW-16 vinyl record cleaning machine, released in 1981. Harry Weisfeld, being a keen audiophile, preferred to keep his record collection in pristine condition. However, the only record cleaning machine available at that time was the rather expensive Keith Monks Record Cleaner. And Harry decided to design his own cleaning machine for personal use.

This is how the HW-16 model appeared, which later began to be sold for only 1/5 of the price of the Keith Monks Record Cleaner. Yes, it may have been a little noisy in operation, but the noise made by the machine was no louder than the noise of a popcorn machine. Soon after the release of the HW-16 machine, DB-5 (Magic bricks) were put into production – iron bars in a wooden frame, designed to absorb stray electromagnetic radiation from electronic components. The next step for the company was the production of cases for Denon and JVC players. And now, the time has finally come for turntables! The company created its famous turntable VPI HW-19, which subsequently began to be released in versions MK2, MK3, MK4, JR. It set a new industry standard for high-end equipment by becoming a relatively inexpensive high-end player.

Subsequently, with the launch of the VPI TNT turntable model (later also released in several versions), Harry's dream of creating a turntable with an uncompromising price/quality ratio – where the turntable costs less than one might expect, given its quality – came true. The next step in the development of the company was the release of the VPI PLC network air conditioner in 1985. The subsequent introduction of the Aries, Scout and then the Scoutmaster and Super Scoutmaster models took VPI to a new level of business and production and increased sales. The culmination of the company’s 30-year work and the first “swallow” of the new generation of VPI turntables was the anniversary model of the VPI Classic “30th Anniversary” player. Outwardly reminiscent of classic turntables of the 70-80s of the last century, the model was structurally much closer to modern models of vinyl players and was distinguished by simple and impeccable mechanics, low price and the ability to extract from these vinyl grooves not only information, but even emotions…

Currently, VPI Industries Inc. produces several models of turntables in various price categories – from budget to expensive, with various combinations of available options, as well as tonearms and several models of cleaning machines. Most VPI turntables, regardless of the year they were made, can be upgraded thanks to a large number of options and accessories. All products of VPI Industries Inc. manufactured in the USA (Cliffwood, New Jersey) from American-made parts and materials, which the company is very proud of: “We are an old school American manufacturer, using domestic components as much as possible, even if these components cost us more than similar imported ones.” The only part imported by the company is microlifts for JMW tonearms.

VPI products are successfully sold both in the USA through an extensive dealer network (about 100 dealers) and in 65 countries around the world. The equipment produced by the company has been favored by the world Hi-Fi press and has been awarded multiple titles and awards, such as “Golden Ear Award”, “Product of the Year”, “Editor’s Choice”, “Analogue Product of the Year”, etc.

Company founder David Hall saw it as his top priority to limit or completely eliminate speaker distortion. In 1983, he pioneered the use of his extensive experience in developing precision instrumentation to create the HGS (High-Gain Servo) system, which uses feedback to control the movement of woofer cones. As a result, the first series of servo-controlled ULD (Ultra-Low Distortion) subwoofers was released, which made a real revolution in the audio industry, comparable in its significance to the advent of Dolby Laboratories noise reduction technologies. Patented Velodyne technology has reduced bass distortion from the previous standard 15-30% to an incredibly low level of less than 1% at 105 dB SPL. This allowed Velodyne to create a fundamentally new category of subwoofers that enrich the sound of a conventional stereo system or home theater with deep, precise and dynamic bass.

The first subwoofer with the new technology was the ULD-18 model, which had enormous dimensions and weight – 54.5 kilograms. However, the subwoofer was still smaller than other devices of this type. And it reproduced sound with 30 times less distortion. For this, Hall received a huge number of awards in 1984, including a special prize for technical sciences. Since then, Velodyne has developed a huge number of technical solutions to improve sound quality and received hundreds of different patents. For example, the world's first subwoofer with DSP technology was released by Velodyne. Velodyne has accumulated extensive experience in the development of powered subwoofers and is recognized worldwide as the premier manufacturer of low-distortion subwoofers for home theater applications. The company's product range includes a series of unique Digital Drive products (this includes the flagship High End model DD-1812 Signature Edition). EISA experts named Velodyne “Best Home Theater Subwoofer 2004-2005”. The Velodyne CHT-R models have gained particular popularity, which, thanks to the optimal price-quality ratio, invariably lead in comparative tests of specialized publications, and have been awarded numerous awards and diplomas at international electronics exhibitions.

For nearly three decades, Velodyne has proudly held the title of the most respected manufacturer of subwoofers for home applications. The company's engineers do not stop there: almost every year Velodyne brings to the market new products based on the most advanced technologies. The company has developed and implemented many exclusive solutions protected by international patents. Among them are High Gain Servo™ Technology Patent, Anti-Clipping Circuitry, Dual Tandem Voice Coil, Dynamic Driver Control System, SPL™, Patent-Pending Digital Drive™ Room Equalization System. The patented designs and superior performance of our Best Buy equipment require very specific operating conditions. Precision branded equipment of this level can only be created within the company itself, at its own production facilities. Anyone who entrusts the production of various components and parts to third-party suppliers can hardly be completely confident in the impeccable characteristics of their finished products – they can only hope for the best. Velodyne is committed to maintaining its reputation as a top manufacturer and all engineering, manufacturing and assembly work is carried out entirely within the company. Each speaker is assembled by hand. All components are carefully coordinated and seamlessly integrated with each other.

Once assembled, each speaker and amplifier is individually tested and thoroughly inspected before being assembled into the product's enclosure. After this, it’s time for the final finishing, the “finishing touches” are applied. All products are then further visually inspected and tested before the finished units are packaged and shipped to Velodyne dealers. Today, Velodyne's philosophy is a holistic systems approach to the development of specialized low-frequency acoustics (Total System Design), and this approach can be seen in literally every product of the company. Velodyne's uniqueness is the result of the fusion of revolutionary Silicon Valley technologies and high-tech manufacturing to develop and produce the most accurate audio reproduction equipment in the world.

Design is the first thing that should be worked out in brand models. In any case, this is the opinion held by the Swedish company Urbanears. The audio manufacturer actively collaborates with outstanding designers of their country, embodying traditional Swedish style in their product. Minimalism is a peculiar feature of cold Scandinavian countries. Urbanears tries to focus on traditional design, while compensating for restraint with the variability of color design, and periodically with a riot of colors in advertising.

The concept of Urbanears was shaped by a number of ideas, some of which shaped the project from the very beginning, others arose during the development process. First of all, it seemed that there would be no manufacturer who could share the faith of the creators of Urbanears in their understanding of headphones and how they are used. A passion for making headphones with a deep knowledge of how they are listened to and worn and why. Urbanears' vision is to add several elements to the concept of productivity. Headphones are not only a means for listening to music, but an accessory that is perceived more like a piece of clothing than a piece of chromed plastic. The headphones are designed to meet all expectations, but with much greater attention to detail. Urbanears headphones are more often described as classic headphones than as an attempt to redefine the product category.

Urbanears spends a lot of time making its headphones affordable, but still providing a little more functionality than the consumer might expect. Equally important is the excellent sound quality, ergonomics and a developed distribution network, which allows you to purchase Urbanears products in any corner of the planet. The evolution of music formats has made it possible to carry your complete music collection right in your pocket. Music is migrating from desktop players to cell phones, which means headphones must be equipped with a remote control and a microphone in order to have access to smartphone controls and the ability to talk without removing the headphones. Urbanears strives to ensure that their products support as many mobile devices as possible. Far more important than anything else is the fact that Urbanears headphones are made for you. Urbanears knows you have a couple weeks of music in your pocket, or maybe audiobooks, language courses, or just a radio. Statistically, you are a city dweller who goes to work or school, sits at a desk, walks, rides a bike, runs or just relaxes – all while listening to carefully selected music. But you can live in the forest, it doesn't matter.

Urbanears believes you consider different types of headphones before making a purchasing decision. Urbanears don't use extensive research or focus groups, but simply think that their customer is similar to themselves, shares the same daily routines, and has the same needs. These headphones are not intended for any specific subculture, age group, gender, religion, race or nationality. These headphones are for anyone who is inclined to listen to good music, no matter what style or direction.

The company's engineers have developed various systems and innovations that make Ultrasone products different from headphones from other manufacturers. The company's headquarters are located in the city of Wilenbach, located near the foot of the Alps in southern Germany. Although not an international company, Ultrasone nevertheless effectively coordinates sales and marketing activities in more than 50 countries. Financial and technical departments are located in Wilenbach and neighboring Tutzing, and production is divided between several locations in Germany and Taiwan.

Ultrasone specializes in the manufacture of headphones and day after day improves the knowledge and skills of its engineers. Constant development leads to the fact that Ultrasone produces exceptionally high-quality headphones equipped with the latest technologies, for which the company has repeatedly been awarded major awards, including Reddot, Plus-X, Exportpreis and many others. Ultrasone has been producing high-quality headphones for the audio market for 20 years. During this time, the company has developed and applied more than 80 patents in its innovative technologies. S-Logictm's unique and patented technology creates natural surround sound without the use of any additional devices.

Ultrasone headphones will give you a safer listening experience by reducing sound pressure on the eardrum by up to 40%. The metal shield also reduces electromagnetic radiation by up to 98% thanks to the headphones' patented ULE technology.

The history of Tivoli is a classic example of the realization of the so-called “American Dream”, when perseverance, work, talent, and, of course, a little luck allow you to achieve very serious business results even without huge financial investments. Years ago, few people had heard of the Tivoli company, but now its receivers are in the rooms of five-star hotels around the world, appear on the covers of fashion magazines, designers choose them for the most sophisticated interiors, and sales volumes do not decrease even in crisis years.  The first Tivoli Model One tabletop radio was released in 2001, but its origins date back to the 1950s thanks to audio luminary Henry Kloss. It was he who developed the world's first compact speakers AR-1. Previously, the idea that the speaker could not stand on the floor was not even considered. A copy of this column is now in the Smithsonian Institution museum in the USA.

The Model One receiver, assembled in a natural wood case and equipped with clear analogue controls, really became a pleasant exception among Hi-Fi equipment, full of numerous buttons and switches, and manufactured mainly in aluminum-plastic cases. Another key to the Model One's appeal was the Kloss-designed 5:1 tuning control (vernier), which provides very precise station tuning even on the crowded FM band.  If you try to describe the Model One receiver in a nutshell, you can say that it is made to last. A high-quality broadband speaker with a serious magnetic system, a good amplifier, and, most importantly, an expensive “custom-made” GaAs transistor in the receiving part. Such transistors are used in field radio stations in NATO troops, in space communications receivers – wherever it is necessary to obtain reliable radio signal reception without interference and distortion. But in “home” receivers, GaAs transistors are practically not used due to their high cost and complexity of installation. But Kloss came up with the technology to successfully use this component in mass production. The result is a receiver that sounds surprisingly powerful and rich for its small size, capable of providing clear signal reception both in the city and outdoors. It is no coincidence that the most authoritative audio magazine Stereophile awarded the Model One the status of a “recommended component in class A.” It is the only tabletop radio to ever receive this award.

The main direction for promoting Tivoli radio was not the Hi-Fi market (here, receivers of this brand were already well known and were happy to buy), but “related” areas of business. Not a single fashion world exhibition in Milan, Paris, New York or Tokyo was complete without huge Tivoli stands. The windows of boutiques, spa salons, travel agencies and restaurants are full of colorful “radio bricks”; they appear in the television studios of leading channels during evening talk shows.  Based on the Model One, which became a cult classic in record time, the Model Two was developed, which had a stereo sound path, and to which it was possible to connect a second speaker – made in the same finish and design, and in the same form factor as itself. radio. Then came the long-awaited Model Three, a clock/alarm clock radio.  For those who would like to assemble a “complete” stereo system based on Tivoli, a CD set-top box and an active subwoofer were released – of course, completely consistent with radio receivers in appearance. A little later, the Tivoli MusicSystem appeared – a combined stereo system equipped with a CD player and a built-in subwoofer.

The next model in the Tivoli catalog, which could be compared in popularity to the Model One, was the portable PAL receiver – Portable Audio Laboratory. A very simple and stylish device, capable of running on batteries or accumulators (charger included), assembled in a rubberized case that is not afraid of sand, water splashes, or falls – you can’t imagine anything better for country walks. The presence of an input for connecting a player and an output for stereo headphones successfully complemented the PAL functionality, and the receiver very quickly became popular among fashionable youth around the world. PAL is available in a wide range of colors from white to black, and can also be customized in any custom colour.  Of course, Tivoli could not ignore the popular iPod player, having developed several models of radios for use with this gadget. One of these models is the iSongBook, based on the SongBook, but equipped with a retractable dock for installing an iPod, and a second removable speaker. And the second device with the funny name iYiYi was developed, as they say, “from scratch.”

The headquarters is located in Tokyo, Japan. It has representative offices in the USA (TEAC America Inc), Great Britain, Germany, China and a number of other countries. The company gained fame in the 1970s, thanks to the production of audio equipment, mainly of the High-End class. In the mid-1990s, the company produced reliable floppy disk drives, and later equally high-quality CD-ROM and CD-RW drives. TEAC produces consumer and professional audio equipment, peripheral devices, and storage devices. The company has several divisions: TASCAM Pro Audio, Esoteric, TEAC Consumer Electronics, Data Storage Products Division. The former division of TEAC Aerospace Technologies, which produces electronics for the military and aerospace industries, is completely separate from the company, but uses its trademark.

Katsuma Tani

Among the leading Japanese manufacturers, the world-famous TEAC company stands apart. For large companies that have first-class research centers and modern production plants in many countries around the world, it is not typical to have one rather narrow specialization, such as the creation and production of high-quality and reliable electronics and mechanics. However, it is precisely this specialization, which has not changed since the founding of the company in 1953, that has brought TEAC the highest reputation as a leader in the production of unique electronic-mechanical systems.

Reel-to-reel tape recorder TEAC TD-102 (1958) 

TEAC Corporation, originally called Tokyo Television Acoustic Company, was founded on August 8, 1953, by two brothers Katsuma and Tomoma Tani. In 1956, the brothers founded the Tokyo Electronic Acoustic Company. The merger of these two companies in 1964 created the TEAC Corporation known today.  1939 – TEAS founder Katsuma Tani, a former aircraft engineer, designed the first device for recording and reproducing sound; 1953 – one of the predecessors of “TEAS” – “Tokyo Television Acoustic Company” (development and production of sound recording equipment) was founded. This year is considered the year the company was founded. 1956 – Tokyo Electro-Acoustic Company was founded (production of audio components, measuring instruments, optical equipment, tape recorders); 1959 – both companies joined forces to produce tape recorders; 1962 – Tokyo Television Acoustic Company changes its name to TEAC Audio Corporation. “Tokyo Electro-Acoustic Company” changes its name to “TEAS Corporation”; 1964 – both companies merge to form TEAC Corporation.

Reel-to-reel tape recorder TEAC A-4010 (1960) 

In 1957, two Americans visited TEAC's newly established modest plant. These were the general director and chief engineer of a large radio equipment manufacturer, Lafayette Radio Electronics. When Tani showed them the TD-102 prototype, they said, “Add an amplifier to turn it into a tape recorder, put it in the case, and we'll take it!” An order was placed for 25 tape recorders. Although everyone was happy to receive such a large wholesale order, at the time there was no one in the company who could set up the amplifier, and as legend has it, the employees worked 72 hours to complete the order on time. But their hard work paid off as the TD-102 hit the American market and quickly became a favorite among audio enthusiasts. This was the first time TEAC technology was shown to the world.

Cassette tape recorder TEAC A-450 (1972)   

However, after the first large order from Lafayette, there were few new orders. The reason for this was the extremely high price of the TD-102 (60,000 yen, while the starting salary for a bank clerk was 15,000 yen) combined with the fact that vinyl records were the standard back then. TEAC was ahead of its time and had to wait for the day when the world accepted tape as a playback source and a new recording format. Despite the difficulties in the beginning, TEAC had support from some rescuers from overseas.

Cassette tape recorder TEAC A-360 (1973)  

In April 1958, Mr. Bretz, an engineer at radio manufacturer Philco, heard about the TD-102 and visited the plant. After this he exclaimed: “You have such a wonderful product! Why don't you tell anyone about it?” Bretz invited TEAC to make a presentation at the Far East Audio Club, which was located at the Tachikawa military base. TEAC submitted 50 units of the TD-102, all of which were purchased locally with cash. Tani said later: “After that we were so busy in production that every day you could see foreign cars parked near our ramshackle fence in Sumida to make an advance payment for the TD-102. Mr. Bretz appeared to us as the “God of Fortune.” He taught us what it meant to do business. It also gave TEAC a vote of confidence for overseas buyers, and planted the seed for future overseas expansion.”

TEAC Model-5 mixing console (1975)  

Following the initial success of the TD-102, TEAC's reel-to-reel tape recorders received widespread commercial recognition and were ranked 5th out of 17 audio products tested by American Consumer magazine. When Tani heard this, he said, “No matter how difficult it is to make, if you make a technically flawless product, it will be accepted.” Confidence in this formed the company’s credo: “We exist to make the best products in the world.”

Cassette deck TEAC Al-700 (1977)   

In 1960, the average household could enjoy music using a variety of devices, along with the technological boom of record players, radio and then tape recording. The TEAC A-4010 was a 4-track tape recorder that fit well into the American home, being reliable and easy to operate at a price the average family could afford at the time. This focus on the end consumer helped TEAC gain popularity and sell more than 200,000 units of the A-4010, making it one of the best-selling models and ushering in the audio tape era.

Cassette deckTEAC A-860 (1977)  

Subsequent tape recorders such as the A-6010 helped TEAC firmly establish itself as one of the best tape recorders in the world. At TEAC's headquarters in Tokyo, the latest model of the A-4010 series produced is displayed in the lobby with a special anniversary badge. If you're ever in Tokyo, stop by to see it! Japan hosted the first Olympic Games ever held in Asia in 1964. TEAC Corporation was at the helm of those legendary games with technological innovations that are widely used today.

TEAC A-144 cassette deck (1979)  

The Tokyo Olympics took television viewing of sports to new heights. The following innovations were used at the Games: a slow-motion television camera, a satellite channel that connected the continents, color broadcasting and live coverage of the entire marathon race. The Olympic Games have been called “television games.” Today's vibrant sports coverage would not be complete without time-lapse photography, and we owe it to the technology departments of broadcaster NHK and TEAC Corporation, who jointly developed this innovative technology.

TEAC CX-650R cassette deck (1980)   

Technology used for over 50 years still brings joy to the homes of all sports fans today. In 1979, TEAC released the first 4-track recorder using standard audio cassettes. The TEAC 144 had high recording quality, compactness, ease of use and a price that the average musician could afford. Pro Sound News magazine named it the most revolutionary audio product to hit the market. TEAC 144 gave many musicians the opportunity to bring their own music to the public for the first time, which had a huge impact on the world of popular music. Bruce Springsteen made a cool recording of his “Nebraska” album in 1982 at home on his TEAC 144.

