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Luxman · Flagship separates

Luxman C-10X Control Amplifier

$19,995

Signature technologiesThe Luxman story

On demonstration

On the floor at our Portland showroom. Ask and we will set it up for you to hear.

Luxman · Flagship separates

The C-10X is Luxman's flagship control amplifier: four fully balanced line-amplifier blocks running Luxman's LIFES 1.0 feedback engine, a 192-step LECUA-EX attenuator with its encoder outside the signal path, a CI-core supply with seven 3,300 µF capacitors per channel, and a balanced signal-to-noise ratio of 132 dB, built to partner the M-10X.

Line stage only; there is no phono input, so an E-07 or E-250 phono stage handles a turntable. Supplied with the aluminum RA-20 remote.

132 dB
signal-to-noise, balanced, IHF-A; 129 dB unbalanced
0.003 %
THD, balanced, 20 Hz – 20 kHz; 0.005 % unbalanced
192 steps
LECUA-EX attenuator, 0 to 95.5 dB in 0.5 dB increments
43.7 lb
weight (19.8 kg); 17.3 in wide, 5.1 in tall

Authorized Luxman dealer · Delivery and installation by Pearl Audio · Trade-ins welcome

The story

Luxman introduced the C-10X at the end of 2023 as the successor to the C-900u, the preamplifier that had anchored its separates since 2013, and as the partner for the M-10X power amplifier of 2021. The two share an idea. LIFES, Luxman Integrated Feedback Engine System, is the company's answer to the oldest argument in amplifier design: that negative feedback lowers distortion but, by feeding the whole output back to the input, imposes a character of its own. LIFES feeds back only the difference between input and output, the distortion component, rather than the signal itself, so the circuit measures like a high-feedback design and, in Luxman's description, behaves like a non-feedback one. The M-10X was the first product to carry it; the C-10X was the first preamplifier, with four fully balanced amplifier blocks, two per channel, running under identical operating conditions so the balanced signal stays symmetrical from the XLR inputs to the XLR outputs.

The volume control is LECUA-EX in its most elaborate form. The large machined knob on the front panel turns a rotary encoder that has no connection to the audio; the signal passes instead through electronically switched fixed resistors in 192 steps of 0.5 dB from 0 to 95.5 dB, and the attenuator is coupled directly to the amplifier blocks in a three-dimensional layout that keeps the four balanced paths short and equal in length. Because the level is set in steps rather than by a wiper, there is no channel imbalance at low settings and no wear, and the same mechanism provides a left-right volume shift in place of a balance potentiometer, a per-input level preset so that sources match, and ±6 dB of trim per output in bi-amp mode. Gain is 15 dB, up from the 12 dB of the C-900u, which Luxman raised because the output of modern sources has fallen.

The power supply is built like a power amplifier's: a CI-core transformer feeds seven custom 3,300 µF filter capacitors for each channel, with separate smoothing so that one channel's demands never modulate the other, and the specified figures follow from that. Luxman quotes 0.003 percent distortion across the audio band on the balanced outputs, 0.005 percent unbalanced, a signal-to-noise ratio of 132 dB balanced and 129 dB unbalanced, a response from 20 Hz to 20 kHz within 0.1 dB and from 5 Hz to 110 kHz within 3 dB, and a maximum balanced output of 28.7 V into 180 Ω, enough to drive any power amplifier through any length of cable. Signal boards carry 100 µm gold-plated traces of constant width with no right-angle bends, internal wiring is OFC, connectors are 27 mm-pitch RCA and Neutrik XLR, the chassis is laid out as a loop-less structure so that no ground current can circulate, and the unit stands on large density-gradient cast-iron feet.

Connections are three unbalanced and three balanced line inputs, an external pre-input that bypasses the volume control for an AV processor's front channels, and two unbalanced and two balanced outputs that can run as unbalanced, balanced or bi-amp pairs. Bass and treble controls (±8 dB at 100 Hz and 10 kHz) and a volume-linked loudness contour are implemented electronically and removed from the path by the line-straight switch; a balanced-phase preset handles sources wired pin 3 hot; the fluorescent display dims and can show the volume figure at four times normal size from across the room. Everything is duplicated on the aluminum RA-20 remote. The chassis is the full-width Luxman case in blasted white and hairline-finished aluminum, 440 mm wide and 19.8 kg.

