NOS & DEMO = Överpris
Den ena är helt ny med kartong osv, den andra är ett butiksdemoex, ingen orginalkartong till denna.
QUAD 34 (1982-1996)
QUAD 306 (1987-1997)
Nåväl, här pratar vi nytt i gammal bemärkelse. Unikt skick och fasen vad bra de låter. Lite moderna kablar och normal verkningsgrad på högtalarna så är detta världsklass än idag.
Ett grymt bra Riaa-steg och ett bygge med kvalitet inifrån och ut.
Är osäker på om jag säljer denna kombo./Så var beredd på ett nej/ :-)
This popular (at least in the UK) and compact (only 12½" or 32cm wide) Quad 34 preamp is optimized for the enjoyment of symphonic music through the world's finest loudspeakers, namely the QUAD ESL-63 electrostatic in its day, or today, Harbeth.
The Quad 34 preamp excels in having the world's most useful tone controls which allow a listener to choose his favourite seat in the hall, regardless of where the recording's producer thought he should sit.
The Quad 34's most astounding innovation is its TILT control. The TILT control is an eight-pole filter which allows subtle optimization of the relative brightness or warmth of the music's original performance space to your listening room, without adding any colouration. Unlike conventional tone controls, its effects are very subtle — and therefore very powerful.
Selecting inputs and filters is easy: just tap the electronic buttons on the left. The signals are switched electronically, with no relays or distortion-inducing mechanical switches needed.
Of course all music sounds great through this preamp; when I mention symphonic music that's because live acoustic performances are the most difficult to reproduce, and it is for these performances that the Quad 34 is designed.
This Quad 34 replaced the earlier Quad 33 in 1982.
The first versions of this Quad 34 had an AUX input and had 5-pin DIN connectors for most inputs and outputs.
The newest versions of this Quad 34, as seen here, used RCA connectors and relabeled the AUX input as CD.
Most Quad 34 came with an extra interchangeable moving-coil (MC) DISC input module. Different modules allowed for different pickup loading.
About 40,000 were sold across 14 years. It was gone from catalogues by late 1996.
The TILT control is this preamp's claim to fame. Serious music lovers are at the symphony every week, unless they're performing and rehearsing daily, and know that there is no such thing as one unique "sound of a live performance."
These musical people are intimately and regularly familiar with actual live performances, and know that every seat sounds different. Some listeners prefer the front rows, others the middle rows, while others prefer the rear of the hall. Every seat presents a different perspective. The TILT control allows one to optimize the reproduced perspective to suit one's taste if the recording's producers and engineers had a different opinion.
For instance, while London and Decca's UK recordings tend to be neutral, Deutsche Grammophon's tended to be forward, and USA's Telarc tend to be more distant. With the TILT control, you can put yourself where you want to be.
The TILT control also allows subtle correction of other equipment, cables, connectors, power cords, Shatki stones, recordings, speakers and acoustics that are slightly too bright or analytical, or that are too dull and reserved.
The TILT control really works. No, its action is not as obvious as old-fashioned bass and treble controls, and therein lies its power. It corrects subtle variations in perspective, equipment, cabling or anything in the signal chain and can restore perfect balance to reproduced music. Remember, Quad make the world's finest loudspeaker, the ESLs, and this preamplifier is designed to extract the most musical enjoyment out of them for serious music listeners, even if audio hobbyists are chasing other things.
As Quad says, "The results obtained from any programme source depend on the aggregate effect of the listening room and the recording environment together with the corrections applied by the recording engineer, and the equipment of the reproducing chain."
The real kicker is where Quad adds "…it is extremely unlikely that the arbitrary combination of these variables when listening at home will will yield the closest approach to the original sound," and therein lies the need for this subtle control.
The TILT control can improve the subjective quality of musical reproduction, while adding no colouration, just a simply slight increase or decrease in overall warmth or brightness.
Likewise, the BASS LIFT control is brilliant. It really makes a world of difference with small speakers, boosting only the missing low bass like an electronic subwoofer, and adding back in low bass missing at low playback levels.