Cassette deck TEAC Z-7000 (1983)   

In 2000, TASCAM released an innovative new USB audio interface, the US 428. At the time, most audio and MIDI interfaces used by digital audio workstations (DAWs) were controlled via a PCI expansion card. What made the US 428 unique was that it combined a DAW controller and a USB audio interface into one unit. Today, audio interfaces are widely used in the music industry, Internet broadcasting and PC-based audio engineering.  Currently, TEAC has three divisions involved in the development and production of various equipment. It produces magnetic and optical systems for recording and storing digital information, sophisticated avionics and instrumental electronics, professional equipment for recording studios and household audio equipment.

Compact Disc Player TEAC ZD-5000 (1985) 

All these products cannot be imagined without the precision, high-speed mechanics for which TEAC is so famous. Tape drive mechanisms for reel-to-reel, digital and multi-channel tape recorders, unparalleled in technical and functional characteristics, high-precision cassette systems and high-speed optical reading mechanisms TEAC laid the foundation for a completely new class of technology, which received a special name – “mechatronics”.

Cassette deck TEAC V-7010 (1993)   

Whether designed for the home or the recording studio, every TEAC product, including consumer audio products under the TEAC brand and professional audio products under the TASCAM brand, carries the hallmarks of the finest engineering.

Compact Disc PlayerTEAC VRDS-20 (1993)  

Many other electronics and audio companies are actively using TEAC's mechanical advances. But TEAC itself offers a wide range of the same audio equipment, which can rightfully be considered one of the most advanced in the world. The uncompromising quality of CD transports and tape drive mechanisms found in TEAC players and cassette recorders has ensured that they are recognized as the most accurate and reliable equipment that meets the highest standards. Experts from all specialized publications and professional sound engineers are unanimous in this opinion.

CD Receiver TEAC NR-7CD (2017)   

The company's technical credo is an impeccable balance of mechanics and electronics. TEAC's calling card is the VRDS (vibration-free rigid disc pickup mechanism), used in flagship CD transports, which has won the recognition of audiophiles around the world. The design of cassette decks is unique, dampening the slightest resonances caused by both external causes and vibration of the CVL. At the same time, TEAC engineers are developing their own integrated circuits (for example, ZD-II, which implements the dithering process) to improve the quality of digital sound reproduction.

Renaud de Vernet founded Triangle in 1980. At that time, the Hi-Fi product market was divided by several well-known manufacturers, and it was quite difficult to enter their ranks. To carve out a niche in this market, Renaud de Vergnette developed the following company philosophy: to offer people products with natural sound, reasonable prices and great appearance, stylish and elegant (which was a complete innovation for that time, characterized by standard acoustic enclosures – “boxes”) “). Since Triangle entered the market in 1981, it has strived to develop its own components for the production of loudspeaker systems. All this was and is being done so that it is possible to make maximum use of all technical innovations, both from the acoustic and aesthetic sides.

Renaud de Vernet  

The main principle and quality guarantee of the Triangle company is that in the production of acoustic systems, developers strive to obtain the highest sensitivity, high speed characteristics and maximum rigidity of the diffusers. At the company's factory, strict control is carried out at all stages of the production of speaker systems. In addition, Triangle produces its own speakers. Renaud de Vergnet, the founder and ideological inspirer of the Triangle company, driven by the goal of creating uncompromising musical equipment, namely acoustic systems, gathered around him people who shared his passion and philosophy and began his activities. The people-products-unity chain, which was built and developed by Renaud de Vernet, allowed Triangle to survive all kinds of changes in fashion related to the production of loudspeaker systems, and to become a distinctive company that took its rightful place in the Hi-Fi market. And this is not surprising, because the Triangle company produces acoustics for music, and music is eternal.

Triangle's first loudspeakers  

Since its founding in 1980, the company has been run by audio enthusiasts, creating speaker systems for customers as passionate about audio as they are. The ties between the company's management and its clients are so strong that they easily change places. Five years ago, Oliver Dezell, one of Triangle's first clients, became the company's majority shareholder. The new owner has set ambitious goals for the small (only 27 employees) company, which is focused primarily on the domestic French market: on international markets – and all this without losing the “Triangle spirit” that fans of the brand value so much. Close to Paris From Soissons, where Triangle is headquartered, cosmopolitan Paris is only 80 km away. An hour's drive if there are no traffic jams. But this is a completely different France. Quiet, provincial, conservative. The atmosphere in Triangle is more reminiscent of an 18th century manufactory. Partly because most of the actual production has been moved to China. Soissons houses management, a sales department, a research and logistics center and a tiny workshop in which two workers assemble the older Magellan series speakers. The older series, with its expensive components and increased requirements for build quality, remains an area where the use of manual French labor is still justified.

Top speaker systems Triangle Grand Concert   

And one more element of traditional European production – all the main elements of the speakers are developed here, in Triangle. The company not only develops the overall design of the speakers, but also produces its own speakers and tweeters. The titanium tweeter in an aluminum housing, created for the Magellan line, is one of the company's most interesting developments. It is largely responsible for the high resolution and ultra-crisp soundstage that characterizes the best Triangle models. As is usually the case, the new tweeter has already begun to appear in cheaper models. Triangle has long chosen paper for its midrange speakers. Fast and accurate, paper speakers are especially good at conveying subtle nuances of sound. In the new generation of Triangle midrange speakers, the working surface is made of polymer, but the paper remains. As you can see in the picture, the cellular structure of the paper gives the speaker additional rigidity.

The main products were watches and music boxes. That is, in fact, from its very founding, the company has been involved in music reproduction media and has remained faithful to its chosen path for more than a century. In 1903, the first Edison-type phonographs from the Thorens brand were released, and in 1906, horn gramophones for shellac records appeared – the grandfather of the modern vinyl disc player.

Herman Thorens 

44 years after its opening, in 1927 the Thorens family company was transformed into the joint stock company Hermann Thorens SA. A year later, in 1928, a patent was received for the world's first direct drive electric motor for electric gramophones. Another year later, another significant event occurred – the creation of an electric pickup head with a moving magnet, which made it possible to realize a previously inaccessible level of playback quality. In fact, it is electric gramophones with MM-type pickups that are the direct ancestors of vinyl disc players.

Gramophone Thorens Majestic 1907 (year) 

In addition, the first half of the twentieth century was marked by the emergence of a number of completely different products, which also managed to leave their mark on history. From 1913 to 1964, lighters with automatic ignition (the prototype of the legendary Zippo) and mechanical razors Thorens Riviera were produced under the Thorens brand.

Portable gramophone Thorens Exelda 1930 (year) 

In 1927, the family business grew into the joint stock company AG (abbreviated from Aktiengesellschaft), and already in 1928, the first gramophone with an electric motor and, by the way, direct drive, which was patented, appeared in the Thorens model range. The following year saw another breakthrough with the introduction of the first electric moving magnet cartridge.

Music box Thorens Two Song (1940) 

In 1933, the legendary Omnix MM cartridge was included in the Thorens production program, which provided accurate sound and had a tracking force of 110 g (yes, a little heavy by the standards of modern LPs, but it was a good indicator for that time). In 1943, the company created a number of players with automatic record changing, and in October a tragic event occurred – the founder of the brand, Herman Thorens, died.

Thorens Riviera razor (1956) 

After the war, the Thorens company began mass production of audiophile vinyl turntables, which are still examples of high-quality audio equipment. A landmark model for Thorens was the TD 124 Hi-Fi turntable, designed by engineer Louis Thevenaz. The device was officially introduced in 1957, had a 12-inch cast iron support disk weighing 4.5 kg, a powerful synchronous motor, 4 speeds (16, 33, 45 and 78 rpm) and a platform on which any Standard tonearm to choose from.

Lighter Thorens (1950) 

The model had a unique drive: from the engine pulley, using a thick short belt, the moment was transmitted to a stepped pulley connected to a roller that rotated the support disk. The turntable was in great demand and was the object of desire for quality sound lovers, which ultimately served as the starting point for the complete reorientation of Thorens to the production of high-end vinyl sources. By the time production of the TD 124 ceased in 1967, more than 90 thousand copies of this model had been sold worldwide.

Thorens TD 124 (1957)

From 1958 to 1961, the TD 184, TD 134 (with BL104 tonearm), TD 135 and the top-end BTD-12S tonearm were produced. The design of these models has been somewhat simplified. They were intended to fill various price niches. Later, the TDW 224 device with automatic record changing appeared in the line. The following year, Thorens began collaborating with the Swiss brand Paillard SA, a manufacturer of typewriters and film cameras. However, three years later the alliance disintegrated due to disagreements.

Thorens TD 184 (1961) 

In 1965, the progressive compact TD 150 was introduced, featuring a floating, spring-loaded, three-point subchassis that featured a TP13 tonearm, a zinc alloy platter, and a bearing assembly with a stainless steel shaft and a sintered bronze bushing. A synchronous 16-pole 2-phase AC electric motor was attached to the main chassis. The torque was transmitted using a belt, which allowed to reduce detonation. This ensured excellent performance and reduced noise levels.

Thorens TD 224 (1962)  

In 1966, Thorens merged with Wilhelm Franz EMT, rebranding to Thorens-Franz AG and moving production facilities and research/development departments to Germany. In 1968, a new flagship TD 125 with electronic engine speed control was released, as well as a version TD 125 LB with an extended base for 12-inch tonearms.

Thorens TD 150 (1965)  

The top-of-the-line 1974 model TD 126 with TP16 tonearm had illuminated control buttons and electronic push-button switching between three speeds (33.3, 45 and 78 rpm), but used the same 16-pole synchronous AC motor. By 1975, the company produced its 500,000th vinyl record player.

 Thorens TD 125 (1972) 

In 1978, a new flagship TD 126 MkIII appeared with an Isotrack tonearm with a low effective mass. It featured a 72-pole DC motor with tachogenerator, an additional motor for raising the tonearm, and other improvements.

Thorens AT-403 (1978)  

At the same time, Thorens introduced the AT403 receiver, PC 650 cassette deck, Sound Wall speakers and a Rumpelmeßkoppler device for measuring rumble in turntables. In 1979, a massive Thorens Reference model was created, using metal granules for damping and weighing 90 kg – the prototype of modern top high-end players.

Thorens Reference (1979) 

The company continued to improve its range of turntables, releasing more and more advanced devices. In the early 80s, the line was supplemented with the TD 226 turntable with space for two tonearms and a special mat with a vacuum pump for more reliable clamping of records. In 1983, a 55 kg reference level model, Thorens Prestige, appeared.

Thorens TD 524 (1982) 

In 1983, for the 100th anniversary of the brand, important changes took place – the Thorens structure was completely reorganized and divided into three independent companies: Thorens-Cabasse Vertriebs GmbH (sales organization and distribution of goods in Germany), EMT-Franz GmbH (development and research in the field of studio equipment prof.) and Thorens Produktions GmbH (research, development and production in Lahr, Germany).

Thorens Prestige (1983)  

In 1988, the original Thorens Concrete concept was created with a base made of concrete. In 1990, the TD 3001 High End player appeared in the program, at the same time there was another transfer of the company's production facilities within Germany.

Thorens TD 320 (1984)  

In 1994, a tube preamp and power amplifier from the new Consequence family was released, as well as a tube preamp and power amplifier from the Classic series. A year later, the first CD players, an RDS tuner and even an external DAC appeared in the Thorens program. In 1996, the line was supplemented with amplifier monoblocks and a network air conditioner. In 1995, the Thorens research laboratory was established in Berlin to develop and produce high-end audio equipment.

Thorens TD 521 (1986)  

In 2000, production in the area of ​​Lahr (Germany) had to be curtailed due to the crisis. However, by the end of the millennium, the number of Thorens turntables produced had reached a record 1,300,000 units. In 2002, the company was re-registered in Switzerland under the name Thorens Services Ltd. with headquarters in Giebenach. There was a complete reorganization of Thorens under a new owner.

Thorens Phantasie (1986)  

In 2005, the TD 800 vinyl turntable was introduced, and a year later the Thorens Electronic line of electronic components appeared. In 2008, the company celebrated its 125th anniversary, and a year later the TD 309 turntable was released with a figured table shape and a spring-loaded Tri-Balance subchassis. Currently, the majority of Thorens production facilities, where almost all of the company's products are assembled and configured, are located in Germany. The modern model range of Thorens vinyl turntables is divided into three main lines – entry-level, middle and top.

Thorens Concrete (1989)  

In the 20th century, Thorens sold 1,300,000 turntables, an absolute record for this market segment. And all thanks to loyalty to traditions and a principled approach to quality. For a company with such a rich history of working with analogue sound, the move towards digital technology could not last long, so at the beginning of the 21st century, the model range was again formed around vinyl players. From the expanded line of products in support of vinyl, in addition to phono preamplifiers, only high-end pre-amplifiers and final amplifiers remain. In this regard, it is very symbolic that, as a result of restructuring, the Thorens company was re-registered in its homeland, Switzerland.

Thorens TD 3001 (1990)  

The most significant event in recent years was the release of the TD309 model in 2009. The new product is equipped with a new tonearm TP92, the tube of which is made of high-quality aluminum by cold forging. Its design was developed and studied using laser measurement methods to track the slightest mechanical resonances. The bearing assembly is raised to the stylus level, just like in previous generation tonearms. At the same time, the bearings themselves are high-precision, made in Japan, filled with specially prepared oil. The turntable table is made of MDF and has a complex shape reminiscent of an arrowhead. It is mounted on an updated Tri-Balance three-point subchassis. An electronically controlled DC synchronous motor drives an aluminum lower platter supported by a glass upper platter. The TD309 is available in bright red, black or white lacquer. This is another example of a successful combination of design and advanced technology, which has already been continued in the modern Thorens model range in the form of more affordable models TD209, TD206 and TD203.

Thorens Consequence (1994) 

A couple more models that went on sale in 2011 also claim to be not only technically advanced, but also extremely stylish. TD2015 and TD2035 have cases made of thick 33mm sheet of transparent acrylic, the wide palette of colors of which will be appreciated by lovers of bright, memorable things.

Thorens TD 2035 (2014)  

More than fifty years have passed since the appearance of the first Thorens vinyl disc player, but even in the most modern developments you can see features of models from different years, implemented using modern technologies. An example of this is the current flagships of the Thorens line. The TD350 is a classic turntable with a plywood cabinet mounted on a massive sub-chassis using a high-tech IDD spring suspension system that provides independent vertical and horizontal vibration damping. The massive 4 kg aluminum rim is driven by a proprietary high-quality belt and a synchronous motor with electronic stability control.

Thorens TD 550 (2015) 

The oldest model, the TD550, has a more modern design, combining lacquered wood with an aluminum front panel, but all the basic solutions are similar to the TD350 model. Of course, this could not have happened without the use of high-tech materials. The TD550's subchassis is made of carbon fiber, and the tonearm mounting area is made of carbon fiber composite.

Thorens TD 907 (2017) 

From the very first turntable, the TD124, to the present day, the Thorens name has been and remains synonymous with exceptional quality and true Swiss precision. And this is exactly the case when conservatism and loyalty to tradition are the key values ​​of the company. Highlights in the history of the Thorens company  1883 Hermann Thorens' family business of music boxes and clocks is founded in St. Croix, Switzerland 1906 Transition to the production of horn gramophones on shellac discs 1913 – 1964 Manufacture of lighters 1914-1952 Manufacture of harmonicas (except 1921-1938)  1927 Creation of a joint stock company 1928 Creation of the first direct drive electric motor for gramophones 1929 Creation of the first sound cartridge based on the principle of a moving magnet 1933/34 Production of wireless devices 1935-1938 Production of six patented types of wireless tube devices 1940-1950 Production of sound pickup heads and professional machines for recording records 1943 Founder Hermann Thorens died on October 13 1944/1945 Electrodynamic cartridges Fugue, Gavotte, Rondo and the Crystal piezoelectric pickup were introduced 1947 Thorens moved to new factory premises in Crissier-Rennes, Switzerland 1948 Launch of the CD 50, a twin-motor player capable of playing records on both sides 1949 Presentation wireless scanner device 1950 – 1954 Release of players with three speeds: CB 33, CD 43 and CD 63 1954 – 1960 Production of mechanical razors “Riviera” 1954 Since then, the company has been producing Hi-Fi devices. Excelda portable gramophone discontinued 1957 TD 124 hi-fi player and PR 15 tube mono amplifier introduced 1958 – 1961 TD 184, TD 134 (with BL104 tonearm), TD 135 and BTD-12S tonearm models introduced.  1959 Release of the PR 24 tube stereo amplifier 1962 Release of the unique hi-fi class player with automatic record changer TD 224 1963 Thorens SA merges with Paillard SA (Switzerland) 1965 Release of the TD 150 model with a TP 13 tonearm 1966 From July 1, 1966, all production of Thorens music players was transferred to the Swiss company Thorens-Franz AG.  1968 Launch of the TD 125 with electronic control and TP 25 tonearm 1969 Launch of the TD 150 Mk II with the new TP 13A tonearm 1972 Launch of the legendary TD 160, TP 16 tonearm and further development of the TD 125 with TP 16 tonearm 1975-76 TD introduced 126 with electronic control and TP 16 tonearm

1976 Launch of the revolutionary low dynamic mass Isotrack tonearm. Launch of the TD 126 Mk II with the TP 16 Mk II tonearm. Thorens begins production of the high-end receiver AT 410
1978 The Thorens lineup adds the TD 110, TD 115, TD 126 Mk III, AT 403 receiver, PC 650 cassette deck, Sound Wall loudspeakers and pickup heads
1977 – 1981 Model TD 126 Mk III, high rated by the international audio press as the ideal turntable, equipped and sold with virtually every high-end tonearm on the market
1979 Development of the advanced Reference model, which became the benchmark for test and measurement purposes
1981 – 1983 Introduction of the TD 226 model with vacuum clamping of records and space for two tonearms , also adapted to accommodate 12-inch tonearms
1982 Launch of the TD 524, a professional turntable that has few analogues. Launch of the improved models TD 166 Mk II, TD 160 Mk II, TD 110 Mk II and TD 115 Mk II
1983 Centenary of Thorens The highest quality device is launched on the market: the Thorens “Prestige” model. Release of anniversary models TD 126 “Centennial” and TD 147 “Jubilee”
1984 Design, development and release of a new standard – models TD 320
1985 Following the TD 320, models TD 316, TD 318 and TD 321 were released
1986 Release of models TD 520 and TD 521, continuation of the TD 126 line. The “Phantasie” model, a version of the TD 320, made entirely of acrylic, is presented to the public
1988 The new design of the tonearm TP 90 is released The TD 535 model is released, a professional turntable for discotheques
1989 The development of the hi-end turntable TD 2001 The “Concrete” model is introduced “, which won a lot of praise for its design
1990 Launch of the advanced hi-end model TD 3001, further development of the TD range 2001
1990/91 Transfer of Thorens production facilities to a new factory in Friesenheim near Lahr, and sales, marketing and supply departments to another building in the Lara area.
1991 Release of the new TP 50 tonearm and the TD 180 model, an excellent semi-automatic turntable in its price class
1992 Release of the TD 290 model, a high-end turntable for audiophiles with an average budget
1993 In Lodz (Poland), the production of low-budget Torens models continued
1994 Development and introduction of new branded Thorens components. Release of a CD player, D/A converter and RDS tuner
1996 – 1998 A pair of powerful monoblock amplifiers appears in the Thorens Consequence family, an integrated amplifier TIA 2003 and a CD player TCD 2300
1999 The latest models of Thorens players TD 325 and TD 190 are released
2000 Thorens factory in the German city of Lahr was closed due to the crisis

The company Thorens Laboratory in Berlin also suffered from this bankruptcy.
Since the rights to the company name still remained in Switzerland, the Thorens Export Company in Giebenbach was founded. The company Sintron Vertriebs GmbH in Iffezheim near Baden
was responsible for marketing, sales and distribution.
New production facilities were also deployed in Baden

One of the most significant events in England of the twentieth century was the emergence of radio broadcasting in it. A few years after this (in 1926), the Tannoy company also appeared. The first radio receivers had a fairly large number of disadvantages: their operation required a constant low voltage, which was supposed to heat the filaments, as well as a high constant voltage, the task of which was to feed the anode circuits of the amplifying lamps.

