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Yamaha Integrated Amplifier History (Since 1972)

From the CA-1000 that whipped up a whirlwind and brought Yamaha recognition in the audio world, to the AX-2000A that after groping around with digital technology managed a comeback to pure analog. Here we use each year’s flagship model to explain Yamaha’s continuing search for low noise and low distortion.

1972

Handles a wide variety of uses with its rich assortment of input and output terminals. Yamaha’s integrated Amplifier debut model.

CA-700

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In 1972, there was a big shift in high-end home stereo systems from the separate components that dominated the 1960s to new component types, and Yamaha released the first generation of component stereo, the 700 Series integrated amplifiers. They featured a rich assortment of input/output channels including separate MM-only and MC-only phono inputs, tape deck input/output, two channels of aux input/output, and a stereo microphone input on the front panel with mixing volume adjustment, making them suitable for a wide range of applications including home audio, audio-visual education, in-store, and other semi-pro uses. The power amplifier circuit was an orthodox ±2 power supply all-stage full-direct semi-complementary OCL type, and the tone control was one that would continue to be used in many later models as the 'Yamaha method' tone control, the original NF type. The external design was a conservative style with not even a hint of the appearance of the CA-1000 that would be introduced the next year, and the circuitry was not the latest pure complementary type, but the engineers may have been avoiding an adventurous approach for their first foray into the component stereo field. The 400mm wide cabinet was slightly smaller than modern models, and the Brazilian rosewood veneer was luxurious by present-day standards. It didn’t have outstanding specs or appearance that would make it appeal to audio fanatics, but it was a fine, Yamaha-like piece of workmanship. The series included an inexpensive amplifier version, the CA-500, the CT-700 tuner, YP-700/500 players, and the TB-700 cassette deck.

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1973

A true audiophile amplifier including a Class A/B operation selector, all enclosed in a beautiful form.

CA-1000

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Yamaha released the CA-700/500 and entered the component stereo market in 1972, and the next year began a completely different integrated amplifier lineup. This was the birth of the CA-1000, a classic representative Yamaha HiFi component that is still talked about today. The seamlessly connected single-sheet aluminum front panel and a white wood cabinet (open-pore-finished prickly castor oil tree wood) modern style was created by the GK Design Group and its beauty was distinct from both the heavy wood grain style and the mechanical component style. Of course the CA-1000 had more appeal than just its exterior. With features, performance, functions and high cost-performance, it overflowed with charm to steal the audiophiles heart: a power amp section with the world’s first Class A/B switchover that had a convenient switch that changed from low-distortion, priority-on-sound-quality class A operation to high-power class B operation, two huge 18,000 μF block aluminum electrolytic capacitors that blew away the competition, a phono equalizer boasting accuracy to within±0.2dB of the RIAA standard and a permissible MM input of 310mV, and a unique continuous loudness control. With its audiophile insides and clean form, it would not be too much to say that this new Yamaha design swept over the industry overnight. The power amp’s output in class B operation was 70W + 70W (20Hz—20kHz, 0.1% THD, both channels driven) and in class A operation was 15W + 15W (same conditions). Only CA-1000 owners could enjoy both the delicate sound variations revealed by the operation mode change and the high heat radiation of class A operation (which they liked).

1976

Polishing the control amp’s precision to pursue an S/N ratio approaching that of separate amps.

CA-2000

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The first CA-1000 received wide acclaim, and in 1974 it was updated to the CA-1000 II, then again in 1976 to the CA-1000 III. The first update was an improved version of the CA-1000, while the second was actually a full model change, and at that time a higher end model, the CA-2000, was added. From 1974 through 1976, Yamaha had released the super high end B-1/C-1 and B-2/C-2 separate amps, already establishing an admirable position as an audio maker, and with the CA-2000, Yamaha began feeding back the functionality of the separate amps into the integrated amps, such as the phono equalizer, MC head amp, and a tone control amp substantially the same as the one in the C-2. The CA-2000 had S/N improvement as its main theme, and Yamaha developed a super low noise dual FET and a super low noise IC in house and used them. The internal layout was completely redesigned with a 4-gang potentiometer that controlled volume both before and after the tone control to minimize residual noise at low volumes and an input selector using universal joints to minimize signal path lengths by directly connecting the circuit board and rear panel. Naturally the power amp featured Class A/B switching. In class B, the power output was 120W + 120W (20Hz—20kHz, 0.03% THD, both channels driven), and in class A 30W + 30W, double the power of the first CA-1000. In those times, using tape for live recording and recording from FM were popular, so a Rec Out Selector (allowing recording of a different source than the one being listened to) and a peak meter with selectable Speaker Out/Record Out monitoring were provided for the first time. The meter was added to increase the unit’s appeal as a product, but it didn’t necessarily match with Yamaha’s design concept of simplicity. Even so, it didn’t break the link with the image of the CA-1000, and the look of precision of the C-1 control amp that had the same meter was added. Note that the external appearance was the same as the CA-1000 III, but the lettering around the volume and tone controls was changed from simple numbers to a decibel reading, and this assertion of control amp performance was the only identification other than the model number.

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1977

After deeply considering the meaning of DC amps, Yamaha brought out the prioritized-for-disc 'straight DC configuration.'

A-1

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After the middle of the 1970s, the 'DC amp boom' occurred, which resulted in the removal of capacitors from signal paths and negative feedback loops, providing 0Hz (DC) playback performance. At first it was only the main amp that was DC, and integrated amps with a DC main amp section were common in 1977, but the DC amp that Yamaha announced was the revolutionary A-1 all-DC integrated amp that achieved the original aim of simplifying signal paths to the limit. Both the phono equalizer and the main amp were DC, and the use of a high-gain power amp allowed the intermediate amp stage to be eliminated, so the phono equalizer output or Aux line level signal simply passed through the volume control before entering the power amp, a 'straight DC' configuration. Up until then, the number of input channels was considered an i

Yamaha Ca 800 Owners Manual

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