The BASS STEP control drops low bass response by precisely 5.5 dB to correct for boomy rooms or bloated recordings. The 100 Hz, 170 Hz and 300 Hz positions merely change the transition frequency, not the ultimate reduction.
The smooth-rolloff HF filters eliminate high-frequency zing, tizz or distortion. Unlike most high filters, these are brilliantly slow in rolloff so that they don't add honk or artifacts related to a sharp cutoff.
As critical as any or all of the above is a volume control which keeps the channels precisely balanced at every level. The Quad 34 is extraordinary as having the most tightly-specified tracking of any preamp at 0.5 dB, and it exceeds this by a factor of about five. Most preamps are so sloppy that they deliberately don't specify channel tracking. At low levels, most preamps are fifty times worse than this Quad 34.
The inputs switch instantly, so if they are active with signal, there can be very mild clicks.
The Quad 34 is non-inverting, meaning that the polarity of your source is never changed
Description QUAD 306
The Quad 306 is a high quality stereo power amplifier primarily intended for use in very high quality sound reproducing systems.
It would normally be used in conjunction with a Quad control unit though other signal sources could be accommodated.
The 306 uses a current dumping output circuit, a Quad invention which eliminates many of the problems associated with transistor amplifiers, and is covered by patents in several countries.
In a current dumping amplifier there is in effect both a low power very high quality amplifier and a high power heavy duty amplifier.
The low power amplifier controls the loudspeakers at all times calling on the high power amplifier to provide most of the muscle.
The low power amplifier is so arranged - it carries an error signal - that provided the larger power transistors (the current dumpers) get within the target area of the required output current it will fill in the remainder accurately and completely.
The reproduced quality is solely dependent on the small amplifier which because of its low power can be made very good indeed.
Power output: 50 watts per channel into 8Ω (stereo)
Frequency response: 13Hz to 40kHz
Total harmonic distortion: 0.03%
Input sensitivity: 0.375V
Signal to noise ratio: 105dB
Dimensions: 321 x 64 x 207mm
The Quad 306 was a highly underrated solid state amplifier introduced by Quad primarily to power the Quad 10L bookshelf loudspeakers which at the time were Quad's only dymamic loudspeakers on sale and also their first as well, although strictly speaking they were an Spendor OEM design rebadged by Quad.
First launched in 1987, the Quad 306 Power Amplifier was a 50 watts per channel rated amplifier that basically resembled a Quad 405 sliced in half. The Quad 306 was a very solid amplifier that was beautifully built, although minimilist in looks very much followed the design looks of older Quad amplifiers. Unlike the Quad 405 which has a huge power supply under it's bonnet, the Quad 306 Power Amplifier used a large torridial transformer which although very poweful was only a couple of inches in height meaning the designers at Quad could build an amplifier that was much slimmer nad more compact than any of its predecessors.
The Quad 306 Power Amplifier won praise from many camps as being more than a capable perfomer and although primarily designed for the Quad 10L loudspeaker and not any of the Quad electrostatic range, many Quad owners did indeed partner the Quad 306 Power Amplifier with electrostatic loudspeakers and with success although the bigger more powerful Quad 606 Power Amplifier was the ideal and optimised choice for the electrostatic loudspeakers at the time.
The Quad 306 Power Amplifier was in production until 1997 before being withdrawn after nearly 25,000 units being sold. Like all Quad amplifiers, the Quad 306 Power Amplifier was built to last and a large proportion of that 25,000 are still in service today and regularly change hands on ebay.
Not the best Quad amplifier ever made and not as popular with enthusiasts as the Quad 303 or the Quad 405, it is still a very good amplifier.
Quad 306 Power Amplifier Specification
Power Output: 50 Watts per channel into 8 ohms
Distortion: < 0.003%
Hum and noise: -105dB
Input connectors: RCA phono sockets
Input Sensitivity: 0.375v
Speaker Terminals: 4mm banana plug sockets
Voltage: 220-240 V (UK)
Overload Protection : Yes (Resettable via push button at the back of the amplifier)
Additional Mains Output : YES (IEC socket)
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