Tannoy Founder Guy R. Fontaine

To ensure the operation of such devices, special dry or acid batteries were used. Their cost was sometimes very high, and their service life was very short. Among the many garages in London (often commercial) were those that had additional devices for recharging batteries. This, along with regular business, became a good additional income. The owner of the most famous of these garages, which was located in Dulwich (district of the British capital), was Guy R. Fontaine.

Comparative size of Tannoy WestMinister Royal GR acoustics 

The distinctive feature of the commercial charger was that it was not very safe and quite expensive, because it used mercury vapor. As a result of this, engineer Fontaine decided to thoroughly study possible methods for modifying such devices so that the charging process would be simpler and could be safely carried out at home. However, the inventor’s dream could only be realized thanks to the presence of a special rectifier.

Tannoy 15 Monitor Silver (1953)  

To create it, Fontaine took a fairly simple and completely harmless electrolytic rectifier and significantly modified it. During the manufacture of the new rectifier, several metals were used in production. These were tantalum (tantalum) and lead alloy (leadalloy), which formed the basis for the formation of the name Tannoy. The huge Tannoy company itself appeared in London on Dalton Road. It was here that Fontaine began creating his rectifiers.

Tannoy SRM-10B (1970)  

After some time, when the production of rectifiers was well established, attempts were made at the Fontaine factory to create completely new loudspeakers that would have moving coils and a magnetic system operating on the basis of a direct current electromagnet. The experiment was a success, and the company began to develop very quickly and increase in scale. This was the reason for Tannoy's move to Talsmeer Road, where the company found larger premises.

Tannoy Legacy Arden (1974) 

It should be noted that in 1930 the company showed interest in the world of public addresses (PublicAddress). Despite the fact that at that time there were already several large organizations (Marconi and Western Electric) that were doing similar business, they could not adequately service all kinds of portable and mobile applications that were placed at fairs and circuses. The real turning point for the Tannoy company was the contract with the Bertram Mills Circus, where the company was to deal with its sound reinforcement equipment. After this, Tannoy's business skyrocketed and became the impetus for further targeted growth.

Tannoy Mercury M20 (1983)  

The rapid development of science and technology has forced us to constantly evaluate the performance of all kinds of amplifiers, loudspeakers and receivers. To meet the demands and needs of society, numerous Tannoy researchers have come up with a variety of developments that offer numerous test and measurement equipment.

Tannoy SGM-12X (1989)   

Fontaine's tests did not stand still and already in 1933 he presented his new two-way loudspeaker to the public. Exactly a year later, the company was able to establish a huge production of unusually high-quality loudspeakers, microphones and amplifiers, the output power of which ranged from 10-200 W. Over time, the factory began to produce more and more control and measuring equipment. Absolutely all Tannoy products were so unique and inimitable at that time that even the most famous scientists (such as Gilbert Briggs) constantly used them to carry out their measurements.

Tannoy Stirling HW (1993)  

Despite the fact that in the first years of its existence (from 1926 to 1936) the Tannoy company was not afraid of experiments and made new attempts to gain world fame and glory, it, of course, succeeded. Proof of this can be the fact that it was Tannoy, among other companies, that at that time occupied one of the leading places not only in the UK, but throughout Europe.

Tannoy Autograph Mini OW (2009) 

Since the company experienced a very high level of development from 1934 to 1939, in 1937 it was forced to move to even larger premises. It is here that all radio broadcasting and sound equipment is made only from high-quality parts and using the latest developments in this field. It is not surprising that such equipment is beginning to have a direct impact on absolutely all areas of both social and economic life. With the use of first-class equipment, all music reaches a completely new level of development. In addition, an amazing discovery for humanity is that national leaders now have the opportunity to communicate with millions of people at once. This inevitably led to the development of the entire society, which was able to become part of concerts, sports competitions and political life.

Tannoy Kingdom-12 (2010)   

We can safely say that it was Tannoy, thanks to its exclusive developments, that made a real revolution in the field of communication. Over all the years of its existence, the company's employees have accumulated a huge amount of knowledge and experience, which to this day is of great value to humanity.

Tannoy Kensington SE (2010)   

With the outbreak of war in 1939, the company had to slightly change the direction of its activities. Now Tannoy was widely engaged in the production of communication systems necessary for numerous submarines, airfields, tanks, as well as various electronic equipment, without which it would be difficult to imagine the entire defense industry. During the war years, the corporation became famous throughout the world for its “Tannoy” PA system. At the end of the war (already in 1948), the word “Tannoy” was included in the Oxford Dictionary. The expression “Tannean style” remains popular today, as it is associated with a company that took a very professional and responsible approach to fulfilling its responsibilities in a very difficult and violent time for the whole world.

Tannoy Definition DC8 Ti (2012)   

During the war years, the number of corporation employees increased significantly, which contributed to the production of an increasing number of products, which were supplied not only to Europe, but also to all world markets. Tannoy sound systems have been used at legislative meetings and international forums. Thus, its translation systems were installed in Paris, New York and Geneva. Also, not a single country that wanted to hold various international conferences could do without such equipment.

Tannoy Canterbury GR (2016)  

The late 1940s and early 1950s saw the advent of heavy-duty electronic smoke alarms and fire-resistant emitters needed by the petrochemical industry. Tannoy has become known throughout the world as a company producing studio monitors and various audio equipment for recording studios. In 1948, the first loudspeaker called the Dual Concentric appeared on the market. It had the form of a compression driver located on the horn, and also had a low-frequency speaker. Here, too, only one magnetic system was used, but with two gaps. Such a loudspeaker pleased the famous recording company Decca, which immediately purchased six copies for itself.

Tannoy Westminister Royal GR (2017) 

Tannoy has been based in Scotland since 1976, having been sold to the American group Harman International Industries in the early 1970s. After them, Tannoy bought Beatrice Foods Company, which in 1981 transferred management to Tannoy representatives.  In 1983, the company widely produced Hi-Fi loudspeakers. A year later, Tannoy released a new modular PA loudspeaker, which was a great success among consumers and brought considerable profit to the company. In 1985, the company began moving into the CCTV field, which entailed a significant expansion of the company's creative team, which now consisted of even more professionals and the best specialists.

Tannoy Kingdom Royal Mk III (2017) 

Tannoy loudspeakers have gained enormous respect in Japan, where they have even won several major awards. In addition, the company is considered a leading supplier of Hi-Fi systems.  In 1987, Tannoy merged with Goodmans Loudspeakers Ltd. Since then, the TGI plc group has been formed and is characterized as a supplier and manufacturer of the very best loudspeakers. In 1989, the company bought Audix Ltd, which produces equally high-quality PA equipment. In 2002, TGI plc merged with TC Group, forming the largest holding, consisting of independent companies (Tannoy, MartinAudio, Lab. Gruppen, TC Electronic, TC Helicon, TC Works and GLL), which became suppliers of only high-quality modern digital equipment. In 2014 Tannoy launches the revolutionary Dual Concentric technology with the latest generation of CMS Series. In 2015, MUSIC Tribe, the parent company of BEHRINGER, BUGERA, and UK professional brands MIDAS, TURBOSOUND and KLARK TEKNIK acquired the TC Group, which brings together various brands serving different areas of the professional audio industry.

Ichisuke Fujioka was the Japanese “Father of Electronics”. He pioneered the production of incandescent lamps in Japan and was a pioneer in the Japanese electronics industry.
Electricity was just beginning to conquer the world, and in 1899 the first manufacturer of electrical lighting equipment in Japan was named Tokyo Electric Company. Around the same time, one of Japan's largest manufacturers of heavy electrical equipment was named Shibauro Electric Company.  Tokyo Shibaura Denki was created in 1939 through the merger of Shibaura Seisakusho and Tokyo Denki. At that time, both companies were technological leaders in the industry: Shibaura Seisakusho (founded in 1875) was the first manufacturer of telegraph equipment in Japan, Tokyo Denki (founded in 1890) was the first Japanese manufacturer of incandescent lamps. In 1978, the company's official name was shortened to Toshiba Corporation.

Toshiba BomBeat 75 (1983)

During the 1940s and 1950s, the corporation grew organically through the acquisition of companies in related industries and through financial support from the Mitsui Group. However, in the early 1960s, Japan experienced an economic recession that also affected Toshiba. To strengthen the company's position, Toshivo Doko, who also served as chairman of the board of the world's largest shipbuilding company IHI Corporation, was invited to the post of president. Under his leadership, Toshiba raised additional capital through the sale of a large stake in the American corporation GE, which had been a significant shareholder of the company even before World War II. This made it possible to modernize production and begin expansion abroad, primarily to the USA. By 1967, the company was considered the largest electronics manufacturer and the fourth largest company in Japan, it controlled 63 subsidiaries and employed more than 100 thousand people. Since the 1960s, business groups have been formed and the companies Toshiba Music Industries/Toshiba EMI (1960), Toshiba International Corporation (1970s), Toshiba Electrical Equipment (1974), Toshiba Chemical (1974), Toshiba Lighting have been spun off and Technology (1989), Toshiba America Information Systems (1989) and Toshiba Carrier Corporation (1999).

Toshib a RT S90 (1983) 

In 1977, Toshiba acquired the Brazilian company Semp (Sociedade Eletromercantil Paulista) and merged it with its South American subsidiary to create Semp Toshiba. In 1980, the company was headed by Shoichi Saba, under whose leadership Toshiba began to expand its scope of activities, especially in the electronics industry. In 1985, the company was the first in the world to create a DRAM chip with a capacity of 1 megabyte; by 1987, it accounted for half of the world production of such chips. In 1986, Toshiba created two joint ventures with Motorola and IBM to produce personal computers and communications systems. Also in the 1980s, the company began to develop the production of nuclear fuel[11]. In December 1989, Nippon Atomic Industry Group Co., Ltd. was acquired. In 1987, a subsidiary of Tocibai Machine was accused of supplying the USSR with milling machines, bypassing the decision of the “Coordinating Committee for Export Control” – the equipment was used by the Soviet Union for the production of ultra-quiet submarines. As a result, Shoichi Saba and several directors resigned, and a three-year embargo was imposed on the import of Toshiba equipment into the United States. However, the embargo encouraged the company to expand into new markets, particularly China, and the company's net profits doubled between 1987 and 1990. Since 1987, the company has been headed by Joichi Aoi.

Toshiba SMS-4550 (1976) 

In 1992, Toshiba began a partnership with the American company Time Warner in the development of DVD standards. The format they developed has become generally accepted throughout the world. In 1996, the company introduced its first DVD players and drives for computers. Also this year, there was a change in management – Taizo Nishimuro became president of Toshiba Corporation. The financial crisis that began in 1997 forced it to carry out a large-scale reorganization: 6,500 employees were laid off, the number of divisions, subsidiaries and board members was significantly reduced. In 1999, Toshiba paid $1.1 billion in US claims related to defective disk drives in more than 5 million laptops. In 2000, Nishimuro became chairman of the board, and the post of president was after him taken by Tadashi Okamura. In the 20th century, Toshiba Corporation was the developer of a number of Japanese innovations. In particular, she was responsible for Japan's first fluorescent lamp (1940), transistor television and microwave oven (both in 1959), and word processor (1979). Some of the company's developments became the first in the world – for example, a color video phone (1970), a laptop (1985), 16-megabit NAND (1992), an MPEG-4 graphics compression engine (1998), the world's quietest MRI machine ( 1999)

Toshiba 330-Series (1978)

In 2001, Toshiba signed a contract with Orion Electric, one of the world's largest consumer OEM suppliers, to produce TV and video products for the growing North American market. The contract ended in 2008. In July 2005, the British company British Nuclear Fuels Ltd has confirmed its intentions to sell Westinghouse Electric Company, an American company specializing in the construction and maintenance of nuclear power plants and which BNFL has owned since 1999. The takeover of Westinghouse Electric was completed on October 17, 2006. The total contract amount was $5.4 billion, Toshiba became the owner of 77% of the shares (87% in 2016. In 2006, Toshiba abandoned the production of home plasma TVs. To ensure competitiveness in the digital television panel market, it was decided to invest in the production of screens at based on the new SED technology.[source not specified 377 days] In January 2009, Toshiba acquired the hard drive division of Fujitsu. In 2011, Toshiba acquired the Swiss company Landis+Gyr, a world leader in the production of electronic measurement equipment, for $2.3 billion. Also In 2011, Toshiba, Sony and Hitachi agreed to merge their small- and medium-sized LCD panel businesses to create the combined company Japan Display Inc., which began operations in the spring of 2012. The combined company plans to begin production by 2018 OLED displays for iPhone.

Toshiba XR-Z60K (1986) 

In April 2012, Toshiba acquired IBM's POS terminal business for $850 million, becoming the world's largest supplier of point-of-sale terminals. In January 2014, Toshiba completed its acquisition of OCZ Storage Solutions. In October 2014, Toshiba and United Technologies signed an agreement to expand their joint activities outside Japan. In July 2015, Toshiba CEO Hisao Tanaka resigned after being caught falsifying the company's financial statements. In December 2015, the company paid a fine of ¥7.3735 billion ($61 million) to the Financial Services Agency of Japan. Lawsuits were also filed against the company in California (USA) and Japan. In January 2016, Toshiba's security systems department introduced a new range of services for schools using video surveillance systems. The program, intended for secondary and higher education, included discounts for schools, alarms and post-warranty service for all IP equipment.

Toshiba XR-Z90 (1983)

In March 2016, Canon sold its medical equipment subsidiary Toshiba Medical Systems Corporation for ¥665.5 billion. In the 2015 financial year, the turnover of this company was ¥280 billion, net profit – ¥16 billion. In addition, blocks of shares belonging to Toshiba Corporation were sold for another ¥200 billion, which was caused by the need to cover large losses in the 2015 and 2016 financial years and the inability additional issues of its shares. The bulk of the losses were caused by a subsidiary of Westinghouse; attempts to conceal them starting in 2012 led to a scandal involving falsification of financial statements. Westinghouse's problems are caused by the fact that with the fall in oil prices and after the accident at the Fukushima-1 nuclear power plant, interest in nuclear energy has dropped significantly, especially in Japan. In November 2017, Toshiba announced the sale of a 95% stake in its video and TV division to Hisense, one of the largest electronics and home appliance manufacturers in China. On December 25, 2017, Toshiba Corporation purchased a 10% stake in Westinghouse Electric from NAC Kazatomprom JSC for $522 million.

Konsuke Matsushita, the legendary founder of the Japanese firm Matsushita Electric, known for its Panasonic, National and Technics brands, is one of the most prominent examples of both an entrepreneur and a cutting-edge business leader and innovator. Konosuke Matsushita was forced to quit school and go to work when he was only 9 years old. He worked as an apprentice in a bicycle shop for six years, then moved to the Osaka Electric Light Company. Konosuke Matsushita constantly tried to find and correct the shortcomings of the company's products.

 
Tape recorder Technics RS 263 (1974) 

At age 22, he invented an elegant new design of plug. After the boss once again rejected his rationalization proposal. Konosuke Matsushita decided to leave the company, create his own business and start producing innovative electric chucks. The starting capital he had available to develop the business was only 100 yen. This is where the legendary history of the Matsushita Electric company began in 1917. Soon Konosuke Matsushita was the owner of eight factories, and products began to be produced under the new sonorous brand Panasoni c.

 
Tuner Technics ST 9600 (1976)  

Having literally started from scratch, by the end of his life he had secured a personal fortune of $3 billion, and the capital of the company he founded, Matsushita Electric Industrial Ltd, reached $42 billion. Retiring at the age of 80, Konosuke Matsushita was not only Japan's richest businessman, but also, most importantly, its most revered business leader, a legend who had built a company admired around the world. He has written many articles, courses and books on the art of management. Having become a billionaire, Konosuke Matsushita was modest in everyday life and did not spend money on luxury goods. With the acquired capital, he created foundations and business schools. He also sought to improve Japan's political system and worked on dozens of social projects.

 
Technics RS 671 cassette deck (1976)  

One of his famous business principles: to penetrate an already established market, you need to do everything 30% better and 30% cheaper. Matsusita Electric has never released fundamentally new products. She sought to improve and reduce the cost of goods that were in high demand in the market. Its strategy was based on careful consideration of consumer needs and the search for new sales technologies. Many weak sellers and entrepreneurs give up when they are faced with a cold reception of their product by the market. A true entrepreneur never views “no” as failure. For him, every “no” only means that this method of selling does not work and he needs to look for another.

 
Reel-to-reel tape recorder Technics RS 1700 (1980) 

Similarly, young aspiring entrepreneur Konosuke Matsushita, after creating a new product, abandoned traditional marketing methods because they did not work for him. He approached marketing creatively and created an innovative, completely new and successful sales model for his product. In 1965, the Technics brand (Matsushita Electric Corporation) was born to create high-quality audio equipment. Main goal: successful sales on the international market and worthy competition to Japanese manufacturers such as Nakamichi.

