Propisi dlya doshkolnikov bukvi a 10. Of the ultra-rare-ultra-invisibilia kind. It seems LP-3000 was introduced in late 1978 in Japan and therefore still plain science-fiction at the time even if two years after the 1976. All the features of a or: Quartz-Lock Direct-Drive, tangential tonearm, feather-touch buttons, LEDs pitch displays, diecast aluminium base, 15-tracks programmability with backward and forward 'skip', 'repeat', auto disc-size and even an auto-record link with Aiwa's cassette recorders of the times. With such features, the LP-3000 was almost a year ahead of everybody and head to head with Sharp and its Optonica RP-9100 which was also ready by late 1978! The catalog from which the two images here published were scanned from was printed in may 1979 and the owner's manual also bears that date so at least the export model came in a bit later than late 1978.

The LP-3000 was named LP-20X in Japan but I have yet to find a japanese catalog for it. Whatever its moniker, the Aiwa didn't sell much and its price was in it for something: when the excellent Technics cost 3000FF in 1980, the LP-3000 pushed programmability, linear tracking and sci-fi looks to almost three times as much: 8200FF. The LP-3000 has three motors, all are of the BSL kind: a beefy one for the platter, another for the tonearm's translation and one for cueing. The tonearm's lateral movement works with a threaded rod powered by said BSL motor - a down to earth approach not as 'cool' as magnetic rails () but more elegant than Yamaha's flat belt + roller guides ( & PX-3). The tonearm itself has tracking force and zero balance set at its back while the little 'tit' protruding at the top in front of the bearings' cache is in fact a dial to adjust the cartridge/ mat distance.

The specifications for the arm's bearing are a bit. Alarming: 30mg! I'd like to have another source for this because it is quite stiff. But if this was no 1979 mistyping, the LP-3000's tonearm is therefore very far from a Technics or a Sony PUA-1600L. The track sensing feature works with a LED and photo transistor detecting weak or strong reflections on the vinyl surface. Since the supplied headshell holds the ' disk sensor', the use of another cartridge/headshell couple requires some twiddling with spacers and specific alignements.

Nothing however to scare anyone who has already put a cartridge on a tonearm and very far from the pain of doing that on a Revox B-790! An optional RC-20 chunky wired remote control was available as well; if Aiwa had really tried to market the LP-3000, I guess it would've been named RC-3000. The diecast zinc 3,2 kg platter makes for an impressive total of 15,2 kg. Build quality is magnificent if circuit-wise a little frightening: 23 ICs, 54 transistors, 60 diodes and one LSI is a lot that can go haywire. However, it seems that samples still working today will go on forever while those that failed back then. Failed back then.

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The same is true of the original 1978 Sony Biotracer: if it had to fail, it would've done so sometime during the past thirty years; if it hasn't yet, it won't. The Aiwa LP-3000 was featured in UK's Hi-Fi World ' Olde Worlde' section by Adam Smith in march 2009. Adam Smith now owns the reviewed sample which he bought from Keith. Who sent the detailed images you can see here under the USER thumbnail:).

Probably the most successful ' mini' system ever sold during high-fidelity's good times. Not only did Aiwa sell many, but several other manufacturer's rebadged the main units and sold them under their own name! I have found so far four different versions: BASF (who attempted several times to crash the audio market), Metz (yes - the photographic flash maker, who also attempted several times to crash the audio market), Uher later on with a radically different design and Wega. The latter rebadge remains very strange given Sony's 100% ownership of Wega since march 1975. However, Aiwa was under 52% Sony ownership since 1969 (54,6% in '82) and many sharing of engineers and factories so this may explain that:) Metal, cast aluminium, steel enclosures - and surprisingly good sound to boot.

Like Sony's or the Toshiba, this was all the 1970s could offer in quality budget with the upcoming 1980s' slick and unobtrusive packages. As for the Sony, naturally, Japan saw a myriad of 22 dedicated and very elaborate racks and accessories and lower-end versions which would require an entire TVK to be displayed properly; the four racks below are nevertheless the most interesting. The (many) components are: S-A22: integrated amplifier S-C22: preamplifier S-P22: power-amp S-R22: am-fm tuner AD-L22: k7 recorder S-V22: TV-sound tuner MT-22: digital audio timer MIX-22: reverberation mixer S-22S: turntable SC-E22: loudspeakers Aiwa made many later versions until 1983 but none had the success of the original ' 22'. Only Sony managed to top Aiwa's success with its system, known as outside Japan.