| Êëàññè÷åñêèå âèíòàæíûå êîìïîíåíòû hi-fi › Ëó÷øèå ëàìïîâûå óñèëèòåëè è ðåñèâåðû êîìïàíèè Sansui | |||||||||
Ìîíîôîíè÷åñêèé óñèëèòåëü ìîùíîñòè Q-55 (1958) |
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Ìîíîôîíè÷åñêèå óñèëèòåëü Sansui Q-55 ïðåäíàçíà÷àëñÿ äëÿ èñïîëüçîâàíèÿ â øêîëå, â òåàòðå, â ñòóäèè, íà îòêðûòîé ïëîùàäêå, â êàôå è ò.ä.
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Ïðèìåíåííàÿ ñõåìà ôèêñèðîâàííîãî ñìåùåíèÿ, ýëåêòðîííûå ëàìïû 6CA7PP è ìîùíûå êðóïíîãàáàðèòíûå òðàíñôîðìàòîðû GT îáåñïå÷èâàþò áîëüøóþ âûõîäíóþ ìîùíîñòü ñ íèçêèì óðîâíåì èñêàæåíèé. |
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Êðîìå òîãî, ïîìèìî îòëè÷íûõ ýëåêòðè÷åñêèõ ñâîéñòâ ìîíîôîíè÷åñêèé óñèëèòåëü ìîùíîñòè Sansui Q-55 îáëàäàåò âûñîêîé ñòàáèëüíîñòüþ, è äëèòåëüíîå âðåìÿ ìîæåò ðàáîòàòü áåç ïåðåðûâà. |
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Óñèëèòåëü õîðîøî ðàáîòàåò ïðàêòè÷åñêè ñ ëþáûìè «òðóäíûìè» àêóñòè÷åñêèìè ñèñòåìàìè è ìîæåò áåç ïîòåðü è èñêàæåíèé èñïîëüçîâàòü äëÿ ïîäêëþ÷åíèÿ àêóñòè÷åñêèå ïðîâîäà áîëüøîé äëèíû. |
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Îêîí÷àòåëüíàÿ îòäåëêà óñèëèòåëÿ ïðåäïîëàãàåò äâà òîíà ìåòàëëè÷åñêîé êðàñêè. |
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Ìàêñèìàëüíàÿ ìîùíîñòü: 50 Âò; ×àñòîòíàÿ õàðàêòåðèñòèêà: 30 Ãö - 20 êÃö >3 äÁ; Èñêàæåíèÿ: 0,8% èëè ìåíüøå (100 Ãö), 0,5% èëè ìåíüøå (1 êÃö), 0,7% èëè ìåíüøå (10 êÃö); Îòíîøåíèå ñèãíàë/øóì: - 65 äÁ; Ñîïðîòèâëåíèå íàãðóçêè: 16 Îì; Íàïðÿæåíèå ïèòàíèÿ: AC100 âîëüò, 50/60 Ãö; Ðàçìåðû: Øèðèíà: 391 ìì, Âûñîòà: 196 ìì, Ãëóáèíà: 125 ìì; Âåñ: 10,5 êã. |
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Óñèëèòåëü ìîùíîñòè Q-3535 (1958) |
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Íåâàæíî, ÷òî ýòî çà ïðåäìåò. Íà ïåðâîì ìåñòå çäåñü, áåçóñëîâíî, äèçàéí. Çàêîí÷åííîå ðåøåíèå, ê êîòîðîìó íåâîçìîæíî, ÷òî-ëèáî äîáàâèòü èëè âûáðàòü äëÿ ñðàâíåíèÿ ñ íèì äðóãîé êîìïîíåíò, íåñìîòðÿ íà áîëüøîé ïåðèîä áîëåå 50 ëåò ñ ìîìåíòà åãî ñîçäàíèÿ. Áåññïîðíî ýòî âåëèêîëåïíûé óñèëèòåëü. |
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Óñèëèòåëü ìîùíîñòè Sansui Q-3535 èìååò âîñõèòèòåëüíûé äèçàéí è âåëèêîëåïíîå çâó÷àíèå êëàññà high end. Q-3535 áûë ñïðîåêòèðîâàí è óâèäåë ñâåò â 1958 ãîäó ñ ýëåêòðîííûìè ëàìïàìè 6CA7 (EL34). Óñèëèòåëü ìîùíîñòè Sansui Q-3535 ðàáîòàåò â äâóõòàêòíîì ðåæèìå è âûðàáàòûâàåò ìîùíîñòü ïî 35 Âò íà êàíàë. Ê òîìó âðåìåíè êîìïàíèÿ Sansui óæå âûïóñêàëà ïðîôåññèîíàëüíûå ìîíîôîíè÷åñêèå óñèëèòåëè âûñîêîé ìîùíîñòè, òàêèå êàê Q-50 (6CA7 PP 50 Âò), Q-55 (6CA7 PP 50 Âò) è Q-101 (6CA7 PP 100 Âò), îäíàêî, Q-3535 áûë ïåðâûé ñòåðåî óñèëèòåëü ìîùíîñòè îò Sansui. |