 
Technics RS B66W cassette deck (1988)   

In 1969, the Matsushita company, which owned the Panasonic and Technics trademarks, developed a direct drive motor for turntables: its fundamental difference from the more common engineering solution was the absence of a belt. A permanent magnet was attached to the moving part—the disk—and an electromagnet was attached to the body, which made the disk rotate at a given speed of 33 or 45 revolutions per minute almost from the start. In 1971, such an innovation (and even at a very modest price) was not on the market, but no one greeted the first Technics SL-1200 with applause. Just think, the new product is an eternal player…

 
Technics SL1200 MK2 vinyl player (1978)   

The first 1200 went down in history only as a forefather. Perhaps because it appeared too early from a historical point of view: the first hip-hop party happened, as you know, in 1973 in the Bronx. And since then, the development of a new culture was on the conscience and honor of the DJ – he played music, b-boys danced, MCs read. True, no one outside the black ghettos of the Bronx was interested in this. Sound systems were an expensive pleasure, and who knows, the young genre would not have quietly disappeared if not for the famous blackout in July 1977, when almost all of New York was without power for two days? While Manhattan was fighting off looters, aspiring DJs and MCs were busy plundering musical equipment. And turntables with direct drive were the objects of increased attention – it was on them that, thanks to the quick start, traction of the disk and adjustable speed, it was possible not only to play records, but to do whatever you wanted with them.

 
Vinyl player Technics SL1200 – layout by year of manufacture  

The Technics SL-1200MK2 in silver and the SL-1210MK2 in matte black hit the shelves in 1979, and on fertile ground. That year, hip-hop took the charts by storm, white partygoers ventured into the Bronx for unprecedented battle parties, and progressive DJs used a special technique for handling records – scratching, that is, quickly playing part of a track in both directions, the authorship of which is attributed to Grand Wizzard Theodor , and the breakbeat technique, when fills in tracks were used to create a new composition, this technique was used by the first hip-hop DJ in history, Kool Herc. And although the Technics SL-1200MK2 was not intended for DJs, it had everything they needed – ± 8% speed control, quartz speed stabilizer, almost instant start, a heavy case that compensated for the influence of the sound system on the needle, and durability. Rather, immortality – many turntables produced in 1979 still work for old hip-hop people. Without any repairs or maintenance. In the 80s, the Technics SL–1200MK2 went from being a turntable to being an instrument. 

 
CD player Technics SL-P10 (1983) 

The Technics SL-P10 CD player was released more than thirty years ago, in January 1983, and was one of the ten very first mass-produced CD players. This device is unique in every way. This PKD took longer to develop and put into production than any other PKD in the world. It is 100% in-house developed and consists of 99% parts produced by Matsushita Corp. According to a number of experts, in terms of the totality of its characteristics, this player is the best of all that have ever been created by man. Every detail draws attention to the uniqueness of the device. This includes a fully automatic vertical disk drive and a unique information display that displays the structure of the disk in as much detail as possible; The highlight of true Japanese industrial design is the LED on the front of the pocket, which exactly follows the movement of the laser head.

 
Music center Technics SC-VC1180 (1994)

The PKD is made entirely of steel and glass. Inside it contains about seven printed circuit boards with several dozen microcircuits. The SRNN010R01 chassis consists of two drives that control laser alignment and ensure disk rotation, as well as a servo drive that is responsible for opening and closing the tray. The massive laser head performs reading using a special prism system. On one side, a laser diode feeds a beam of infrared wave into the periscope, which, when reflected, first reaches the surface of the CD, and then returns to the photo detector on the other side, after which the signal is decoded using a decoder.

 
First AV Receiver Technics SU-HT1000 (1997) 

Now, looking back, we understand that this was not the pinnacle, but simply an almost perfect-sounding technique. But the magic of that Technics remains with us forever. Then everything changed, plastic stereos appeared and the pursuit of mass popularity began. This was the beginning of Technics' swan song – it was not possible to compete with consumer goods, but such a policy scared away its main audience from the company and in 2010 the Technics brand ended its existence.

 
Music center Technics SC-HD55 (1996) 

Technics' coma lasted for 4 long years and now he is back. This time we are promised the same Technics that we liked so much: there will be no more plastic stereos and no more pursuit of the mass market. If so, then the best way to understand the company's future is to look back at its best work. Then we will understand what it will be like, the Technics of the future.  Past Technics ST-9600 Years of production: 1976 -1978 The tuner from Technics became the first truly mass-produced model, inferior in power and size to its older brother, the ST9700. It is considered one of the most successful models of the brand in history. To this day, working copies fetch big money at auctions. Technics SL-Z1000 Years of production: 1989—1995 A combination player that became one of the pinnacles of the brand, setting a new bar for audio equipment. Technics SL-Z1000 became a market hit, displacing the best-selling Sony CDP-R1 of that time. There were objective reasons for this, including a housing made of aluminum plates for head units and speakers made of Japanese oak. Technics RS-1500 Year of manufacture: 1977 Reel-to-reel recorder and player, which became the standard for reel-to-reel tape recorders for many years. First released in the mid-1980s, it remains the best in its class to this day. Technics SL-1200 Years of production: 1975-2010 The SL-1200 series has been the recognized industry standard among DJs around the world for almost 30 years. The first SL-1200 was born in 1973 and featured a rotary speed control, instant start and direct vinyl drive. In 1979, the Technics SL-1200MK2 model with a slider speed control was released, which instantly became a must-have element in absolutely any nightclub.  Technics SU-HT1000 Year of release: 1997 One of the best amplifiers ever released by the Technics brand. Already in 1997 it supported the Dolby Pro Logic protocol. Future Michiko Ogawa, a former Technix engineer and part-time jazz pianist, recently announced the revival of the brand. The models that will continue the glorious Technics line are already known. The new hi-end audio system Reference R1, which includes a turntable, preamplifier, amplifier and floor-standing speakers, will hit the market very soon.

 
Vinyl player Technics SL1000R (2017)  

The Reference R1 is Technics' ultimate take on what audio can sound and look like. There is no talk of any mass production – it will be pure hi-end. The role of a more affordable alternative will be played by the Premium Class C700 series, consisting of a CD player and network players, an amplifier and acoustics.

In the last few years, T+A has been primarily focused on the development of digital components, including CD players, converters and high-end all-digital active loudspeakers.  In 1997, T+A entered the world of home cinema and since then the range has been expanded to include a variety of surround sound and picture components. T+A offers a complete range of products, while continuing to insist on a system philosophy in which all system components must be tightly integrated so that the entire system can be controlled using a single remote control. An excursion into the history of the T+A company takes us to the most traditional place where Hi-Fi brands are usually born – to the home laboratory/workshop, or more precisely, to the garage. Isn't it unusual to hear this about one of the most high-tech companies in the modern High End world? However, it was there, in the garage, that two professional engineers, Siegfried Amft and Lothar Wiemann, began producing their first loudspeaker systems. Then, more than thirty years ago, these were speaker systems in a “transmission line” type housing.

T+AR Series 

Time has passed, the company has grown to a reputable global brand with a turnover of 12.5 million, and instead of the old garage, the developers have 6,000 sq. m. meters of production space and about a hundred employees. At the same time, T+A preserved the operating principles and technologies laid down by the founders, increasing its scientific and technical potential with new developments. As a result, today the company demonstrates a number of technological solutions that are rarely found among competitors or are proprietary. The very name of the company T+A (Theorie und Anwendung) can be translated as “theory + practice” or “theory + application”. This formula well reflects the path that all products of this brand go through: from theory to its specific practical application. For example: T+A engineers very actively use digital control of equipment and, if necessary, digital audio processing. In 1995, T+A was one of the first to introduce Solitaire A2D digital active speakers, controlled by eleven (!!!) DSP processors, which served as crossovers and frequency response correction tools.

T+A MP 2500 R 

The company's engineers were able to use their experience working with digital processors not only in acoustics, but also in creating a branded vinyl player. The DSP processor in it controls the engine speed, adjusting it in real time and providing an unprecedented level of rotational stability. Plus, this system allows you to maintain a given speed regardless of the voltage level in the network and makes it possible to change the speed from 33.3 to 45 without interfering with the mechanics. This is how a good grasp of the theory gives a very high-quality and very practical result. Of course, many of the solutions used by T+A are not cheap, but the refusal to use ready-made technologies from third-party manufacturers allows us to bring each of our components or speaker systems to perfection – after all, they are designed in our own laboratories. In 2004, for the 25th anniversary of T+A, the innovative V10 integrated tube amplifier was released. Among its “colleagues” from other manufacturers, it stands out with a fairly respectable power of 2×80 W, an uncompromising audiophile circuit without negative feedback and a record wide operating frequency range extending up to 200 kHz, which became possible thanks to the use of unique toroidal output transformers. The modern version of the V10-2 amplifier has complete galvanic isolation of the outputs and “floating ground” technology, which avoids the mutual influence of sources through the ground contacts of the input connectors on each other and on the operation of the amplifier itself. The V10 is equipped with special versions of tubes that are perfectly matched to the parameters, and the circuitry and design are developed based on the principles of minimizing the signal path. The power circuit has a microprocessor control that constantly monitors the voltage and other operating characteristics of the circuit, which is extremely important given that lamps tend to change their electrical characteristics during operation. To dampen the microphone effect, to which tubes are very sensitive, the amplifier uses vibration-absorbing construction materials: massive aluminum housings and acrylic inserts effectively eliminate external vibrations.

T+AM 10

Following the V10 amplifier, the D10 CD/SACD player and G10 vinyl player saw the light of day. The CD/SACD player is made using tube circuitry. The analog section, immediately after the four high-discharge BurrBrown DACs installed in each of the channels, is made using exclusively linear, specially selected 12AX7 and ECC99 tubes. They provide not only amplification, but also the necessary filtering of the signal, thereby reducing its path and the complexity of the audio path of the player as a whole. This solution is unique and was developed by T+A engineers. The CD/SACD drive itself is also an original development of the company and is used by other manufacturers of high-end equipment. The G10-2 vinyl turntable has a complex body design made using steel, aluminum and acrylic. The table is attached through four vibration-decoupling shock absorbers; in the main part of the body there is a compartment filled with sand and lead to more effectively absorb vibrations. The disc has a sandwich-type structure and consists of an aluminum base, five layers of copper and 10 mm acrylic. It is not often that you see such a complex design, but it is this, in combination with the previously mentioned rotation control system created on the basis of a DSP processor, that provides phenomenal results. Another component in the company’s senior tube line is the P10 preamplifier, which incorporates technologies implemented in the switching part and pre-stages of the V10 amplifier. And you can supplement it with the same amplifier that we would like to talk about in more detail, the powerful M10 monoblock. The main problem that any tube amplifier designer faces is the inability to provide high power. The main reasons are that, firstly, the output transformers are simply huge, and secondly, powerful modern lamps are simply not able to provide the required level of reliability and quality. Thus, it was not possible to obtain a tube amplifier of higher power than the V10 and at the same time meeting the stringent quality requirements set by T+A specialists. But the developers did not intend to retreat, so the model was based on a hybrid scheme. The tube part of the M10 is a voltage amplifier and has two stages: an input implemented using a balanced circuit and a broadband amplification stage operating in class A. This section of the circuit provides natural, harmonically rich sound without distortion or dynamic limitations.

T+AD 10 

We can talk about innovative and original technical discoveries implemented in the T+A technique for a long time, but this is best done using specific examples. Let's start with the acoustic solutions used in the modern reincarnation of the legendary Solitaire speakers. The Solitaire series acoustic systems are even visually noticeably different from traditional acoustics. But even those elements that seem familiar are actually not entirely ordinary. The main concept of this acoustics is the creation of a sound wave with a cylindrical front, which has minimal reflections from the ceiling and floor, while, as in conventional acoustics, the emitters create spherical sound waves. It is not difficult to imagine that several spherical sound waves will not only be reflected from the ceiling and floor, but will also form a very bizarre resultant wave when superimposed on each other. Where does such an acoustically inconvenient spherical wave come from, and how did T+A specialists manage to obtain a cylindrical sound wave?

T+A Criterion TCD 210

In traditional acoustics, high and mid frequencies are emitted by dome tweeters; they create a spherical sound wave that propagates not only directly to the listener, but also evenly around the radiation axis, including up and down. The proprietary electrostatic driver used in the Solitaire acoustics has an elongated shape and occupies almost the entire height of the front panel of the case. As a result of such an unusual shape of the sound-emitting membrane, the shape of the sound wave is not spherical, but cylindrical. The sound is practically not emitted in the vertical direction, but at the same time it has a wide directional pattern in the horizontal plane, which expands the comfort zone when listening. We can say that the efficiency of such speakers is higher, because the sound is focused only in the listening area, energy is not wasted on emitting sound waves up and down.

T+A Cala SR 

A similar effect was obtained on mid-low frequency speakers. Typically, speaker systems use one or two midrange drivers, and the Solitaire speakers have an array of six drivers (out of three in the CWT500 model), located vertically. As a result, a cylindrical radiation pattern similar to the HF link is provided – wide in the horizontal plane and focused vertically. In addition to this effect, the use of a large number of emitters makes it possible to achieve extremely small strokes for each individual speaker, which allows the acoustics to have a colossal resource for expanding the dynamic range. Another secret of the mid-frequency section is the design of the drivers themselves.

T+A P 3000 HV 

All drivers in the Solitaire acoustics are custom-made, especially for this model, but it is the midrange section that is most interesting from a design point of view. Unlike all existing midrange drivers, the drivers used in the Solitaire have huge magnetic systems with large diameter coils, similar to those used in large low-frequency drivers. This allows you not so much to increase power as to improve controllability, increase sound accuracy, and get rid of any coloration and limitations in the energy of the sound. If you suddenly thought that the low-frequency section in this acoustic system is the only section implemented “like everyone else,” we hasten to surprise you – you were mistaken. The drivers are indeed more similar to traditional ones, both in appearance and in design, the acoustic design is also classic – a closed box (the space of which is separated from other sections by partitions).

T+A Criterion TCD 410 

But the location and method of mounting the woofers is not entirely common. They are installed symmetrically in the side walls, two speakers opposite each other, so that if they were not there, we would be able to see a large through hole in the housing. The speakers are not attached to the speaker body, but are attracted to each other by means of long threaded aluminum studs passing through the body. Thus, the speaker baskets around the perimeter are pressed against the housing holes and form a single structure between themselves, compressing the speaker body. This design reduces resonances to zero, due to the mutual neutralization of all vibrations created by a pair of speakers, the movement of the emitters is not transmitted to the body and the very possibility that the acoustic body will begin to resonate is eliminated. As a result, T+A engineers managed to obtain the clearest, undistorted bass possible.

The start of sales of independently produced products showed that embedded systems are in good demand. They allow you to get high-quality sound and at the same time do not take up any space in the room. In fact, this moment became the birth of an entire industry, later called “architectural acoustics.” This fact also served as an impetus for the rapid development of the SpeakerCraft company. The decision was made to finally leave the retail market and begin producing OEM products for some of the well-known brands in the audio industry at the time.

In 1994, SpeakerCraft released a full-fledged series of built-in speaker systems under its own brand, and after another 10 years, in 2004, it became part of the large corporation Nortek Inc., engaged in the production and supply of equipment for building automation systems. Over the years, SpeakerCraft has developed and improved its product range, using new technologies, testing different components and materials. One of the iconic new products was the WavePlane™ line of ceiling acoustics with an active system for improved high-frequency reproduction. Another innovation, the rotating tweeter, was truly revolutionary. This technology allows you to change the direction of sound, thereby providing the most comfortable listening area. Subsequently, it was further developed in the famous SpeakerCraft AIM™ and SpeakerCraft TIME™ series in the form of acoustics with the ability to rotate the entire speaker unit.

The advantages of in-wall speaker systems, where SpeakerCraft began, are that no additional mounting hardware is required to mount the system, which makes installation much easier. Subsequently, the systems began to use cutting-edge magnesium and aluminum alloys, which made the sound of SpeakerCraft speakers even clearer and richer. To improve sound quality, the company's engineers created a special filler that reduces the resonance of plastic cases. In turn, to reduce wall vibrations and better bass response, SpeakerCraft uses its own multi-layer AcoustaCell™ sealing inserts. In order to improve transient characteristics, more expensive crossover filters use Mylar coils and capacitors.

SpeakerCraft has been designing and manufacturing in-wall speaker systems for over 30 years and has accumulated a wealth of experience in the field. This is confirmed by the quality of our products and a lifetime warranty on most models. Today, SpeakerCraft is the world's largest supplier of high-quality in-wall speaker systems. The range of products includes more than 1000 items. Among them are speaker systems, power amplifiers, wall regulators and control panels, base stations for connecting iPod and iPhone to multiroom systems. The company's products are successfully distributed through a developed network of distributors and dealers in more than 80 countries around the world.

The founder of System Audio, as well as its chief development engineer, Ole Witthoft, is confident that when manufacturing acoustics, one must focus not only on its technical parameters, but also on subjective sound quality. Speakers should sound with soul, conveying the very essence of music – Ole Witthoft began designing his first model after none of the pairs of speakers he had heard that were then on the market could cope with this task. Despite the fact that from a technical point of view they were all quite perfect. And the System 2 floor-standing speakers released by System Audio quickly won the hearts of music lovers due to their moderate cost, ease of placement in the interior and exciting, dynamic sound.

System Audio acoustics are truly capable of penetrating the very essence of music, and the listener perceives the sound of compositions as a whole, and not just in individual nuances (frequency range, dynamics, detail), as is customary when conducting tests. Listen to the music, not the speakers – this System Audio principle is shared by many music lovers. And it is fully implemented in the models of the Danish company. One of the distinctive features of its acoustics is considered by many to be “fast sound”, capable of accurately conveying the dynamics of the most energetic musical passages.

System Audio uses its own approach when creating the design of its acoustics. Design plays an important role in the modern world, but it should not only give a special appearance to the models, but also participate in obtaining the highest quality sound. Engineering calculations and subjective listening – only after successfully passing these tests do System Audio speakers reach the market.

Today System Audio acoustics are sold almost all over the world. It takes prizes in tests of leading audio publications, although when choosing speakers, Witthoft always recommends focusing on your taste, and not just on the opinions of experts. The company offers a full range of speakers to solve any problem. The System Audio catalog includes acoustics for stereo systems for the most demanding audiophiles in terms of sound quality, a full range of speakers for home theaters, active and wireless models. What all of them have in common is traditional Scandinavian quality, based on the use of selected materials and components. Attractive, varied appearance and high-quality finish will not leave many users indifferent. And, of course, the signature System Audio sound captivates: fast, accurate and exciting, with many fans around the world.

Sony is not just a company name, it is an ideology and even a whole cult. The history of Sony is not only about hard work, but also about devotion, luck and even betrayal of national and family traditions. To understand this story and understand the ideology of the company, it is necessary to start the story from the very beginning – from birth. Unfortunately, the creators of Sony Corporation did not live in our times, but they paved the way that the company still follows.