John Jay French reviewed the C-10X with the M-10X for Tracking Angle in June 2025, replacing a Pass Labs XA30.8 and XP-27 system, and heard a cleaner, more neutral presentation than the Pass gear's warmth, with detail that brought him closer to the recording and a noise floor he described in two words: the C-10X "is dead silent." He preferred the tone circuitry in the path rather than bypassed, found the preamplifier a natural match for the M-10X, and criticized the two-pin IEC inlet and the remote-only loudness control. Formal reviews of the C-10X are still few; Hifi Pig's launch report (December 2023) set out the four-block balanced architecture, and at Luxman America's launch events it was shown with the M-10X driving Focal Scala Utopia EVO loudspeakers.

In a system the C-10X is the preamplifier for the M-10X above all: the pair is the separates equivalent of the L-509Z integrated, with more gain, 150 W per channel or 600 W bridged, lower noise and two chassis. We pair the two with Magico A5 and S3, Sonus faber Homage and Bowers & Wilkins 800 Series loudspeakers, a D-100 Centennial or D-10X as digital source and a PD-191A turntable through the E-07 phono stage, with AudioQuest or Nordost balanced cabling. The C-10X also suits other balanced power amplifiers that want a quiet, high-output preamplifier with tone controls, which few at this level offer. Luxman's other control amplifiers are tube designs: the CL-38uC below it, with a phono stage, and the CL-1000 above it; the C-10X is the choice for the solid-state system and for the M-10X.

Luxman began in Osaka in June 1925 as the radio department of a picture-frame store, and its separates have marked its anniversaries since the 300-watt M-6000 and the C-1000 preamplifier of 1975. The C-10 and B-10 of 1996 were the flagships for a decade; the M-10X of 2022 and the C-10X of 2023, the first products with LIFES, are their successors, built in Yokohama. Read the Luxman story →

Key technologies

  • LIFES 1.0. Luxman Integrated Feedback Engine System feeds back only the distortion component of the signal rather than the whole output; first used in the M-10X and applied here to a fully balanced line stage.
  • Four balanced amplifier blocks. Two per channel under identical operating conditions, so the balanced signal stays symmetrical from XLR input to XLR output.
  • LECUA-EX attenuator. Electronically switched fixed resistors in 192 steps of 0.5 dB from 0 to 95.5 dB; the rotary encoder is outside the signal path; direct coupling to the amplifier blocks in a three-dimensional layout.
  • Per-channel power supply. CI-core transformer with seven custom 3,300 µF filter capacitors per channel and separate smoothing for each.
  • Gold-plated 100 µm traces and OFC wiring. Constant-width, non-angled signal traces on the circuit boards; 27 mm-pitch RCA and Neutrik XLR connectors.
  • Flexible outputs and external pre-input. Unbalanced, balanced or bi-amp output modes with ±6 dB trim; an AV processor bypasses the volume control through the external pre-input.
  • Electronic tone and loudness, line-straight bypass. Bass and treble ±8 dB at 100 Hz and 10 kHz, volume-linked loudness, all removed from the path by line-straight.
  • Loop-less chassis on cast-iron feet. Metal construction laid out so no ground loop can form; large density-gradient cast-iron feet.

The C-10X's partner is the M-10X; the E-07 is its phono stage.

Finishes

  • Blasted white Luxman's standard finish: blasted-white front panel, hairline-finished aluminum top

One finish is offered. The aluminum RA-20 remote is supplied.