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Íåêîòîðûå èñòîðè÷åñêèå çàïèñè óêàçûâàþò, ÷òî Q-3535 áûë èñïîëüçîâàí íå òîëüêî äëÿ äîìà, íî è íà ìåðîïðèÿòèÿõ è â êèíîòåàòðàõ.  êà÷åñòâå îäíîãî èç óñèëèòåëåé êëàññà high end Q-3535 ïîìîã êîìïàíèè Sansui çàâîåâàòü ìèðîâîå ïðèçíàíèå. |
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| Êëàññè÷åñêèé ðåñèâåð SM-30 (1960) |
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 òî âðåìÿ ðåñèâåð SM-30 ÿâëÿëñÿ î÷åíü ñïåöèôè÷åñêîé ìîäåëüþ äëÿ Sansui.  ßïîíèè SM-30 ïîëó÷èë ïðåñòèæíóþ íàãðàäó íà âûñòàâêå Composite Design Show. Òàêæå ðåñèâåð SM-30 óñïåøíî âûñòàâëÿëñÿ íà èòàëüÿíñêîé âûñòàâêå - 12-é Triennale ïðîõîäèâøåé â Ìèëàíå. Ïî ñëîâàì ã-íà Èñèãóðî èç Hashimoto electric, ðåñèâåð Sansui áûë ñïðîåêòèðîâàí îñíîâàòåëåì êîìïàíèè ã-íîì Êèêó÷è åùå äî 1958 ãîäà, îäíàêî, íå ñìîòðÿ íà ïðåâîñõîäíûå çâóêîâûå êà÷åñòâà, íå èìåë óñïåøíûõ ïðîäàæ èç-çà íå î÷åíü ïðèâëåêàòåëüíîãî âíåøíåãî âèäà. |
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 1959 ãîäó ïîÿâëÿåòñÿ íîâûé ïðîåêòèðîâùèê ã-í Âàòàíàáå è åìó áûëà ïðåäîñòàâëåíà âîçìîæíîñòü äëÿ ðàçðàáîòêè íîâûõ óñèëèòåëåé. Íîâàÿ ìîäåëü SM-20 çàâîåâàëà ìãíîâåííûé óñïåõ áëàãîäàðÿ ñâîåìó ñîâðåìåííîìó äèçàéíó. SM-30 áûë ñëåäóþùàÿ ìîäåëü ðåñèâåðà, êîòîðàÿ âûøëà ñðàçó ïîñëå óñïåõà ìîäåëè SM-20. Ðåñèâåð SM-30 îáîðóäîâàí 2-ìÿ òþíåðàìè (îäèí èç íèõ áûë ïîäãîòîâëåí äëÿ ñòåðåî âåùàíèÿ â äèàïàçîíå AM), à òàêæå FM-òþíåð. Ðåñèâåð SM-30 áûë ïîñëåäíåé ìîäåëüþ êîìïàíèè Sansui, ãäå äëÿ àêòèâíûõ êîìïîíåíòîâ èñïîëüçîâàëèñü ýëåêòðîííûå ëàìïû. |
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Êëàññè÷åñêèé ðåñèâåð SM-80 (1961) |
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Ïîñëå òîãî êàê êîìïàíèÿ Sansui óêðåïèëà ñâîþ ðåïóòàöèþ âûïóñòèâ ðåñèâåð SM-30 â 1961 ãîäó áûë ñïðîåêòèðîâàí è èçãîòîâëåí áîëåå ìîùíûé è âûñîêîêëàññíûé ðåñèâåð ìîäåëè SM-80.  ñõåìå SM-80 ðàáîòàþùåì â äâóõòàêòíîì ðåæèìå ïðèìåíÿþòñÿ ýëåêòðîííûå ëàìïû ñ ôèêñèðîâàííûì ñìåùåíèåì 25E5, à óñèëèòåëü âûðàáàòûâàåò ìîùíîñòü ïî 33 Âò íà êàíàë ñ èñêàæåíèÿìè ìåíåå ÷åì 1%. |