 Akio Morita and Masaru Ibuka 

Akio Morita was born on January 26, 1921 in Nagoya, into a family of respectable distillers. His ancestors made a living by making sake – rice vodka; therefore, Akio Morita’s parents hoped to eventually transfer the family business to him. Akio was the eldest son, and in Japan at that time almost all the children of merchants and entrepreneurs followed in the footsteps of their fathers. However, Akio did not want to study the ancient skill and brew sake, as all his relatives did up to and including the fifteenth generation. It was the 20th century, and the boy was interested in mathematics and physics. Oddly enough, the father approved of his son's decision and allowed him to follow his own path.

Akio Morita and Masaru Ibuka 

After graduating from school, Akio entered the Faculty of Physics and Technology at the Imperial University in Osaka. The young physicist was distinguished by a sharp mind, vivid imagination and ease of communication. In 1944, Akio Morita received his diploma. Then he was called up for military service – he ended up in the Marine Corps and even received an officer rank. A few months later he received an invitation to work in the town of Yokosuko, in the aviation research laboratories of the Precision Instrument Company of Japan. The director of the company, Masaru Ibuka, was very interested in talented young scientists and, looking through the lists of University graduates, drew attention to Akio Morita.

Akio Morita and Masaru Ibuka 

Masaru Ibuka was born on April 11, 1908 in the town of Nikko, Tochigi Prefecture. In 1933, he graduated from the School of Engineering at Waseda University in Tokyo. His classmates gave him the nickname “genius inventor.” While still a student, Ibuka became the author of a number of fairly large inventions, and in the year of graduation he received a prize at the World Industrial Exhibition in Paris. For some time he worked in the technology department of a company that produced film and photographic film. Ibuka soon founded his own company, which developed thermal guidance systems and portable night vision devices for the military department (some of his employees even had military ranks). Collaboration with Morita turned out to be very fruitful for him: the young physicist was inferior to Ibuka in experience, but was generous with ideas. The Precision Instruments Company was doing well.

Sony's first product: Rice Cooker (1945) 

Sony's history begins immediately after the end of World War II, when Masaru Ibuka returned to Tokyo in September 1945. To begin with, Masaru and his like-minded people rented the third floor in a shopping center. Ibuki's office was small, windowless, with poor lighting – only a single light bulb. In addition, the entire building of the shopping center was riddled with deep cracks from numerous Allied air raids. Soon equipment was brought to the new office from the Suzaki plant. Already in October, Ibuka and his partners opened a new division called “Tokyo Tsushin Kenkyujo” or “Tokyo Telecommunications Research Institute”. Despite the great desire to work, no one knew what exactly and how to do it. Oddly enough, but then Japan was on the outskirts of the technological world. While studying the market, Ibuka came to the conclusion that the Japanese were hungry for information, especially international information.

The first reel-to-reel tape recorder Sony G-Type – weight 20 kg (1950)

Ibuka decided that the only chance for success was to start producing special adapters, ready to turn obsolete radio receivers into super receivers capable of receiving all types of waves. The moderate success of the new device allowed two old friends Ibuka and Akio Morita to join forces again. Morita and Ibuka worked together on weapons for the Japanese army, but the war separated them for several years. The production of receivers was going well, but people did not have the money to pay for the services of Ibuka’s company, and then he began to charge in rice, which was more than appropriate in the conditions of hungry Japan. While reselling rice, Ibuka began thinking about home appliances, designing and implementing a rice cooking device. This is how the Tokyo Tsushin Kenkyujo company made its first foray into the household appliances market.

Portable tape recorder Sony H-Type – weight 13 kg (1951) 

The rice cooker was sold on the black market through Shozaburo Tachikawa, who was well versed in various financial tricks. The Tachikawa family was engaged in selling whale meat in Hokkaido. Ibuka was their frequent guest, and they loved him so much that as soon as he crossed the threshold of the house, the whole family hid the watch so that Ibuka would not inadvertently steal it. However, this did not interfere with the strong friendship between Ibuka and Tachikawa. In May 1946, Ibuki's uncle Tamon Maeda became president of the new company. After some thought, Ibuka and Tachikawa decided to join their uncle's company, which was called Tokyo Tsushin Kogyo Kabushiki Kaisha (Tokyo Telecommunications Engineering Corporation) or simply Totsuko. The new production did not have specialists, equipment or even money to achieve results, but Ibuka, Tachikawa and young specialists worked long hours.

The first portable receiver made of plastic Sony TR 55 (1955)  

Already in May, the Ministry of Communications ordered the young company Totsuko 50 vacuum tubes for volt-ohmmeters. But even on the black market the situation with pipes was complicated. Moreover, Totsuko had big problems with its equipment. For example, special screwdrivers were made from motorcycle pipes found in the ruins of houses, and electrical storage devices were homemade, just like the first communication lines. I had to refuse the order. Great financial difficulties and the transition to new yen created a lot of problems. Be that as it may, the sale of heated pillows brought in sufficient income, although they were sold under the name of Ginza Nessuru Shokai (Ginza Heating Company). Ibuka reasonably believed that the cushions were not reliable enough and could ignite at any moment, ruining the reputation of the young company.

The first video recorder Sony PV 100 (1963) 

A year after their use, the pillows began to spark and cause local fires. But no one complained, because the heated pillows were comfortable. The very next year, Ibuka and his colleagues moved to Ginza, where they had an entire building at their disposal. It was small, but convenient enough for mass production. At this time, Kazuo Iwama, a physicist from the University of Tokyo, married Morita's younger sister and very soon Morita convinced him to join the company. During the same period, NHK (National Broadcasting Station) asked to rebuild military equipment to restore radio broadcasting throughout the country.

Integrated amplifier Sony TA 1120 (1965)

The project was led by Shigeo Shima, whose favorite underpants burned from a spark in Ibuki's pillow. But at that moment there was no time for a showdown with cowards. Japan needed to recover as quickly as possible. Under the rapid restoration of the country, Shigeo gained access to military developments, which instantly moved into the hands of the Ibuko company. Despite the fact that things were going well with NHK, the owner of the Kichizozi plant soon demanded to vacate the premises. At that time, Japan had problems with electricity, and its overconsumption could lead to a power outage to the entire building, and Ibuki's company employees worked day and night. So Morita and Ibuka began looking for a new place where they could develop a large and convenient production for everyone.

The first tape recorder with compact cassette Sony TC100 (1966) 

Since the company sold a used Datsun in its difficult days, Ibuka and Morita had to look for a new place on their own, shivering from the cold on especially frosty nights. After months of searching, they were able to locate a NEC Corporation warehouse in Shinagawa. Cooperation with the occupying forces allowed the Totsuko company to obtain a recording device. It worked on a metal tape and, thanks to a slight modification by the recently hired Nobutoshi Kihara, was able to write news blocks. The first to be recorded was the victory of Japanese swimmer Hironoshin Furuhashi at a competition in Los Angeles.

First TV Sony TV8 301 (1960)

At the same time, Ibuka, Morita and now Kihara increasingly visited the occupying forces stationed in NHK. On one of these visits they were shown a tape recorder. “This is what we need,” Ibuka said, “let’s make one for the consumer market.” After convincing the officer to show the tape recorder to the engineers at the plant, Ibuta and Morita went to Sozaburo Tochikawa and asked him for 300,000 yen to build their own tape recorder. Having demonstrated the American technique to Tochikawa’s partner, and then taking both of them to a restaurant, Ibuka achieved the desired amount.

The first TV Sony Trinitron KV-1310 (1966)

At that time, the tape recorder was a rarity even in the United States, despite the fact that it was invented in 1936 by German scientists. The next few months were spent making the magnetic powder, which was produced using a regular grill borrowed from the Morita family. Using sprayers, Ibuka and Morita achieved the desired result. Their film could record and play back sound, but success came at a huge cost: there was more magnetic paint on the clothes, floors and walls of the experimenters than on the film itself. And then Ibuka decided to turn to the recently opened Yama-no-ue plant, where the technology of spraying a protective solution had already been mastered.

Cassette tape recorder Sony TC-2860SD (1973) 

Ibuka learned somewhere that a comb made from badger hair is ideal for spraying. Kihara bought one for 800 yen, which was a huge sum at that time, and began experimenting. Using two razors 6 mm apart, Kihara created the world's first paper-cutting machine, which also sprayed magnetic powder. Further experiments showed that the thinner the layer of powder, the higher the sound quality. It was necessary to find a way to thinly spray a magnetic solution. And then he came across an advertisement for Papilio Cosmetics, which advertised its finest face powder. Morita immediately went and met with the president of Papilio Cosmetics, but he turned him down, citing the impossibility of creating such a fine powder. Meanwhile, Kihara had already assembled a strange device, on which he recorded and played the phrase “Honjitsu wa seiten nar” (“Beautiful weather today”).

Cassette tape recorder Sony TC-177SD (1974) 

Work on the prototype continued for several months until the first tape recorder appeared in September 1949. In February 1950, A and G prototypes appeared, capable of recording and playing back a film of no more than 30 minutes. The G prototype was registered by “Tapecorder”. And the technology for making the film was called “SONI-TAPE”. After a series of articles about the new miracle device, many became interested in the Totsuko business. Especially Masao Kurahashi, who was then working for the Yagumo Sangyo company, and according to many, the yakuza. By this time, Totsuko's capital had grown from 3.6 million to 10 million yen. Kurahashi decided to invest 500,000 yen and buy back 10,000 shares at 50 yen per share.

First Betamax VCR Sony SL-6300 (1975) 

But first, he needed to look at Totsuko with his own eyes. After a visual demonstration, Kurahashi asked to sell him all the rights to the tape recorder. But the Ibukis refused. Instead, he offered to buy 50 tape recorders at a price of 120,000 yen each. Masao wrote a check for 6 million yen and took it to the Tokugawa family, who were surprised by the acquisition. For the next few months, no one wanted to buy the devices at a price of 168,000 yen each, despite the huge interest in the device. Having worked hard with tape recorders, Kurahashi felt sad, but then an order came from the district court. The first order brought Kuruhashi a profit of 1 million yen. The court, feeling the need for stenographers, agreed and bought 24 tape recorders. Morita was so inspired by Kurahashi's success that he invited Masao to head the distribution department at Totsuko. Kurahashi worked for the Tokugawa family, but the persistence of Morita and Ibuka did their job, and Kurahashi became part of the company.

Sony EL-7 cassette deck (1976) 

In January 1951, Masao Kurahashi became the manager of the Tokyo Recording Company, a subsidiary of Totsuko. In addition, inventor Takeo Tsuchihashi was invited to the company, who tried to bring the tape recorder to perfection. The recording machine constantly chewed the tape and broke down, but even when in working condition, the tape recorder was difficult to use. Morita and Kurahashi sat down to write a promotional poster using the American manual “999 Uses for a Tape Recorder.” The next day, Kihara locked himself in with the rest of the engineers and began creating two new prototypes, which were supposed to be smaller in size and weight (20 kg).

The first Sony Walkman TPS-L2 player (1976)

The H-tape recorder, which appeared on the market in 1951, weighed only 13 kg. As part of the promotional campaign, Kurahashi went on a tour of Japan while Morita tried to convince the Ministry of Education to use his tape recorders in schools. It would be a double whammy. Kuruhashi gave lectures at educational institutions, and Morita put pressure on officials in the ministry. The soon-to-be released P-tape recorder, priced at 75,000 yen, broke all sales records. And not only because of the price, but also because of the excellent service. Buyers did not know how to operate the tape recorder, and it broke. Totsuko performed all repairs free of charge. Thus, Totsuko learned to turn disadvantages into advantages.

First CD player Sony CDP-101 (1982)

As the product became mainstream, Totsuko had trouble meeting consumer demand. Therefore, a small plant was purchased and conveyor production was established. Due to the novelty of production at the new location, fires broke out more than once, but a few bottles of sake calmed the firefighters and resolved all conflicts. But Totsuko had a very small sales network, consisting of only three companies, including the Tokyo Recording Company. This trio was soon joined by Nippon Gakki or Japan Instruments, which already had an established channel for supplying musical instruments to educational institutions. But even an extensive network and good sales could not make Totsuko a sufficiently profitable company.

The first portable CD player Sony D-50 (1984)

It was then that Morita came to the conclusion that it was time to sell his products abroad, outside of Japan. It would be safer for the company. If demand falls in one region, the product could be of value in others, and the larger the company's sphere of influence, the safer its position. In addition, Totsuko had a patent for magnetic recording, which could help monopolize the market, but she also knew that Matsushita Electric Industorial Co. plans to release his own recording device. But with the advent of competitors' products, Totsuko's own sales also increased. So Totsuko learned another lesson: competition in the market stimulates the market and increases sales for all its participants. In addition, Totsuko had a five-year lead over any of its closest competitors.

The first compact video camera Sony CCD V8 (1985)

When Ibuka and Kazuo Iwama read a popular science article in an American magazine about the creation of a transistor at Bell Laboratories, they seriously doubted the possibility of using this invention in everyday life. In March 1952, Masaru Ibuka went to the United States to study the use of tape recorders in everyday life, and at the same time look at how American companies produced them. Ibuka spoke little English, plus he experienced the racial discrimination that reigned in the United States at that time.

The first boombox Sony CFD-5 (1986) 

Because he didn't know about daylight saving time, Masaru missed several important meetings and just walked around Seattle. A few days later he was in New York, where he met with the president of Nissho, Masaichi Nishikawa and his friend Yamada. Plus, he received an offer to use the transistor patent from Western Electric for a small fee of $25,000 (9 million yen). After several sleepless nights, Ibuka tossed and turned and thought about transistors. He tried to meet with Western Electric, but they avoided the meeting, so Ibuka had to return to Japan with germanium diodes and vinyl tablecloth, which were new to the Japanese market. But Masaru also returned with the confidence that transistors are the future.

Children's series My First Sony (1989) 

After consulting with Akio Morita, Ibuka asked his managing director, Koichi Kasahara, for advice. After thinking all night, Koichi decided that transistors were exactly what they should do. Ibuka applied for a license from MITI (Ministry of International Trade and Industry), but was refused, citing the inability of his small factory to set up such production. In addition, large companies like Toshiba Corporation, Mitsubishi Electric Corporation, and Hitachi Ltd were working on transistors under a contract with RCA that required royalties to be paid for any transistor-based product in Japan.

Power amplifier ES series Sony TA-N77ES (1988) 

So, one patent from Western Electric Totsuko was clearly not enough. But at this time, Yamada, who had managed to make friends with Ibuka in New York, tried to persuade Western Electric to issue a patent to Totsuko. He soon achieved success and in August 1953, Morita arrived in the United States, where, with the support of Yamada (Morita did not speak English), he signed a contract with Western Electric. Then Morita visited Germany, the homeland of Philips, Holland, and, inspired by the feat of Dr. Philips, returned to Japan. Western Electric offered to make hearing aids based on transistors, but it was stupid, and then Ibuka said: “Let's make a radio!”

First DAT Walkman Sony TCD-D3 (1992) 

Despite the skepticism of others about the capabilities of such a small company as Totsuko, Ibuka did not give up. He convinced his employees and creditors that it was necessary to take risks, that transistors were the future. A team of the company's best specialists studied a book on transistors that Morita brought from the USA. In January 1954, Iwama went to the United States to learn a little more about transistors by visiting the Western Electric plant. This information was enough for Totsuko to create his prototype. Iwama wrote down his observations on paper and sent them to Totsuko specialists. A week before his return, the first Japanese transistor was ready. Now it was necessary to get a loan and set up production. Ibuka reached an agreement with the management of the newly opened plant in Sendai and invited a prominent scientist, Professor Takasaki, who also possessed several important patents, to join his company.

First MD Walkman Sony MZ-1 (1995)  

The Sendai plant employed 27 people and was surrounded on all sides by rice fields, so much so that they had to wear high rubber shoes to avoid getting their feet wet. As new tasks emerged, the plant was re-equipped for new production until it was finally ready for the production of transistors. At the launch banquet for the first transistor, Ibuka, Kasahara and Ibaraga of Mita Musen decided to name their transistors with the suffix “Seki”, which means “stone” in Japanese. By the end of October, the first transistors and devices based on them appeared on sale. 2T-14 transistors cost about 4000 yen, and 1T23 diodes cost about 320 yen. Despite the high price, they sold just fine. But the radio market was flooded with vacuum tube receivers. There were even portable options. In addition, at Christmas 1954, the American company Regency released the first transistor receiver, TR-1, with an output of 10mW. Totsuko really wanted to, but they never became the first. They lost this round to the Americans.

Minidisc deck ES series SONY MDS-JA3ES (1996) 

Morita was preparing for his second trip to the United States, where he planned to conclude agreements and demonstrate a prototype of his successor. But besides business communication, the company faced another task. Americans could not pronounce not only Tokyo Tsushin Kogyo, but even Totsuko. And so there was no point in selling a product from a company with an unpronounceable name. Mori and Ibuka wanted to change the name to something that would be easy to pronounce and remember. A two-letter company would be excellent, but unrealistic. Three letters like RCA, NBC, CBS and NHK seemed more attractive. Of course, Tokyo Tsushin Kogyo could have been shortened to TTK, but that was too similar to TKK, the Japanese railway company.

The first DVD player Sony DVP-S7000 (1996) 

But there was still a problem with pronunciation and then, after thinking a little, they settled on the Latin word “sonus”, from which the words “sound” and “speed” came, shortening it to Sony. The Totsuko company now had an excellent international name. Within two months, Morita was able to secure a contract to produce 1,000 microphones and ten tape recorders. Additionally, Bulova placed an order for 100,000 TR-52 transistor receivers, but refused to use the Sony name. And then Morita refused the order and returned home. Morita wanted to sell products exclusively under his own name.

The first home robot Sony AIBO-ERS110 (1999) 

It was April 1955. And then disaster struck. The first 100 receivers, made of white plastic and in the style of New York skyscrapers, melted from the terrible heat. So Morita learned another lesson – the radio must be made of durable materials. The TR-55, completed in August, was just such a radio. The first transistor radio in Japan. However, at that time there were radios in 74 percent of Japanese homes, so this was a risky move for Ibuka's company. Therefore, Totsuko decided to gather all of its competitors from Matsushita, Sanyo, Hayakawa Electric Corporation, Toshiba Corporation, Victor Company of Japan Ltd., and Standard Co Ltd. and show them your transistors. The technology was truly excellent, and competitors agreed to purchase transistors from Totsuko.

Headphones Sony Qualia 010 (2003) 

It was necessary to expand production, and Ibuka decided to hire more diligent women. A dormitory was built especially for them. By 1956, the company's capital reached 100 million yen. During the same period, the TR-81 transistor receiver came to Japanese schools. And already in March 1957, the TR-63 pocket receiver saw the light of day. But the price of 13,800 yen was quite high and equal to the average salary at that time in Japan. But Totsuko did not despair and even hung up a neon Sony sign in Sukiyaabashi. The sign looked impressive and even more impressive were the letters, each of which weighed 262.5 kg. Moreover, the cost of this neon installation was 20 million yen. One way or another, the sign was shown on television on Christmas night, and Ibuka was pleased. The brand slowly became recognizable. In January 1958, Totsuko officially became SONY. Thus began a new era in the history of the company, which produced tape recorders and transistor radios. It became a corporation.