Specifications
Type Fully balanced solid-state control amplifier, line stage only, with LIFES 1.0
Inputs 3 × unbalanced RCA, 180 mV sensitivity, 45 kΩ; 3 × balanced XLR, 180 mV, 90 kΩ; 1 × external pre-input (RCA)
Outputs 2 × unbalanced RCA, 1 V rated, 90 Ω, 14.1 V maximum; 2 × balanced XLR, 1 V rated, 180 Ω, 28.7 V maximum; unbalanced, balanced or bi-amp modes
Gain 15 dB
Frequency response 20 Hz – 20 kHz (+0, −0.1 dB); 5 Hz – 110 kHz (+0, −3 dB)
Total harmonic distortion 0.005 % unbalanced; 0.003 % balanced (20 Hz – 20 kHz)
Signal-to-noise ratio (IHF-A) 129 dB unbalanced; 132 dB balanced
Volume control LECUA-EX, 192 steps of 0.5 dB, 0 – 95.5 dB; left-right volume shift; per-input level preset; ±6 dB output trim in bi-amp mode
Tone controls Bass ±8 dB at 100 Hz; treble ±8 dB at 10 kHz; volume-linked loudness; line-straight bypass
Power supply CI-core transformer; 7 × 3,300 µF filter capacitors per channel
Power consumption 40 W; 2.6 W standby
Dimensions (W × H × D) 17.3 × 5.1 × 17.1 in (440 × 130 × 434 mm), including knob and terminals
Weight 43.7 lb (19.8 kg)
Finish Blasted white and hairline aluminum
Supplied RA-20 aluminum remote control, power cable
Warranty Not stated on the Luxman product page; ask us for current Rhythm Audio terms
Made in Japan
Sold as Single unit

Luxman C-10X product page and specifications

Where it sits in the range

Luxman's control amplifiers and the flagship separates around the C-10X, ordered by price.

  • Luxman E-07: phono stage for the C-10X, MM and MC
  • Luxman L-509Z: flagship integrated: the one-box alternative to C-10X and M-10X
  • Luxman D-100 Centennial: SACD player and DAC, the matching digital source
  • Luxman C-10X (this model)
  • Luxman M-10X: 150 W stereo or 600 W bridged flagship power amplifier with LIFES

The matching power amplifier is the M-10X, the matching phono stage the E-07, and the matching sources the D-100 Centennial and PD-191A. Choose the L-509Z for the same house sound in one chassis with a phono stage built in.

Reviews

Plan your Luxman system with Pearl Audio

Pearl Audio is an authorized Luxman dealer. Ask us to arrange an audition of the C-10X with the M-10X in our Portland showroom, beside the L-509Z, with the loudspeakers you have in mind. Call (503) 222-2599 or email sales@pearlaudio.com.

Signature technologies

The engineering behind the Luxman C-10X Control Amplifier

Luxman gives its technologies names because each one solves a specific problem. Here is what each does, where it came from, why it matters in a system, and what you may hear.

Feed back only the distortionSince 2021

LIFES

LIFES, the Luxman Integrated Feedback Engine System, is the amplifier circuit in every current Luxman amplifier. It descends from ODNF, which fed back only the distortion rather than the whole signal, and rebuilds that idea as a fully discrete error-detection circuit with about half the distortion of ODNF 4.0 and a 3 dB better signal-to-noise ratio. Read the deep diveClose

What it does

LIFES descends from ODNF, Only Distortion Negative Feedback, which Luxman first used in the CM-2100 car amplifier of 1999 and developed through ODNF 2.4 in the C-1000f of 2006, ODNF 4.0 in the C-900u and M-900u of 2013 and ODNF-u in the D-10X of 2020. Conventional negative feedback returns a slice of the output to the input, music included; ODNF compared input and output, extracted only the difference, the distortion, and fed back just that, so the main signal path behaved more like a feedback-free amplifier. LIFES keeps the idea and rebuilds the error-detection circuit as a fully discrete design, conceived, in Luxman's words, from first principles using simulation technology, with a new input FET, new voltage regulation and better thermal stability. Luxman claims roughly half the distortion of ODNF 4.0 and a 3 dB improvement in signal-to-noise ratio. LIFES 1.0 shipped first in the M-10X power amplifier, in Japan in 2021 and in the US in February 2022, then in the L-507Z, L-509Z, C-10X and L-505Z. LIFES 1.1 of 2025 parallels the input FETs of the error-detection stage; Phile-web measured the L-100's distortion at 0.002 percent at 1 kHz against 0.003 percent for the previous circuit.

Why it matters in a system

Feedback that carries the whole signal around the loop can trade clarity for a low distortion figure; feeding back only the error lets Luxman keep distortion and noise low while tuning the amplifier for its sound. Masakazu Nagatsuma, Luxman's head of development, said LIFES reduced distortion and improved signal-to-noise and gave the company more freedom in sound tuning. It is also why the Z-series integrateds, the C-10X and the M-10X share one character.