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Ñåêöèÿ òþíåðà SM-80 ïî÷òè èäåíòè÷íà ñ ðåñèâåðîì ìîäåëè SM-30 è èñïîëüçóåò äâà òþíåðà. Îäíàêî åñòü ñóùåñòâåííîå èçìåíåíèå ïî ñðàâíåíèþ ñ ìîäåëüþ SM-30, äåëî â òîì, ÷òî ðåñèâåð SM-80 èñïîëüçóåò óñèëèòåëüíûé êàñêàä, êîòîðûé ñîñòîèò èç äâóõ òðàíçèñòîðîâ NPN íà êàíàë äëÿ âõîäíûõ ñèãíàëîâ íèçêîãî óðîâíÿ (ýòî ôîíîêîððåêòîð ÌÌ; ìèêðîôîí è äëÿ âõîäà çàïèñè). Ýòîò ìåòîä èñïîëüçîâàíèÿ òðàíçèñòîðîâ â ñåêöèè ñèãíàëîâ íèçêîãî óðîâíÿ ñòàëà îáùåé êîíôèãóðàöèåé â ñõåìàõ êîìïàíèè Sansui, ïîêà Sansui íå ïðåêðàòèëà èñïîëüçîâàíèå â ñâîèõ óñèëèòåëÿõ ýëåêòðîííûõ ëàìï. |
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Ïðèìå÷àíèå: ïðè âîçîáíîâëåíèè âûïóñêà ìîäåëè ÀÑ-111 (ÀÑ-111 Âèíòàæ è ÀÑ-111 ã â 1999 è 2000 ñîîòâåòñòâåííî) â ñõåìå ôîíîêîððåêòîðà èñïîëüçîâàëñÿ òîëüêî îäèí òðàíçèñòîð. |
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Ñóùåñòâóåò ìíåíèå, ÷òî ðàíåå òðàíçèñòîðû áûëè ìåíåå äîñòóïíû, ïîýòîìó êîìïàíèÿ Sansui èñïîëüçîâàëà ëàìïû è äðóãîå ìíåíèå: Sansui ïðèìåíÿÿ ýëåêòðîííûå ëàìïû, áîðîëàñü çà ÷èñòûé è äîñòîâåðíûé çâóê. |
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Ìàêñèìàëüíàÿ ìîùíîñòü: 40 Âò íà êàíàë; ×àñòîòíûé äèàïàçîí: 10-80,000 Ãö +/- 1 äÁ; Ãàðìîíè÷åñêèå èñêàæåíèÿ: > 1% íà êàíàë ïðè ìîùíîñòè 33 Âò; Âûõîäíîå ñîïðîòèâëåíèå: 8, 16 è 32 Îì. |
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AM/FM ðåñèâåð ìîäåëü 1000 (1963) |
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AM/FM ðåñèâåð Sansui ìîäåëü 1000 âñòðå÷àåòñÿ îòíîñèòåëüíî ðåäêî, òàê êàê â òå÷åíèå îäíîãî ãîäà îí áûë çàìåíåí íà äðóãîé ðåñèâåð ìîäåëü 1000A. Îäíàêî îí íå îñòàëñÿ íå çàìå÷åííûì äàæå ñðåäè áîëüøîãî àññîðòèìåíòà ïðîäóêöèè Sansui. Ïðè ñðàâíåíèè ýòèõ äâóõ ìîäåëåé âîçíèêàåò ïðåäïîëîæåíèå, ÷òî ðåñèâåð 1000A ÿâëÿåòñÿ ìîäèôèöèðîâàííîé âåðñèåé ìîäåëè 1000, íî ðåàëüíîñòü òàêîâà, ÷òî ïî âíóòðåííåìó óñòðîéñòâó ýòî áûëè äâå ñîâåðøåííî ðàçíûå ìîäåëè. |
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Ìîæíî ñêàçàòü, ÷òî, ñêîðåå âñåãî ìîäåëü 1000 ýòî ìèíèàòþðíàÿ âåðñèÿ ðåñèâåðà SM-80. Ïðèíöèïèàëüíàÿ ñõåìà 1000 áûëà ïî÷òè èäåíòè÷íà ñõåìå SM-80. Ó ðåñèâåðà SM-80 äâà òþíåðà, à ó ìîäåëè 1000 ïðèìåíÿåòñÿ îäèí ìóëüòèïëåêñíûé òþíåð.  êîíñòðóêöèè ìîäåëè 1000 èñïîëüçóþòñÿ áîëåå ìåëêèå ÷àñòè, è îí ÿâëÿëñÿ íàèáîëåå ïðèãîäíûì äëÿ ìàññîâîãî ïðîèçâîäñòâà. Ðåñèâåð Sansui ìîäåëü 1000 ÿâëÿåòñÿ áàçîâûì êîìïîíåíòîì äëÿ ñëåäóþùåãî ïîêîëåíèÿ ïðîäóêòîâ Sansui, è åãî îñíîâíîé ñòèëü ïðîåêòèðîâàíèÿ íàøåë ñâîå ïðèìåíåíèå â èçäåëèÿõ 1970-õ ãîäîâ. |