First e-book Sony Librie (2004) 

“We will take over the whole world,” Morita said at a meeting of all his employees and colleagues. “That is why we are going through all these hardships, turning ourselves into Sony Corporation.” And these were not just words. Sony managed to do a lot over the next 40 years. Transistor receivers were sold in Germany, Britain and the USA. In addition, the reported theft of 4,000 receivers allowed Sony to make headlines in Western newspapers. The new brand instantly became recognizable. After all, no one will steal bad equipment. SONY branches opened outside Japan. In two years from 1958 to 1960, 500 thousand copies of the portable radio were sold, but this was not enough.

Top AV amplifier Sony TA-DA9000ES (2005) 

Sony was looking in a new direction. And it was television. In 1961, the first portable TV, TV8-301, appeared. This was followed in 1968 by the first Trinitron color television. Already in 1971, the first color video cassette was introduced, four years later, the Betamax VCR, the world's first video recorder, matured in SONY laboratories, and 1979 brought the world the famous Walkman. This player sold 100 million copies worldwide, becoming the Japanese company's best-selling device. But SONY was not going to stop there. In 1981, the first electronic camera was released, in 1982, the first CD player, in 1985, the first digital VTR, and finally, in 1989, SONY produced a 3.5-inch disk drive especially for IBM. And, of course, we should not forget about 1995, when SONY entered the unexplored market of game consoles with the PlayStation system.

The first Blu-Ray player Sony BDP-S1 (2006) 

In January 1989, following the acquisition of CBS Records Inc. and the creation of Sony Music Entertainment, followed by the 1989 purchase of Columbia Pictures. SONY has finally decided to gain a foothold in the entertainment market. Negotiations with Nintendo to produce a 16bit Super Famicom expansion had been going on for a long time, and SONY had full access to Nintendo's new technologies. The latter was confident in SONY, since it made no attempts to invade the home entertainment systems market. But working increasingly with Nintendo, SONY realized that its own gaming system could bring in significantly more profit. Long legal battles with Nintendo quickly ended with the license being bought out, and in 1993 SONY released the PS-X or simply PlayStation.

The first version of the Sony PlayStation game console (1993)

More than $300 million was spent on developing the system, but it quickly paid off. By August 1998, the system had sold over 40 million copies worldwide. The release of the Sony PlayStation 2 in March 1999 in Japan, and only on October 26, 2000 in America, only strengthened Sony's position in the entertainment market. This 128-bit game console, thanks to good support from developers and a professional marketing campaign, easily crossed the 60 million mark back in the spring of 2003, preparing to hit the 80 million mark in the next few months. But SONY decided not to stop there. This is how two more consoles appeared, PSX and PSP. PSX, which combined a DVD recorder and gaming system, and PSP, which was a portable gaming system and player in one package. The main events in the history of the Sony Corporation 1946 Formation of a company called “Tokyo Tsushin Kogyo” 1950 Invention of Japan's first domestic sound recorder “G-Type” 1955 Japan's first transistor radio TR-55 1955 First use of the name Sony as a brand 1960 First in world's transistor television 1963 World's first transistor video cassette recorder 1968 Sony UK Ltd founded. in the UK Commencement of production of the Trinitron color television picture tube 1971 Introduction of the U-matic format – the world's first professional cassette recording system 1972 Sony wins its first Emmy Award, 1st of 15 subsequent ones 1974 Opening of a color TV manufacturing plant in Wales, UK 1975 Betamax video recording format; consumer video cassette recorder 1977 Launch of the world's first 1-inch broadcast video recorder 1979 Launch of the Walkman personal stereo recorder 1980 Sony introduced the Betacam video recording format 1982 CD player 1982 Launch of the world's first audio CD player 1983 Sony's first demonstration of high-definition video 1985 Video 8 video recording format – monoblock 8 mm camcorder 1987 DAT digital tape recorder 1987 Sony introduced the Betacam SP format 1988 Mavica electronic camera 1989 Compact monoblock 8 mm camcorder 1989 Sony acquires a film company Columbia Pictures Entertainment Inc. 1990 36-inch HD Trinitron consumer color television 1991 Kirara Basso series with Super Trinitron picture tube 1992 Minidisc (MD) system 1993 Video recording format Digital Betacam – broadcast component digital video cassette recorder

1994 First video conferencing system introduced, PlayStation launched
1995 Plasmatron technology, flat panel display, consumer digital camcorder Digital Handycam, Naming DVD format
1996 Sony introduced Betacam SX and DVCAM formats
1996 Glasstron – personal LCD monitor , Cyper-Shot digital camera, VAIO Personal Computer, FD Trinitron, flat-screen picture tube
1997 DVD video player
1998 Memory Stick, integrated memory card for recording data in various devices (September)
1999 Super Audio CD players (May) , entertainment robot AIBO (June), Memory Stick Walkman, Memory Stick (December)
1999 Official presentation of the MPEG-2 production system based on the MPEG IMX
2000 format Launched production of the PlayStation 2 game console
2001 Demonstration of the InfostickT BluetoothT module at CES
2002 First release of phones Sony Ericsson.
2002 Aiwa Co., Ltd. was acquired.
2004 Financial holding company Sony Financial Holdings Inc. founded.
In 2013, the joint venture Sony Olympus Medical Solutions Inc. was founded. with the Japanese company Olympus Corporation.
2014 The division for the production of personal computers under the VAIO brand was sold to another Japanese company, Japan Industrial Partners. Some selected brands of Sony Sony α (Alpha) Sony BRAVIA Sony Cyber-shot Sony Entertainment Television Sony Mobile Communications Sony Music Entertainment Sony Handycam (English) Sony Pictures Sony PlayStation Sony Walkman Sony Xperia Subsidiaries Sony EMCS Corporation (Japan) Sony Semiconductor Corporation (Japan) Sony Marketing (Japan) Inc. (Japan) Sony Mobile Communications Inc. (Japan) Sony Computer Entertainment Inc. (Japan) Sony Visual Products Inc. (Japan) Sony Video & Sound Products Inc. (Japan) Sony Music Entertainment (Japan) Inc. (Japan) Sony Financial Holdings Inc. (Japan, 60% share) Sony Life Insurance Co., Ltd. (Japan) Sony Bank Inc. (Japan) Sony Corporation of America (USA) Sony Electronics Inc. (USA) Sony Computer Entertainment America LLC (USA) Sony Pictures Entertainment Inc. (USA) Sony Music Entertainment (USA) Sony Europe Limited (UK) Sony Computer Entertainment Europe Limited (UK) Sony Global Treasury Services Plc (UK)

Sony Overseas Holding BV (Netherlands)
Sony Mobile Communications AB (Sweden)
Sony Electronics Asia Pacific Pte. Ltd. (Singapore)
Sony (China) Limited (China)

Already in 1913, the company began producing original mechanisms for umbrellas and water taps. Production moved to a new facility equipped with a mechanical engine. In 1923, Hayakawa Electric Industry Co employed more than 200 people, and the company sold products worth 50 thousand yen per month. It was then that the company suffered a terrible disaster – on September 1, 1923, a powerful earthquake occurred in Tokyo. The plant was completely destroyed, Tokuji Hayakawa lost his wife and two children.

Tokuji Hayakawa 

However, by 1924 he opened a new plant in Osaka, the modern headquarters of the company. In January 1925, Tokuji came up with the idea of ​​starting the production of radios. Having virtually no experience and the necessary knowledge, engineers led by Tokuji assembled the first Japanese radio by April 1925. Mass production of the radio receiver based on crystalline elements begins immediately. The product is in great demand, and branches are opened in Hong Kong and Shanghai to meet the growing needs of the Chinese market. Now all Sharp factories use an original conveyor production system, allowing a unit of equipment to be produced every 56 seconds. Sharp becomes the largest manufacturer of radio products in the Asia-Pacific region. The war between Japan and China, which began in 1937, increased the demand for radio technology, and by 1944 the production of radio receivers reached 150 thousand units per year. In 1942, the short-wave and ultra-short-wave radio transmission principles were invented in the company's own laboratory.

Sharp GF 9191 (1978) 

On August 15, 1945, the war ended with the complete surrender of Japan. The devastated, hungry and poor country was experiencing an acute economic crisis. This time for Sharp was marked by the loss of foreign branches and massive layoffs of employees. The company was on the verge of bankruptcy. Sharp was partially saved by listing its own shares on the Osaka Stock Exchange. However, by 1950, the company's debts amounted to 4.5 million yen, and the cost of one share was estimated at no more than 14 yen. And just the outbreak of the US war with Korea gave the company another chance to recover – large orders from the theater of war gave Sharp significant profits.

Sharp GF 555 (1980) 

By 1951, production reached 430 thousand radios, and the stock price rose to 53 yen. At the same time, the company released the first Japanese black and white TV. By launching mass production of television equipment, the company managed to ensure that a TV cost 175 thousand yen (for comparison, the average salary in Japan at that time was about 8-10 thousand yen). Sharp was one of the first to introduce free technical maintenance for its equipment, which allows it to significantly increase sales volumes; production reaches 500 TVs per month. By August 1953, 60% of radio and television equipment produced in Japan came from Sharp factories.

Sharp GF 9494 (1980) 

The year 1958 began for the company with the opening of its own retail chain, an active advertising campaign to promote the brand throughout the world and serious investments in research into wave electronics. In 1960, a new conveyor for the production of color televisions was launched, in 1962 – for the production of microwave ovens, and in 1964, the world's first desktop calculator using transistors was developed. The wave of new products that are in mass demand continues with the calculator invented in 1969, which operates on the basis of ultra-large-scale integrated circuits.

Sharp GF 800 (1984)  

The further development of the company was largely determined by advances in the field of liquid crystal, microcircuit and semiconductor technologies. In 1973, the Sharp pocket calculator, based on semiconductors, appeared. At the same time, Sharp laboratories developed unique principles for solar cells. In medicine, monitors for X-ray machines and portable electrocardiographs are widely used. Sharp's product range included hundreds of models of television, video, audio equipment, electronically controlled household electrical goods and industrial devices.

Sharp WF 939 (1987)  

One of the company's technological breakthroughs was the invention of portable computers in 1982. The upgraded 14-inch version of the monitor in 1988 ushered in the era of mass use of liquid crystal technology in computer technology. Further, almost all Sharp products are equipped with LCD monitors. Already in 1994, a 21-inch color monitor was produced, in 1995 – a 28-inch one, and in 1996, the Mebius laptop appeared. Today, Sharp is one of the largest manufacturers of microelectronics and computer equipment in the world. It accounts for about 40% of all LCD monitors produced, and the company has several thousand unique patents. An example of the development of the Sharp company is the story of the triumph of the innovative policy of the company's management, which allows it to be a stable market leader in its sector.

Sharp GX M10 (2012)  

Sharp's net losses for the 2011-2012 financial year (ended March 31, 2012) amounted to 380 billion yen ($4.68 billion). On November 2, 2012, the Fitch Ratings agency lowered Sharp's rating to “B-” (“junk” level). For the 2013 financial year (ended March 31, 2014), the company made a profit of 11.6 billion yen (about $114 million). A positive result was achieved for the first time in 3 years. On February 25, 2016, the Board of Directors approved the sale of the company to the Taiwanese Foxconn Technology Group for 700 billion yen ($6.24 billion). March 30, 2016 Taiwanese Foxconn buys a 66% stake for 388.8 billion yen ($3.47 billion). Major events in the history of the Sharp Corporation 1912 – Patent for the invention of a metal belt buckle, issued to Tokuji Hayakawa, the founder of Sharp 1915 – Invention of a mechanical pencil that does not require sharpening (the “forever sharp pencil”) 1925 – First assembly and start of sales of a receiver with a crystal detector 1929 – Production of Sharp Dyne – the first tube receiver 1953 – Beginning of mass production of televisions 1960 – Beginning of mass production of color televisions 1962 – Development and mass production of microwave ovens 1964 – Development and mass production of the world's first electronic desktop calculator based on semiconductor elements  1966 – Development of electronic desktop calculators calculators on integrated circuits 1969 – Development of electronic calculators based on very large scale integrated circuits (VLSI) 1972 – Development of the first photocopier 1973 – Development of the world's first electronic calculator with a liquid crystal display 1976 – Development of 7 mm thick electronic calculators using these LSIs. Development of solar panels for use in outer space on the artificial satellite “UME” 1979 – Development and start of sales of a pocket English-Japanese electronic translator 1981 – Development of a laser LED. Development and start of sales of a stereo player with automatic rotation of the disc being played 1982 – Development of pocket computers in the BASIC language 1983 – Mass production of ultra-thin electroluminescent displays 1984 – Development of a microwave oven with automatic determination of the type and quantity of the product and the time of its preparation 1987 – Development and start of sales of magnetic-optical rewritable disks Development of multifunctional electronic organizers 1988 – Development of the world's first 14-inch active matrix liquid crystal display, ushering in a new era of liquid crystal displays 1989 – Beginning of sales of the world's first refrigerators with double-sided doors

1990 – Development of the world's first full-color desktop fax machine
1992 – Start of sales of the ViewCam Hi-8mm video camera with a 14-inch LCD screen
1993 – Development and implementation of a multifunctional personal assistant (organizer)
1994 – Development of a 21-inch color TFT display for multimedia use
1995 – Development of the world's largest 28-inch active matrix display, made possible by the joint use of technologies from leading manufacturers.
1996 – The appearance of the Mebius laptop computer with Internet access and a display with a 30% improvement in brightness. Development of the digital assistant “Zaurus” with a color display and Internet access
1997 – Development of a highly reflective super mobile TFT display with 260,000 colors.
1998 – Development of single-crystalline silicon (CGS) technology – the basis for future computers several millimeters thick. (“Sheet computers”)
2000 — The first mobile phone with a built-in camera was released
2009 — The DL-L60AV LED lamp with a remote control for changing the color of light
was released 2013 — The world’s first 8K TV was introduced, which went on sale on October 31, 2015. An excursion into the golden age of Boomboxes and the best radio from Sharp – GF 777 A vintage radio, the cost of which in our time reaches $5,000, is in steady demand and truly fantastic in popularity. What is so exclusive about it that it attracts people so much and makes them part with a huge amount of money? Sharp GF-777 is a portable two-cassette recorder. It was produced from the early 80s to the mid-80s in several modifications: models GF-777, with different letter indices, were exported and equipped with a mains voltage switch, GF-909, GF-919, GF-999 were sold on the domestic market Japan and are designed for a mains voltage of only 100 V.

Sharp GF 777 (1980)  

There was another option for the domestic market – Sharp GF-1000, but this variety no longer reached such mass and popularity. The devices of the Sharp GF-777 family have a built-in acoustic system consisting of six dynamic heads: two low-frequency (16 cm) for which a separate two-channel power amplifier and its own attenuators are provided, as well as two broadband (16 cm) and two high-frequency heads connected to the second stereo amplifier. The maximum output power of the 777 is small – only 7 W (RMS) per channel (90 W is the declared maximum, total peak output power for two channels), but the speakers used in the tape recorder have very high sensitivity, so the Sharp GF-777 can create sound pressure comparable to many stationary music centers. It is worth noting that the built-in power supply, in terms of energy parameters, is quite capable of ensuring the operation of the radio in any, even the most extreme, mode, which was repeatedly tested at mini-discos during school and student years.

Sharp GT 6001 (1980)  

The parameters of the tape panel are impressive – they correspond, rather, to a stationary Hi-Fi cassette deck of a not very budget class than to a portable device. In principle, not every cassette deck of those years had a signal to noise ratio of 56 dB (without using a noise reduction system) and a frequency range of 30 Hz – 18000 Hz on type IV tape. The design of tape drive mechanisms is also more similar to those used in inexpensive stationary cassette recorders. The functional equipment of the radio for the very beginning of the 80s was more than solid: full autostop, tape consumption counter, the ability to record on three types of cassettes (Fe, Cr, Metal), a track search system by pauses (APLD) with the ability to select the desired musical fragment ( from the first to the seventh inclusive), manual and automatic adjustment of the recording level, arrow indicators of the signal level (they are also used when setting up the tuner, checking the battery charge), dynamic noise reduction system SNRS, balance adjustment, bass and treble tone, switchable loudness compensation, built-in microphones, input for connecting an external microphone with the ability to mix the signal, built-in spring (in some versions electronic) reverb to create an “echo” effect and reverberation depth control, input for a vinyl player, line input, line output, connectors for connecting external speakers, four-band tuner with very good sensitivity and precise tuning, switching mono/stereo modes for radio and tape recorder.

Sharp VZ-V2 (1981)  

At the same time, the radio has huge dimensions: height 37.9 cm, depth 16.6 cm, length 75.2 cm and an impressive weight: 11.8 kg. Some modifications have over 12 kg. The cost of the Sharp GF-777 during serial production was around $500. What can you say about the sound quality? For a portable tape recorder, this is very good, but I don’t think it’s worth exaggerating the sound of this device too much. Even very good speakers cannot be made to sound in a booming plastic case the same way as in the high-quality acoustic design of individual speakers, and an amplifier on a single-supply chip is far from a full-fledged Hi-Fi, even in the budget segment. But the quality of recording and playback of the tape recorder is quite at the level of a simple stationary cassette deck. Many radio tape recorders can reproduce a recording made on a cassette deck quite well, but there are really only a few high-quality wearable tape recorders – this is one of them. Summarizing what was written above, we can say that initially a lot was invested in this Sharp – an original design was developed, many interesting engineering solutions were implemented in the design, high-quality components were selected – as evidenced by the fact that many devices have remained in working order to this day . Naturally, the price is greatly inflated and this radio has become more of a luxury item than an audio component, but there is no alternative to the above pricing algorithm and there never will be. Time has put everything in its place – 35 years ago a large boombox was developed and introduced to the audio market, but now it’s a Legend, no matter how you look at it 🙂

On this approach, SVS Sound created its own corporate philosophy: quality was ensured by production in the States and advanced engineering using modern technologies, and an affordable price was obtained due to a distribution system that was new at that time – subwoofers were sold directly to customers via the Internet, bypassing intermediaries. And now that the company is no longer relying exclusively on subwoofers, when it has greatly expanded production, turning from a local American brand into a global manufacturer of acoustics, subwoofers still occupy a significant share of the SVS Sound lineup. Today the company produces 5 lines of subwoofers, starting with the 1000 series and so on to the 4000 series and the top Ultra line. The older series models are even similar in appearance, sharing design and technology, although the top-end Ultra subwoofers are still somewhat larger, more powerful and equipped with larger diameter drivers.