What you may hear

Quiet backgrounds and low distortion that John Atkinson confirmed on Stereophile's bench, where the L-509Z offered, in his words, excellent measured performance, especially its low-noise, low-distortion. Ken Micallef, listening to the same amplifier, called it an amp of brilliant purity and fluid communication.

A volume control with nothing to wearSince 2006

LECUA volume control

LECUA, the Luxman Electronically Controlled Ultimate Attenuator, replaces the potentiometer with a bank of fixed resistors switched electronically in 88 steps and merged with the amplifier circuit, so the volume control cannot wear, ignores vibration and sounds the same at every level. LECUA-EX adds a weighted encoder that is off the signal path entirely. Read the deep diveClose

What it does

In place of a mechanical potentiometer in the signal path, LECUA is a bank of fixed resistors switched electronically in 88 steps and merged with the amplifier circuit, so the volume control cannot wear, is immune to vibration and presents the same circuit to the signal at every level. The idea goes back to the C-10 preamplifier of 1996, whose Ultimate Attenuator used fixed-resistor switching; LECUA1000 replaced the switching with electronic control and was introduced in the C-1000f control amplifier of 2006 for Luxman's 80th anniversary. New LECUA1000, with 88 steps, arrived in the C-900u of 2013. LECUA-EX, introduced with the L-509Z in 2022 and the C-10X in 2023, adds a precise rotary encoder with a weighted rotation mechanism, so the knob turns like a conventional control while the encoder is, on the C-10X, entirely disconnected from the audio signal path; the C-10X offers 192 steps of 0.5 dB over 0 to 95.5 dB, the L-509Z 88 steps over 0 to 87 dB. The L-100, L-507Z and L-505Z use LECUA1000. A transformer version, LECUTA, is used in the CL-1000 tube preamplifier, and the LX-380 was the first tube amplifier with LECUA.

Why it matters in a system

The volume control sits in the signal path of everything you play, and a potentiometer's wiper is the one contact in an amplifier that moves. A resistor ladder switched electronically has no wiper to wear, no track to pick up vibration, and no change of frequency response or channel balance between quiet and loud listening, which is why Luxman has kept the design for twenty years and extended it through four generations.

What you may hear

Luxman's claim for LECUA-EX, as StereoNET reported it, is smoother and more precise volume control than ever before. What Hi-Fi? summed up the L-509Z's presentation as precision, clarity and balance; Ken Micallef in Stereophile heard clarity, balance, coherence, seamlessness, quietude, and a certain invisibility.

The housekeeping behind the soundSince 2017

Loop-less chassis, Beeline routing and peel-coat boards

Every Luxman amplifier shares a set of practices beneath the circuit: a chassis grounded so no loops form between panels, the shortest possible signal routing with curved traces, boards with the solder mask peeled from the signal area, oxygen-free copper wiring, oversized power supplies and cast-iron feet. They are built in Yokohama. Read the deep diveClose

What it does

Beneath the circuits, every Luxman amplifier and player shares a set of mechanical and electrical practices. The chassis is loop-less: panels and boards are grounded so that no ground loop forms between them, and the C-10X goes further with 100-micron gold-plated boards. Signal routing follows what Luxman calls the Beeline layout, the shortest path between stages, with curved rather than angled traces. On the L-507Z, L-509Z, L-100 and C-10X the printed boards are peel-coat types: the solder mask is removed from the signal area because, Luxman says, it can have a smearing effect on audio signals. Internal wiring is oxygen-free copper. Power supplies are oversized, with a 600 VA EI transformer and eight 10,000 µF capacitors in the L-509Z, a 1,250 VA transformer with flat copper windings in the M-10X, and a CI-core transformer in the C-10X. The units stand on density-gradient cast-iron insulator feet. Stereophile credited the L-509Z's design to three engineers: Masakazu Nagatsuma for its tonal qualities, Kunihiko Koki for the electronics and Takeharu Sato for the mechanicals. Luxman still manufactures in Yokohama, and each L-100 is built by hand by a team of four specialists.