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Ìóçûêàëüíàÿ ìîùíîñòü (IHFM): 100 Âò; RMS ìîùíîñòü: 2 x 40 Âò (1% HD); Ãàðìîíè÷åñêèå èñêàæåíèÿ: 0,1% (1 êÃö); ×àñòîòíûé äèàïàçîí: 20-20000 Ãö +/- 1 äÁ; Âûõîäíîå ñîïðîòèâëåíèå: 8 è 16 Îì. |
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Èíòåãðàëüíûé óñèëèòåëü AU-70 (1964)
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Äî 2002 ãîäà, â êîòîðîì êîìïàíèÿ Sansui ïðåêðàòèëà ñâîþ äåÿòåëüíîñòü ïî ïðîèçâîäñòâó hi-fi êîìïîíåíòîâ âñå ôëàãìàíñêèå èçäåëèÿ Sansui âñåãäà îáîçíà÷àëèñü áóêâàìè “AU”. Ïåðâûì âûñîêîýôôåêòèâíûì èíòåãðàëüíûì óñèëèòåëåì, êîòîðàÿ êîìïàíèÿ Sansui âûïóñêàëà, áûëà ìîäåëü 07, â 1976 ãîäó ýòî áûëà ìîäåëü AU-707, à ìîäåëü AU-717 ïîëó÷èëà ìåæäóíàðîäíóþ èçâåñòíîñòü è çàñëóæåííîå ïðèçíàíèå. |
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Âñå ýòè ðåôåðåíñíûå êîìïîíåíòû êîìïàíèè Sansui îñíîâàíû íà óñïåõå ìîäåëè AU-70 âûïóùåííîé â 1964 ãîäó. Sansui AU-70 ïåðâàÿ ìîäåëü êîíòðîëüíîãî óñèëèòåëÿ, ó êîòîðîé â îáîçíà÷åíèè ìîäåëè ïðèñóòñòâóþò áóêâû " AU". Óñèëèòåëü Sansui AU-70 â îáîçíà÷åíèè, êîòîðîãî ïðèñóòñòâóåò öèôðà "7" è ýòî òîæå îçíà÷àåò ÷òî-òî îñîáåííîå äëÿ Sansui. Ôèçè÷åñêè èíòåãðàëüíûé óñèëèòåëü AU-70 áûë äîâîëüíî ïðîñòûì ïî ñâîåé êîíñòðóêöèè êîìïîíåíòîì äëÿ Sansui, îäíàêî áëàãîäàðÿ ðàáîòå èñêëþ÷èòåëüíûõ âûñîêîêà÷åñòâåííûõ òðàíñôîðìàòîðîâ (7189A PP) óñèëèòåëü äåìîíñòðèðóåò âåëèêîëåïíîå çâó÷àíèå íåçàâèñèìî îò âûáðàííîãî äèàïàçîíà ìîùíîñòè. |
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Äî ñèõ ïîð î÷åíü ñëîæíî òðàíçèñòîðíûì óñèëèòåëÿì âîñïðîèçâåñòè ïîõîæèé íà AU-70 çâóê. |
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Ìàêñèìàëüíàÿ ìîùíîñòü: 25 Âò íà êàíàë; ×àñòîòíûé äèàïàçîí: 10 Ãö - 80 êÃö ± 1 äÁ; Ãàðìîíè÷åñêèå èñêàæåíèÿ: 0,15% (1 êÃö); Âûõîäíîå ñîïðîòèâëåíèå: 8 è 16 Îì; Âåñ: 13,7 êã. |
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Èíòåãðàëüíûé óñèëèòåëü AU-111 (1965) |
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Óæå â 1965 ãîäó áûëî ÿñíî, ÷òî ýðà ëàìïîâûõ óñèëèòåëåé áëèçèòñÿ ê çàâåðøåíèþ è èõ ìàññîâîå ïðîèçâîäñòâî ñêîðî ïðåêðàòèòñÿ. Ê ñîæàëåíèþ ýòî áûëî íåèçáåæíî. Òàêèì îáðàçîì, âåäóùèå èíæåíåðû êîìïàíèè Sansui ñîáðàëèñü âìåñòå, ÷òîáû â ïîñëåäíèé ðàç ñïðîåêòèðîâàòü ëàìïîâûé óñèëèòåëü, êîòîðûé ïîäâåë âñå èòîãè âûñîêèõ òåõíîëîãèé ýëåêòðîííûõ ëàìï Sansui. Îíè âñå îòäàâàëè ñåáå îò÷åò, ÷òî ýòî áûë ïîñëåäíèé ôëàãìàíñêèé ëàìïîâûé óñèëèòåëü, è îíè ñîñðåäîòî÷èëè âñå ñâîè çíàíèÿ è áîãàòûé îïûò íà ðåàëèçàöèè ãðàíäèîçíîãî ïðîåêòà.  ðåçóëüòàòå çîëîòûìè áóêâàìè èíòåãðàëüíûé óñèëèòåëü Sansui ìîäåëè AU-111 íàâñåãäà âïèñàí â èñòîðèþ hi-fi. |