In the evenings after work, he designed speakers. The first truly successful speaker, which he called “Snail”, was inspired by the works of Leonardo da Vinci. It consisted of a low-frequency section to which two satellites were attached, which could be moved relative to each other depending on the distance to the listening position. Why snail? Because the low-frequency section is like a snail's shell, and the satellites are like antennae. When he first showed them at a hi-fi store, he was immediately given an order for 10 pairs. It was 1980. All 10 pairs were made from different types of wood – this is how Franco Serblin searched for the best material for the speakers. Production progressed very slowly. He worked evenings and weekends with other enthusiasts like him. It felt more like a club than a serious production. Cesare Bevilacqua later joked: “These speakers are so called because their production moved as slowly as a snail.”

Franco Serblin 

The market demanded smaller and less expensive loudspeakers. Therefore, in 1983, Franco Serblin released the Parva speaker. From this moment on, Sonus Faber exists as a company. These are two-way bookshelf speakers for a small room. These speakers served as the prototype for the creation of the famous Minima. Thanks to the natural sound, small size and reasonable price, Minima turned out to be so successful that it was produced for almost 20 years without changes. I think that very few companies can boast of such models that have been popular for so many years. In 1987 Electa Amator appeared. The special thing about this two-way bookshelf speaker is that it has a passive radiator on the rear wall, the same size as the active speaker, which is very rare for speakers of this size. Thanks to this model, Sonus Faber became known throughout the world. Subsequently, this model was modernized and it was produced for more than 10 years.

Sonus Faber Snail 

The story of Cesare Bevilacqua's appearance at Sonus Faber is interesting. He received an excellent economic education. Cesare Bevilacqua worked as the commercial director of the Milan football club, but he wanted to open his own business and for this purpose returned to his hometown of Vicenza. And at this time, Franco Serblin invites Cesare Bevilacqua to head the commercial side of the enterprise. This turned out to be a completely justified decision. The multifaceted talent of Franco Serblin is supported by the equally brilliant talent of Cesare Bevilacqua as an administrator and economist. And since that time, since 1989, Sonus Faber has become one of the most famous brands, selling its products in more than 40 countries around the world. He is a very talented businessman, and thanks to him, Sonus Faber has one of the best management systems in the audio industry. His life principle is evidenced by the fact that he is a knight of the Order of Malta (by the way, Pavel I was the grandmaster of the Order of Malta).

Sonus Faber Parva  

Franco Serblin, as a designer and music lover, has always been interested in the features and secrets of the unique sound of the violins of Italian masters. He spent a long time communicating with musicians and spent a lot of time in the violin museum in Cremona. The most interesting thing is that scientists took the exact dimensions of the violins, found out the exact chemical composition of the varnish, but no one managed to come close to the magnificent sound of these violins. Franco Serblin learned a lot about the secrets of making violins and cellos by the Italian masters Amati, Guarneri and Stradivari, and he was so inspired by what he saw and heard that he dedicated one of his speakers to the bicentenary of the death of the great Italian master Giuseppe Guarneri del Gesù (the Guarneri and Stradivari families studied from the Amati family). By the way, Nicolo Paganini and Fritz Kreisler played the violin of this master. These violins were distinguished by their unique, emotional and sonorous sound.

Sonus Faber Quid AMP 

Guarneri speakers are a true work of art, they embody everything that Franco Serblin has been looking for from violin makers for 10 years. The shape of the AC is borrowed from the musical instrument lute. Non-parallel walls ensure the absence of standing waves inside the housing. Different types of wood eliminate body resonances (a total of 3 types of wood are used – walnut, maple and lemon wood). The body consists of 42 elements, hand-turned and glued with natural glue. An interesting feature is that the inner surface of the case is lined with copper sheets and lead inserts to eliminate unwanted vibrations. Before varnishing, wooden surfaces are coated with albumin to prevent the varnish from entering the wood structure. And then covered with natural varnish, at least 10 layers. The composition of the varnish resembles that used by violin makers. It contains only natural ingredients: linseed oil, propolis, wine alcohol, natural wax, sandalwood extract and some others. The final polishing is done by hand by one person.

Sonus Faber Amator 

The speaker with serial number 1 was donated to the city of Cremona and installed in the violin museum. The 2nd and 3rd copies were presented to the Italian violinists Salvatore Accardo and Uto Ugi. 4 – remained at the factory as a reference copy. It was decided to produce several pairs per month, but the success of Guarneri was so great that it exceeded their calculations 10 times, and this was a real test for the factory, since the wood is dried under natural conditions for about two years, and only the preparatory work takes up half a floor of the year. To test his speakers, Franco Serblin uses the most advanced device to date – the human ear. But any pair of speakers needs an amplifier, so in 1997 he developed an amplifier for testing finished products, but the capabilities of the amplifier turned out to be much wider and it began to be mass-produced in a limited edition. It doesn't just pair well with Sonus Faber speakers.

Sonus Faber Amati  

Following Guarneri, the first three-way speakers, Sonus Faber, were released in 1998, which were also named after the great Italian family of violin makers, the Amatis. The Amati Homage uses the same concept and technology as the Guarneri Homage. An interesting detail is that the back wall consists of one piece made of solid lemon wood. There are many partitions inside, thanks to which the walls of such a large case do not resonate. A fairly complex and high-quality crossover, after assembly and configuration, is filled with 6 kg of mastic, which absorbs air vibrations inside the case. Due to the widespread use of multi-channel systems in 2000, Sonus Faber released the Home series. It was a logical continuation of the Concerto series, produced since 1995. Sonus Faber's impeccable reputation, design and natural sound have made this series one of the most well-known and admired home theater systems in its price range.

Sonus Faber Cremona Elipsa  

Many complained – there is a floor-standing speaker for 19,000 and 30,000 euros, but there is nothing in between, and in 2001 Sonus Faber released the Cremona speaker, which is dedicated to the city of the same name. This is a simpler version of Amati Homage, keeping the same ideology with which Amati Homage was made, and everything that is said about Amati and Guarneri is also true for the Cremona speakers. It also resembles the shape of a lute in cross section, glued together from 32 individual elements of solid maple. In 2002, the series was equipped with the magnificent Cremona Auditor bookshelf speakers, the Cremona Sub subwoofer, as well as the Cremona Center center speaker, which has the same dimensions as the Cremona and, thanks to this, the integrity and dimensions of the sound images are not compromised. The Cremona series, with the exception of the subwoofer, is available in two colors – Maple and Maple Graphit. Thanks to the Scan Speak HF driver, which operates in the frequency range up to 40 kHz, the Cremona series can be used in multi-channel SACD systems. Thanks to the uniform style, the Cremona series can be used to build home theater systems based on Amati and Guarneri.

Sonus Faber Cremona  

For its 20th anniversary in 2002, the company made a gift for its fans – a new flagship model of the Homage series – Stradivari. By tradition, it was named after the third great Italian violin-making family – Stradivari, only unlike Cremona, Amati and Guarneri, the Stradivari body is reminiscent of a violin in cross-section. Stradivari is made in the best traditions of Sonus Faber. This speaker uses the best that the company has accumulated over 20 years of development and research. In 2002, they completed the construction of a new factory, in the architecture of which you can easily see the shape of a violin. The interior uses a lot of wooden elements in the Sonus Faber style. Today Sonus Faber is a modern enterprise that maintains its traditions and improves technology. Just as the sound of violins created by Stradivarius is determined by many secrets known to the master, the sound of Sonus Faber acoustics is the result of combining many “secrets” possessed by the developer Franco Serblin. Technical perfection, the shape of the cases created according to Stradivari's drawings, and the “acoustic” surface finish of the Sonus faber acoustics are in complete harmony.

Sonus Faber Lilium 

Since 2002, Sonus Faber began a new direction in their work. They used all their previous experience, but this time they created a completely new series. The Cremona series models cost much less and were more compact. Among the models in this line there were even samples of acoustics used in home theaters. The first model in this series was a simpler Stradivari design. In 2007, Elipsa was launched on the market. At the same time, another important event happened in the life of the company – Sonus Faber became the first brand that was part of a holding called Fine Sounds Group. This holding set itself the task of uniting leading companies. This also later included the McIntosh and Sumiko brands. Already in 2008, the company introduced two series to customers – Toy and Liuto. Both series stood out because they retained their signature sound and had the lowest prices. The company needed new guidelines to move forward in the market with confidence. For this reason, in 2010 a superacoustic was created, which was simply called “The Sonus Faber”. The body of the new models was given a lyre shape, making a double bend of the walls on the sides, which greatly increased their rigidity. This hull was made from high quality plywood, which is also used for making boats. The structure of the walls makes their body inert for acoustics.

Sonus Faber Stradivari 

The bottom of the body, as well as the top cover, was made of aluminum used in aviation. The main task of such structures was to absorb minor vibrations in the body. The tweeter is equipped with additional vibration isolation. Its back side rests on an acoustic labyrinth with installed elements for an anti-resonance effect. The speaker structure is connected to the front panel. It is made from real cellulose, has a large coil and is equipped with a neodymium magnet. Also, there are two drivers with three-layer diffusers based on porous material. On the side of the case there is another speaker that reproduces very low frequencies. It is also equipped with a three-layer diffuser, and its outer parts are made using carbon fiber. Here the voice coil is already four inches in size. The Sonus Faber boasts impressive performance thanks to its design. The very next year, more accessible interpretations of the ideas contained in The Sonus Faber began to appear. Some developments were taken to improve older models already released on the market. And in another year the company will begin expanding the Homage series.

Sonus Faber Aida 

This model was made in the shape of a lyre. A complex structure was placed in the body. There was a metal pin that pulled all the partitions together and brought all the microvibrations to a single point. A damper was placed at the same point, which absorbed and absorbed all incoming vibrations. Such structures were used earlier when skyscrapers were built. The fabric tweeter is equipped with a phase-aligning body. This body was installed on the radiation axis, which made it possible to combine the properties of both emitters. The midrange driver is equipped with a cellulose diffuser, to which other natural fibers were also added. In addition, there was a voice coil made of aluminum wire and an anti-resonance basket, similar to those used previously. Two low-frequency speakers were placed on the panel in front. And at the base of the case there is another device that emits infra-low frequencies. The speakers of the Aida model are very similar to the speakers of The Sonus Faber, but have a number of modifications. Also, this model has an improved bass reflex, which eliminates the appearance of noise and similar sounds. The crossover is assembled from high quality components. It helps equalize frequency and phase characteristics, and also ensures stability and clarity in the operation of amplifiers. The Venere series, launched in 2012, is aimed at the masses. It includes a range of six acoustic models, which include both a central channel and special satellites for wall mounting and use in home theaters.

Sonus Faber Extrema 

The body is easily recognizable by its characteristic lyre shape, as it also has a double curve on the walls. And the lid and base are made of tempered glass instead of metal, as was the case in previous models. The emitters used are from the manufacturer Cury, equipped with braided polypropylene diffusers and a phase-aligning body shaped like a bullet, which is placed on a magnetic system. The tweeter is distinguished by a large silk dome. The Olympica line was a kind of return to tradition. It was released in 2013 and took a place between the budget Venere and the advanced Homage. When creating the body, wood was again used, as before. But the implementation of the form is already made in a newer type of lyre. Also, the model received a proprietary acoustic design “Stealth reflex”. The speakers for this model were made by the best engineers at Sonus Faber. The 29mm tweeter is the same one used in the Aida line. The mid-frequency emitter is equipped with a 150 mm diffuser. The cone is made of cellulose, cotton and some other fibers, and the bass driver is equipped with another cone, which is made of cellulose and polymers in three layers. When crossovers were made, they were installed according to Paracross topology technologies.

Sonus Faber Musica AMP 

Now the most current product on the market from Sonus Faber is the Lilium line. These models belong to the Homage series. The acoustics of this line are included in the range of models immediately after the Aida range, while demonstrating completely new progressive solutions and ideas. The design of Lilium is very similar to that of Aida, and the same goes for the visuals. The models in this series also combine wood composite, metal and high-quality plywood. A steel brace is used inside the body, which is balanced by a massive damper. The emitter diffuser is made of paper and polymers, like low-frequency speakers. And the emitter is located in the same way: at the very bottom of the acoustics. But with all this, the infra-buffer itself is located separately from the rest of the body. Essentially, this is a separate half of the body, which is attached at the very end of the assembly. The model is equipped with a second passive radiator, which is located at the top of the case. On the Lilium model, the crossover is equipped with low-frequency control, which provides a significantly better match to the acoustic conditions in the room.

Sonus Faber Pryma 

Everything born in Italy is doomed to a number of certain contradictions. This also applies to the Sonus Faber brand itself. Engineers combine natural materials with synthetics, ancient technologies are mixed with the results of detailed scientific research. Even manual work is skillfully combined with machine production on automated lines. But, despite all this, a large number of analyzes and detailed checks show that the most significant contribution to sound quality and its formation was made not by old technologies, not by wooden cases, not by the inheritance of canonical forms of instruments, but by precise calculations by engineers and high-tech materials. And it’s so easy to understand the success formula of the Sonus Faber brand: the outside is classic, but the inside is high-tech filling, pleasing to the ear.

For more than 30 years, Shanling employees have been working intensively. All employees are committed to the same principles, innovation and team spirit. Of course, Shanling employees are the company’s main asset; Without them, the company would never have reached its current level. Shanling's highest priority is customer satisfaction and product quality. Realizing the dreams of users, Shanling is developing and moving forward. Currently, Shanling's head office is located in Shenzhen.

Shanling is a high-tech company that combines research, development, production and sales in its activities. Including high-resolution portable audio players, portable amplifiers, Hi-Fi headphones, SACD/CD players, Hi-Fi amplifiers, conditioned power supplies and many other products that provide high fidelity audio reproduction. Shanling has established close partnerships with many international high-end equipment manufacturers and enjoys a good reputation in the industry.

Each new Shanling product is a big event for the international Hi-Fi market and for audiophiles around the world. Distinctive features of Shanling are style, stability, quality and reliability!

Sonos was founded by three people in 2002, and the company is well known to Americans – moreover, it is a kind of cult brand akin to Apple, Amazon, Nike. All sorts of fashionable things from the USA reach us late, and some do not reach us at all, at least officially. Sonos makes it easy and accessible to listen to your favorite music in every room. Now you can listen to songs that have sunk deep into your soul, discover completely new music that you didn’t even know about, and enjoy the highest quality sound.

Sonos is changing the way people listen to music – now you can listen to it in every room of the house at the same time. Today, the SONOS range offers system-level music components that perfectly satisfy even the most sophisticated tastes with great sound in all rooms of the home, without the need for wires or cables. One of the trends that the company adheres to in its work is equality of opportunity to listen to music in any room of the house. Zone players developed by Sonos specialists allow you to listen to streaming music directly from the Internet from streaming services or use music files stored on a computer or network storage as a source. The system makes it possible to listen to any radio station anywhere on the planet or your music library.

Let's add here the highest sound quality – and we can conclude why Sonos acoustics and electronics quickly became so popular in many countries around the world. Today, Sonos products are distributed in more than 60 countries. The company's engineers are daily engaged in the development of product lines, offering new models and improving software. The main activity of the company is the development and production of wireless systems based on the Wi-Fi protocol. You can sound your entire home without any cables (other than the ones that connect your devices to the mains, of course). Sonos acoustics and electronics: a true creation of the 21st century.

The influence of the company created by Fritz Sennheiser on the global audio market is evidenced by the following facts: more than 100 types of products, average annual sales income of about 400,000,000 Euros, 2,100 employees, every tenth headphone, and every 15th microphone in the world are produced by this company . Fritz Sennheiser was born on May 9, 1912 in Berlin. Where he spent almost all of his childhood and adolescence. Sennheiser attended the Karlhorst district gymnasium, from which he successfully graduated in 1932. The future inventor developed an interest in electronics during his school years.

Fritz Sennheiser 

Despite his successful amateur radio experience, Fritz did not dream of a career as an engineer or inventor. The young Sennheiser's real passion was landscape design. However, the harsh reality made its own adjustments to the young man’s life. The global financial crisis of 1929 changed Fritz's views on the future; the plight of Germany in the early 30s deprived landscape design of commercial and career attractiveness. And instead of his favorite occupation, Fritz, assuming that the engineering profession is in demand, enters the Berlin Technical University. After graduating from university, Sennheiser gets a job at the real “Mecca” of European telecommunications research, the Hertz Institute, where he writes his first dissertation under the guidance of Dr. Oscar Wierling.

Sennheiser MD 2 (1947) 

Interestingly, by 1936, under the leadership of Sennheiser, a group of engineers from the Hertz Institute developed an original reverb, which was first used to change the sound of the piano at the opening of the Olympic Games in Berlin. According to reviews of those who heard the instrument, a modified piano with a Sennheiser reverb made it possible to achieve an effect that is today called Large or big Hall (simulating the sound of an instrument in a large cathedral), the sound being reminiscent of an organ. Having completed work on the “Olympic” reverb and other projects, he took the position of chief engineer of the Hertz Institute in Hanover, and a little later (in 1938), on his initiative, the Institute of Radio Frequency Engineering and Electroacoustics was created. The scientist will remain in the position of director of this research institute until May 1945.  In 1940, Fritz Sennheiser defended his doctoral (in the Bolognese system, an analogue of a candidate's) (PhD) dissertation. Due to the bombing of 1943, the building of the scientific institution in Hanover became unsuitable for continued research, after which Sennheiser's group moved to another premises in Wenebostel, where Sennheiser's laboratory was based until the end of hostilities.

Sennheiser MD 421 (1960) 

Ironically, the day of victory over Germany – May 9th – is the birthday of Fritz Sennheiser. It should be noted that Fritz did not worry for long about the defeat and cessation of the institute’s work. As a seasoned pragmatist, he quickly realized that engineering and scientific expertise could be a source of income. Already in June 1945, a team of seven engineers under the leadership of Sennheiser created a small manufacturing company. It is symbolic that the office and production were based in one of the surviving buildings of the Hannover Technical University. At that time the company was called Laboratorium Wennebostel (abbr. “Labor W”), after the village to which Sennheiser's group moved after the bombing of Hanover. The first products were voltmeters. Labor W began making microphones in 1946 and renamed Sennheiser electronic in 1958. In 1947, specialists at the then “Labor W” created their first original microphone, MD 2, and due to its qualitative superiority over competitors, it became very popular in radio broadcasting. In 1949, the company developed and produced power amplifiers for some time. These were the first devices to meet the hi-fi standard, and a few years later it would be adopted by all manufacturers of home audio equipment. In 1952, Labor W added miniature magnetic headphones (HM 11, HM 21) to its portfolio. Miniaturization is becoming key in all areas. 1954 – Labor W introduces the first shotgun microphone, the MD 81, for film and television. The next model, MD 82, gained success in 1956. 10 years after its founding, in 1955, the company already employs 250 employees. The foundation of a new large company building has been laid. In 1956, the company introduced the MD 93 reversible transducer microphone, which works as both a microphone and a loudspeaker. Could be used, for example, in voice recorders. In 1957, Labor W introduced a wireless radio system for professional use on stage and television, developed jointly with specialists from the radio company NDR. Since 1958, it has been marketed jointly with Telefunken under the brand name “Mikroport”. In 1958, Labor W was renamed Sennheiser electronic. In 1959, the MDS 1 stereo microphone was developed. In 1960, the classic Sennheiser MD 421 microphone was released. In 1961, Sennheiser created the first telephone answering machine for Telefunken. In the same year, at an industrial fair in Germany, Sennheiser demonstrates the first samples of RF-Condenser condenser microphones, which laid the foundation for the famous MKN series. In 1962, Sennheiser produces the first microphone for audio monitoring of children, the so-called “babysitter”.