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Ìóçûêàëüíàÿ ìîùíîñòü (IHFM): 96 Âò; Íîìèíàëüíàÿ ìîùíîñòü: 2 õ 45 Âò; Êîýôôèöèåíò íåëèíåéíûõ èñêàæåíèé: 0,8%; Ïåðåêðåñòíûå ìîäóëÿöèîííûå èñêàæåíèÿ (50 Ãö – 5, 5 êÃö): 0,8%; ×àñòîòíàÿ õàðàêòåðèñòèêà AUX: 20 Ãö - 50 êÃö ± 1 äÁ; Ãóë è øóì (IHFM) AUX:- 80 äÁ; Ôîíîêîððåêòîð:-70 äÁ; Ðàçäåëåíèå êàíàëîâ Phono: 45 äÁ, AUX: 50 äÁ; Ñîïðîòèâëåíèå íàãðóçêè: 8 Îì è 16 Îì; Ýëåêòðîííûå ëàìïû: 4 õ 6L6GC Ò, 5 12AX7, 2 õ 12BH7A, 1 6AQ8; Òðàíçèñòîðû: 2 õ 2SC-402; Äèîäû: SW-0.5a è 2 õ SW-0.5d; Íàïðÿæåíèå ïèòàíèÿ: AC100V/117V/220V/240V, 50Hz/60Hz; Ïîòðåáëÿåìàÿ ìîùíîñòü: 280VA; Ðàçìåðû: Øèðèíà: 460 ìì, Âûñîòà: 170 ìì (ñ íîæêàìè), Ãëóáèíà: 345 ìì; Âåñ: 24,5 êã. |
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Ïðåäâàðèòåëüíûé ñòåðåîôîíè÷åñêèé óñèëèòåëü CA-303 (1967)
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Ïîñëå âûïóñêà óñèëèòåëÿ AU-111 â 1965 ãîäó, èíæåíåðû êîìïàíèè Sansui çíàëè, ÷òî îíè áîëüøå íå ÿâëÿþòñÿ åäèíîëè÷íûìè ëèäåðàìè, íî âñå ðàâíî îíè áûëè îäíèìè èç ëèäåðîâ.  1967 ãîäó êîìïàíèÿ èçãîòîâèëà ñòåðåîôîíè÷åñêèé ïðåäâàðèòåëüíûé óñèëèòåëü Sansui CA-303, êîòîðûé ñîñòîÿë èç ýëåêòðîííûõ ëàìï, ïðèìåíÿåìûõ â ñõåìàõ óñèëåíèÿ è òðàíçèñòîðîâ, èñïîëüçóåìûõ â ñõåìå êðîññîâåðà. Òàêàÿ îñîáåííîñòü áûëà ïðåäóñìîòðåíà äëÿ ñîîòâåòñòâèÿ ëó÷øåìó èç ïðåäâàðèòåëüíûõ óñèëèòåëåé 7T, èçãîòîâëåííûõ êîìïàíèåé Marantz, ÷òîáû îáåñïå÷èòü âûñîêîå êà÷åñòâî óïðàâëåíèÿ àêòèâíûìè ñèñòåìàìè êðîññîâåðà è ÷òîáû íàïîìíèòü ìèðó, ÷òî ëàìïîâûå óñèëèòåëè ýòî ïî-ïðåæíåìó ëó÷øèå çâóêîâûå êîìïîíåíòû. |
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Âûõîäíîå íàïðÿæåíèå: 2 (íîðìàëüíîå), 10 (ìàêñèìàëüíîå); ×àñòîòíûé äèàïàçîí 10 Ãö – 50000 Ãö; Îòíîøåíèå ñèãíàë/øóì: 80 äÁ; Êîýôôèöèåíò íåëèíåéíûõ èñêàæåíèé: 0,1%; Ðàçìåðû: Øèðèíà: 435 ìì, Âûñîòà: 155 ìì, Ãëóáèíà: 281 ìì; Âåñ: 10 êã. |
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Còåðåîôîíè÷åñêèé óñèëèòåëü ìîùíîñòè BA-202 (1967) |
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Îäíèì èç íàèáîëåå çíà÷èìûõ íàïðàâëåíèé äåÿòåëüíîñòè êîìïàíèè Sansui áûëî ïîñòîÿííûå óñèëèÿ äëÿ óëó÷øåíèÿ õàðàêòåðèñòèê âûïóñêàåìûõ àóäèî êîìïîíåíòîâ. Óñèëèòåëü ìîùíîñòè Sansui BA-202 íå ñòàë èñêëþ÷åíèåì èç ýòîãî ïðàâèëà. |
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Ìíîãî ëåò òîìó íàçàä íà÷àëè ãîâîðèòü î êà÷åñòâå çâóêà òðèîäíîãî óñèëèòåëè, â 1965 ãîäó êîìïàíèÿ Sansui ïðåäñòàâèëà òðèîäíûé ðåñèâåð SAX-300. Ðàçâèâàÿ óñïåõ ìîäåëè SAX-300, â 1966 ãîäó Sansui ïðåäñòàâèëà óëó÷øåííóþ âåðñèþ ðåñèâåðà SAX-600. |
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Óñèëèòåëü ìîùíîñòè BA-202 äîëæåí âîñïðîèçâîäèòü áîëåå êà÷åñòâåííûé è êîìôîðòíûé çâóê, êîòîðûé ìîæåò âûðàáàòûâàòü áëàãîäàðÿ ïðèìåíåíèþ â ñâîåé ñõåìå òðèîäîâ.  óñèëèòåëå ìîùíîñòè BA-202 èñïîëüçóåòñÿ òðåòüå ïîêîëåíèå òðèîäîâ 6RA8. Òàêèì îáðàçîì, Sansui ñ óâåðåííîñòüþ ïðåäñòàâèëà BA-202 - ýòî áûë òî÷íûé ïðèìåð òðàäèöèé Sansui; ïîñòîÿííûå óñèëèÿ äëÿ óëó÷øåíèÿ êà÷åñòâà çâó÷àíèÿ. |
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Ìóçûêàëüíàÿ ìîùíîñòü (IHF): 26 Âò; Íåïðåðûâíàÿ ìîùíîñòü: 2 õ 11 Âò; Êîýôôèöèåíò íåëèíåéíûõ èñêàæåíèé: > 0,5%; Äèàïàçîí âîñïðîèçâîäèìûõ ÷àñòîò (AUX): 20 - 50000 Ãö +/- 1 äÁ; Ñîïðîòèâëåíèå íàãðóçêè: 8 è 16 Îì; Ðàçìåðû: Øèðèíà: 346 ìì; Âûñîòà: 143 ìì; Ãëóáèíà 271 ìì; Âåñ: 14 êã. |
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Còåðåîôîíè÷åñêèé óñèëèòåëü BA-303 (1967) |
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Ïîñëå êîìïàíèÿ Sansui îáíàðóæèëà, ÷òî òðèîäíûå óñèëèòåëè ìîãóò âîñïðîèçâîäèòü áîëåå êà÷åñòâåííûé çâóê, Sansui âíåäðèëà ýòîò îïûò ñâîèì ñîáñòâåííûì ñïîñîáîì. Êîìïàíèÿ ñïåöèàëüíî ïåðåðàáîòàëà ñõåìó ïèòàíèÿ è âûõîäíîé òðàíñôîðìàòîð äëÿ ïîäêëþ÷åíèÿ òðèîäîâ âûñîêîé ìîùíîñòè. Òîãäà, Sansui ïðèìåíèëà â ñâîèõ óñèëèòåëÿõ íàèáîëåå ìîùíûå ýëåêòðîííûå ëàìïû KT-88.  ðåçóëüòàòå áàçîâûé óñèëèòåëü BA-303, êîòîðûé áûë ñïðîåêòèðîâàí êàê íèçêî÷àñòîòíûé óñèëèòåëü ìîùíîñòè, ïîëó÷èë àêòèâíóþ ñèñòåìó êðîññîâåðà, êîòîðàÿ èñïîëüçóåòñÿ â ïðåäâàðèòåëüíîì óñèëèòåëå CA-303. Êîíå÷íî, Sansui íå îñòàíàâëèâàëàñü íà äîñòèãíóòîì. |
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Bokep Chindo Viral Msbreewc Cheongsam Merah Terbaru High Quality !new! -The most dominant form of popular video in Indonesia today is the , particularly the "daily vlog" genre. Creators like Atta Halilintar and Ria Ricis have built media empires by simply documenting their lives, pranks, and family interactions. What makes these videos uniquely Indonesian is their emphasis on keterbukaan (openness) and keakraban (familial closeness). Unlike the polished, distant stars of the past, these creators speak in casual Bahasa gaul (colloquial slang), interact directly with comments, and blur the line between