1965 – the Sennheiser M 101 mixing console was created. In the same year, production of the audiophile acoustic system “Philharmonic” began – the first active Hi-Fi system. In 1966, to demonstrate the superior directionality of the new MD 411 supercardioid microphone, it was placed in a reverberation chamber along with a cardioid and an omnidirectional microphone. The echo in the chamber was so strong that it was difficult to make out the words. However, the MD 411 demonstrated clear sound even in these extreme conditions. In 1968, the company released the world's first open-back headphones, the Sennheiser HD 414, the introduction of which revolutionized the headphone industry. Sennheiser HD 414 sold more than 10,000,000 units. In addition, the first professional lavalier microphone, the MK 12, was released in 1968 for use in the broadcast industry. The classic MD 441 microphone was released in 1971. In 1975, Sennheiser pioneered the use of IR (infrared) technology to transmit sound over a distance. In 1977, Sennheiser introduced the world's first open-back electret headphones, the Unipolar 2000. In 1977, Sennheiser released the electronic vocoder instrument VSM 201. Following the success of electronic instruments, the VCM 2001 turns the human voice into an electronic sound effect. With the launch of the first professional multi-channel rack-mount receiver in 1977, the clarity of audio signal transmission over the radio channel was significantly improved. In 1982, the classic radio microphone SKM 4031-TV launched the further success of Sennheiser radio systems. In 1982, Prof. Dr. Fritz Sennheiser hands over the management of the company to his son, Prof. Dr. Jörg Sennheiser. In 1983, the first directional (cardioid) lavalier microphone, the MKE 40, was developed. In the same year, the smallest studio lavalier microphone at the time, the MKE 2, was developed. In 1987, at the 59th Academy Awards ceremony, Professor Dr. Fritz Sennheiser awarded for the development of the MKH 816 shotgun microphone. In 1987, Sennheiser develops the active noise compensation system “NoiseGard” for Lufthansa. In 1989, the first wireless mixing console WM 1 was developed for field broadcasting. In 1990, a third factory was opened in Tullamore, Ireland. In 1991, several subsidiaries were opened at once: Sennheiser Electronic Corporation (USA), Sennheiser Belux (Benelux), Sennheiser Canada (Canada). In 1993, the world's first digital IR (infrared) headphones, the IS 850, were released. In the same year, the classic wireless microphone SKM 5000 was released. In 1995, Sennheiser presented to the public its first wireless RF headphones, the RS 5.

In 1995, subsidiaries were registered in the following countries: Mexico and the Netherlands. In 1996, Sennheiser was transformed into a private limited liability company (GmbH & Co. KG). In 1997, a second research and development unit was opened in Burbank, near Los Angeles, California, USA. In 1998, Sennheiser became the first company in the world to market RF headphones in the form of a stethoscope (RS 2400). In the same year, the evolution microphone series was launched, revolutionizing the music industry market. In 1999, wireless systems of the evolution wireless series were launched. In 2000, a fourth factory was opened in Albuquerque, New Mexico, USA. In the same year, the MKH 800 was released – the world's first studio condenser microphone, providing a reproducible frequency range of 20 Hz – 50 kHz, corresponding to new digital audio formats. The company's founder, Professor Dr. Fritz Sennheiser, died in 2010 at the age of 98. In 2015, Sennheiser celebrates its 70th anniversary. Over the years, the company has made a significant contribution to the development of the audio technology industry, and the list of innovative products it has created includes dozens of legendary models. Opening a series of publications related to Sennheiser’s anniversary, we will talk about one of these developments that brought the company well-deserved fame. In 1968, the company made a landmark invention, which led to the creation of a product that turned out to be even more successful than the most popular Sennheiser microphones. We are talking about the legendary HD 414 – the world's first open-back headphones, which created the very market for such devices. At the time, Sennheiser engineer Erhard Michaelis was developing microphones for voice recorders and once placed two microphones on one holder for testing purposes. By feeding them a signal and putting them to his ears, he discovered that dynamic capsules, not enclosed in housings, sounded much better than conventional headphones of the time. Back in the shop, he made a headband for the two microphone capsules and added a layer of foam to the plastic bases to relieve pressure on the ears. To his surprise, the sound became even better. A real revolution took place in the audio industry: open headphones were created!

Sennheiser HD 414 (1968) 

The headphones were quickly patented and received the name HD 414. They were a system of two miniature speakers located directly opposite the ears – the sound propagated simultaneously into the ears and into the surrounding space, and was perceived by the human ear as it happens without the use of headphones – freely and openly. The use of porous foam for the comfortable ear pads further protected against unwanted resonances, and the high impedance of the HD 414 headphones meant they could be connected to most sound sources without issue. In addition, the headphones' superior efficiency allowed them to reproduce sound at maximum volume levels, and their frequency response was unrivaled. However, at first, experts were skeptical: in the spring of 1968, the new product was confidentially presented to a select group of specialists and did not impress them: the HD 414 headphones were very different from all the others and seemed to lack pretentiousness. Experts estimate their annual sales at 500 units. at best. How wrong they were! The HD 414 opened up an entirely new market and sparked an unprecedented boom in the company's sales. In fact, Sennheiser has managed to reinvent headphones! The HD 414 model has become an absolute bestseller: since the start of production, more than 10 million of these headphones of various modifications have been sold, and this is an absolute record in the field of electroacoustic equipment. To mark the 25th anniversary of the start of their production, the company even released a small anniversary series of such headphones.

Sennheiser HD 414 (1968) 

The unprecedented success of the HD 414 provided a powerful impetus for further growth in Sennheiser's sales and workforce. In 1969, sales growth for Sennheiser branded products was almost equal to the overall industry dynamics, which guaranteed a more independent position for the company in the market. In 1970, when the company celebrated its 25th anniversary, it employed over 750 people. A spacious new office building has been opened at the headquarters in Vennebostel, where the new development department, the design department and the preparatory work department have moved. To meet the growing demand for headphones, additional production capacity was rented in Burgdorf, and if all three factories – in Vennebostel, Soltau and Burgdorf – could not cope with the volume of orders, home workers were brought in. In 1982, Prof. Dr. Fritz Sennheiser hands over the management of the company to his son, Prof. Dr. Jörg Sennheiser. One of the primary tasks that he had to solve in his new position was to unite all the scattered industries, especially the numerous homeworkers, on a single central platform.

Sennheiser MD 409 (1970) 

Production at the new factory began the same year. The main focus was on the production of headphones, which were in constant demand and were handmade in large quantities. The first HD 414 model was soon followed by others. “In the beginning it was a production of only one model,” recalls Jörg Sennheiser, “and it was simply vital for us to expand the model range in order to secure our position in the market. If for some reason the market crashed, it would drag the entire company down with it. Therefore, we began to successfully expand our range, releasing other models and products for various consumer groups.”

Sennheiser MKH 800 (2000)  

The headphones also became the company's most successful export product. In 1978, 45% of sales were exported: a quarter of this amount to the United States, where by that time the company had become the second largest headphone manufacturer. Headphones accounted for more than half of total sales, which amounted to 55 million marks. Sennheiser invested 11% of its turnover in development and development, which was double the industry average. And the number of employees by this time had increased to 980. The HD 414 model took an honorable permanent place in the Headphone Hall of Fame, but in 1973 it surpassed its own outstanding achievement. The American space agency NASA chose HD 414 as on-board headphones for the Skylab orbital station, which gave them every right to say: these headphones have been tested in space.

Sennheiser Digital 9000 (2012) 

Moreover, the HD 414 headphones were a resounding commercial success: the patent for open-back headphones, which expired in 1983, opened up an additional source of income for the company, as other manufacturers showed keen interest in the design. “At one of the trade shows, a representative from Sony approached us with an offer to sell a license for the production of open-back headphones,” recalls Fritz Sennheiser. “We knew that Sony does not produce headphones, and after considering the offer, we decided to sign a contract. Two or three years later, Sony released its Walkman – and this player required open-back headphones. So, in order to make sure everything went smoothly, Sony management chose to make licensing payments for several years without taking on the risk of in-house production. I must say that this is a very impressive example of planning.”

An equally important achievement of Sunfire is the creation of power amplifiers with unique power supplies – Tracking Downconverter, which monitor the instantaneous load and deliver exactly as much energy as needed at each moment. Thanks to this, Sunfire amplifiers have high efficiency. with low distortion of the useful signal.

In addition to the famous “true” subwoofers for home theaters, the company produces several more series of speaker systems. Bookshelf speakers from the Cinema Ribbons series look quite unusual, because… Almost their entire front panel is occupied by a proprietary ribbon tweeter, and the low-frequency speakers are placed on the sides. Despite their small size, such acoustic systems have high load capacities (up to 440 W), a wide frequency range, excellent transmission of sound images and excellent microdynamics. There are also TRIO IN-WALL built-in speakers and wall-mounted versions of flat speakers with TRIO ON-WALL ribbon drivers, as well as bipolar speakers with a double set of ON-WALL BI-POLE speakers. For home theaters, Sunfire also produces a series of high-resolution satellite speakers – High Resolution Series Satellite Loudspeaker – HRS with matching HRS subwoofers.

Today, the Sunfire line includes 7.1-channel AV receivers, AV processors and subwoofers for home theaters of the Theater Grand series, a wide range of powerful and compact subwoofers with amplifiers up to 2700 W, as well as bookshelf, wall-mounted and built-in speaker systems of unique designs.

Next in the Sumiko family hierarchy is a modified version of the Oyster – Sumiko Black Pearl. Featuring a higher build quality, the Black Pearl differs from its predecessor with a new suspension system and a significantly expanded sound range. Parameters such as balance and channel separation have also been improved. With a minimal increase in price, Sumiko Black Pearl is qualitatively different from its “donor” in tracking, resolution and reproduction of the slightest nuances. On the Ukrainian market, this is perhaps the best option for independently upgrading outdated vinyl disc players.

Sumiko Black Pearl 

Among the huge number of moving magnet phono cartridges available on the analog hi-fi market in the $200 price range, the Sumiko Pearl cartridge has virtually no competition in terms of sound reproduction quality. An elliptical stylus, combined with a more complex magnetic system than the Sumiko Black Pearl, allows you to squeeze out the maximum musical information from the sound track. This significantly reduces wear on the precision groove walls, providing the widest frequency range and improved separation between channels. By the way, as one would expect, the limiting indicators of the frequency range, in comparison with the “Black Pearl”, extend down to 12 Hz and at the top reach 30 KHz. Sumiko Pearl has long been deservedly considered the most desirable pickups in the technical park of any self-respecting audiophile.

Sumiko Blue Point No.2 

For music lovers who want to replace their cartridge with an MC type, the Sumiko Blue Point No.2 will be quite suitable. At its core, this is a technologically more advanced version of the legendary Sumiko Blue Point pickup, while its price has remained virtually unchanged. The modernized version of this popular pickup has a plastic body, the moving system of which is equipped with a durable needle holder and is reliably protected from mechanical damage. A new standard in the mid-$400 price class, this is the latest generation of moving-coil cartridges for Blue Point No. analog turntables. 2 with exceptional fidelity and musicality. Featuring a high output of 2.5 millivolts, the Sumiko Blue Point No. 2 is equipped with an elliptical diamond stylus, and has a standard platform with 1/2″ mounting holes. In addition, it does not require the use of an expensive MC phono preamplifier. Reducing the weight of the pickup has made it possible to use it with a large number of different tonearms.

Sumiko Blue Point EVO III 

The Sumiko Blue Point EVO III is a bodyless version of one of the most popular pickups, the Sumiko Blue Point Special. Compared to its predecessor, this cartridge features more reliable tonal balance, more confident bass and less frequency response surge in the upper mids. The open type of the model provides full control over the pickup's own resonances. An output voltage of 2.5 millivolts indicates that the user does not have an urgent need to purchase an expensive MC phono preamplifier. The Sumiko Blue Point EVO III model is capable of revealing the soulfulness inherent in any live instrument, while striking with the natural warmth of the sound. Plus, the Sumiko Blue Point EVO III is distinguished by its high ability to play the most complex, cluttered passages and, as an additional pleasant bonus, the Sumiko Blue Point EVO III behaves more loyally to the soundtrack.

Sumiko Blackbird 

The Sumiko reference series of pickups begins with the Blackbird. Like the Sumiko Blue Point EVO III, this pickup is a high-performance open moving coil system. This is where the similarities end. Belonging to a higher class of the product required the use of non-standard solutions and non-traditional materials. In the struggle for ultra-low mass of the cantilever, the manufacturer had to turn to a rather exotic element – boron. Being lighter than carbon, this silicon-like substance is second only to diamond in hardness, which fundamentally solves the issue of internal resonances. Adding to this a rigid coil suspension and an anti-resonance inertial block, in total we get signal transmission from the needle to the winding that is unprecedented in quality and volume. Sonically, the Sumiko Blackbird offers even greater resolution and focus, revealing textural details clearer and more authentically than the Sumiko Blue Point EVO III. The mid-frequency range is distinguished by three-dimensionality and dynamic sensitivity, and the purism of the sound is inextricably harmonized with the extraordinary delicacy of the signal presentation.

Sumiko Pearlwood Celebration

Next in the Sumiko family hierarchy is the Pearwood Celebration. Hand-built with a pear wood body, this cartridge is reminiscent of the glamorous MC cartridges of the analogue past. The mechanical basis of the model is a kind of cocoon made of a unique alloy, in which the entire generator system is fixed with one clamping screw. The cantilever is made of boron (as in the previous model), but the magnet is made of AlNiCo alloy for greater musicality. With this constructive approach, it was possible to create a uniform and dense magnetic field around the coil, which made it possible to achieve maximum efficiency from the entire system as a whole. To increase durability, the suspension is made on the basis of modern synthetic rubber elastomers.

Sumiko Palo Santos 

The flagship model of Sumiko is Palo Santos. Music reproduction compared to the previous Sumiko Pearwood Celebration cartridge is an absolute realization of all the intellectual and technical potential of the company. Almost every component of the Sumiko Palo Santos pickup head has been modernized and improved. The creation of an aluminum generator structure can be considered as a unique achievement, which, in turn, significantly improved the performance of the cartridge, increasing overall rigidity and increasing tracking stability. Naturally, at the same time, resonances and background noise were reduced by an order of magnitude. The Sumiko Palo Santos pickup is hand-assembled, and new techniques used in the manufacture of the cartridge cartridge significantly improve the resolution of this pickup head.

In those days in Japan, companies with “Electric” in their name were founded almost every day. Most never gained fame. Only a few of them subsequently managed to become giants in the electronics industry. Instantly becoming a leading manufacturer of generator headlights for bicycles, in just a few years the company became one of the leading Japanese exporters, sending over 100 thousand sets of its products abroad every month. The takeoff is all the more surprising given the background of another fact: until 1952, Sanyo did not produce anything other than these light bulbs.

Logos of the Sanyo brand have changed during its existence  

In its activities, Sanyo Electric pursues the goal of not surprising, but satisfying the consumer. Having, like other giants, its own narrow-profile production facilities, scientific and development departments, the group produces products that are best suited to a particular market and consumer needs.

Generator headlights turned out to be a very popular product. However, Iue Toshio, who headed Sanyo Electric in the 50s, decided that the company would not go far with bicycle accessories alone. He believed that an enterprise capable of applying the most advanced technologies must necessarily prove itself in them. In 1952, the first radio receiver in the Japanese industry, the Sanyo SS-52 with a plastic case, became a symbol of this novelty.

Stereo receiver Sanyo 2016 (1981)  

However, other new products that Sanyo launched in its first decade were much more successful. The company entered the American market with an inexpensive, but high-quality and reliable tube radio, which was exported under the RCA brand. To the domestic market – with its own washing machine (1953), with black and white televisions (mass production began in 1955), transistor radios (1956), stereo systems (1958) and tape recorders (1960).

Another surprising fact is that Sanyo was not a pioneer in any of these areas. Because she didn’t really try to be. Every new idea was immediately picked up by Sanyo, but before being embodied in products, it went through a long stage of fine-tuning. After all, it’s one thing to produce a new product and be the first to throw it onto the market, and completely different to have the same product, but available to a wide range of buyers. Sanyo excelled at the latter.

 Music center Sanyo RSG 052 (1972) 

In 1961, Sanyo could already call itself the largest Japanese exporter of portable transistor radios. In 1963, the Sanyo MR-100 tape recorder became a bestseller on the world market. By 1980, the company increased the production of portable reel-to-reel and cassette tape recorders to 15 million units per year.

Within three years (1975-1977), the export of Sanyo digital wristwatches worldwide reached a gigantic figure: 1.3 million units. Nowadays such things are inexpensive. And in the years of its appearance, digital watches, possessing unprecedented functions, seemed to be the pinnacle of perfection and were not much different in price from the products of Swiss watchmakers. The success of Sanyo watches was brought by the ability to recharge from sunlight and, of course, a humane price.

   Answering machine Sanyo DR 202 (1983)    

In Sanyo's history, only one product could bear the label of “World's First” – the all-transistor DC-600 stereo system, created in 1963.

The company is developing at a very fast pace. In 1979, the first personal computer SANYO appeared. Active development towards “green” technologies begins, in which significant success has been achieved. So, in 1990, an airplane using SANYO solar panels crossed America for the first time in the history of such technology.

Continuing to adhere to the same multidisciplinary approach, the company begins producing projectors, mobile phones (the division was transferred to Kyocera in 2008), digital cameras, and navigators. SANYO's structure begins to become more complex, with many subsidiaries appearing.

Personal computer Sanyo MBC-4050 (1982)   

On December 21, 2009, SANYO was absorbed by Panasonic Corp. The transaction amount exceeded 4.5 billion US dollars. Negotiations lasted for almost a year. The takeover was preceded by several years of financial turmoil that had plagued SANYO and led to significant job cuts. Apparently the excessive versatility of the corporation had become too much of a burden for it, since managing such a complex structure was becoming increasingly difficult.