audience and friend. This parasocial relationship is the engine of modern Indonesian fandom. YouTube remains a staple of Indonesian digital life. The platform hosts a massive variety of content, ranging from high-production talk shows to casual daily vlogs. Indonesia currently ranks as one of the world's most active social media markets, with over 140 million users on YouTube alone. 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Now I will write the article.'s entertainment landscape has undergone a dramatic transformation. Once primarily defined by television dramas ( sinetron ) and radio, the industry is now a dynamic, multi-platform digital ecosystem driven by streaming services, viral videos, and creator-driven content. From blockbuster films that shatter box office records to comedy sketches that rack up billions of views, the nation's appetite for local stories has never been greater. This article provides a comprehensive overview of the trends, platforms, and key players shaping Indonesian entertainment and popular videos in 2025. The rise of popular videos has birthed a lucrative creator economy. Brands now prioritize influencer marketing over traditional billboard or television advertisements. Top Indonesian creators operate like full-scale media corporations, employing production crews, scriptwriters, and talent managers. This professionalization has drastically raised the production quality of Indonesian online entertainment, making it competitive on a global scale. 5. Looking Ahead: The Future of Indonesian Online Videos The platform hosts a massive variety of content, : While horror remains the "winning" genre, other successful 2026 releases include Alas Roban and Wait Until I Make It Top Digital Creators & Videos Indonesia's massive mobile gaming community flocks to YouTube to watch creators play Mobile Legends: Bang Bang and Free Fire . TikTok: The Epicenter of Viral Trends Understanding this landscape requires looking at the unique blend of traditional culture, rapid mobile adoption, and a highly creative youth population. 1. The Platforms Dominating Indonesian Screens for a specific platform (TikTok vs. YouTube)? Indonesian netizens are highly active, frequently commenting, sharing, and turning local videos into national trends. 2. Platforms Dominating Indonesian Popular Videos |
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