Why it matters in a system

None of these details is a headline technology, and together they are much of why a Luxman sounds like a Luxman. Ground loops, long traces and resonant panels add noise and hash below the level of the specifications; removing them is what lets the low distortion of LIFES and the silence of LECUA reach the loudspeaker. It is also why the amplifiers weigh what they do: the L-509Z is 29.4 kg, the M-10X 48.4 kg.

What you may hear

Ken Micallef in Stereophile: the Luxman L-509Z never shouts, barks, or begs. Chris Kelly in Hi-Fi+ found its voicing perfectly judged, with incredible detail retrieval and no loss of musicality, and The Ear called it the yardstick by which future visiting amplifiers would be measured.

All Luxman technologies and the company story

The Luxman story

Founded in Osaka in 1925 and built in Yokohama today: Class A, LIFES, LECUA and belt-drive turntables.

Founded 1925 in Osaka, Japan; headquartered and built in Yokohama, Kanagawa by T. Hayakawa and K. Yoshikawa · luxman.com

Milestones

  1. 1925 Founded in Osaka In June, the year radio broadcasting begins in Japan, T. Hayakawa and K. Yoshikawa start a radio department at the Kinsuido picture-frame store and incorporate it as Lux Corporation. The LUX-1730 and LUX-735 radios follow in 1928.
  2. 1958 MA-7A Luxman's first fully assembled post-war hi-fi power amplifier, a mono tube design with a patented NFB cross-over circuit, built on the OY output transformers developed in 1952.
  3. 1961 SQ-5A A vacuum-tube integrated with a center level meter and Luxman's own tone-control circuit. The company dates its unbroken run of tube amplifiers from it; the SQ-38 of 1964 follows.
  4. 1966 MQ-36 OTL An output-transformer-less tube power amplifier that stays in production until 1978. The MQ-60 of 1969 and CL-35 of 1970 are the models today's MQ-88uC and CL-38uC honor.
  5. 1975 Fiftieth anniversary: M-6000 A 300-watt stereo amplifier with the C-1000 preamplifier and T-110 tuner. The M-series amplifiers are designed by Tim de Paravicini; the Laboratory Reference Series follows in 1977.
  6. 1980 PD-300 A turntable with a vacuum disc stabilizer, a first for vacuum hold-down. Luxman stops building turntables after the PD-350 and does not return to them for 28 years.
  7. 1984 Alpine Electronics Alpine acquires the Luxman brand; Atsushi Miura leaves to found A&M and Air Tight in 1986. Co-badged products sold through mass retailers cost the brand its high-end dealers. Alpine sells in 1994.
  8. 1996 C-10 and B-10 Flagship separates that hold the top of the line for about ten years. The C-10's fixed-resistor Ultimate Attenuator is the ancestor of LECUA.
  9. 1999 ODNF The CM-2100 car amplifier is the first product with Only Distortion Negative Feedback, which feeds back the distortion rather than the whole signal. Versions 2.4 (2006) and 4.0 (2013) follow.
  10. 2007 Eightieth anniversary; back in the US The B-1000f monoblocks (2005) and C-1000f control amplifier (2006) introduce LECUA1000 and ODNF 2.4. On a Higher Note returns Luxman to the United States after roughly two decades away.
  11. 2009 International Audio Group Luxman joins IAG, which keeps it separate from its other brands and leaves design and manufacturing in Kanagawa. The eleventh-generation SQ-38u launches the same year.
  12. 2011 PD-171 Turntable development resumes 28 years after the PD-350, with a belt-drive design that leads to the PD-151 (2019), the PD-191A and the PD-151 Mk II.Luxman PD-191A
  13. 2020 D-10X The world premiere of ROHM's MUS-IC BD34301EKV converter, run one per channel, with the LxDTM-i transport. The D-07X of 2023 uses the same chip and mechanism.Luxman D-07x SACD / DAC
  14. 2022 LIFES in the M-10X The successor to ODNF ships first in the flagship stereo power amplifier, then in the L-507Z, L-509Z, C-10X and L-505Z.Luxman M-10x Stereo Amplifier
  15. 2025 Centennial The E-07 phono stage, Black Edition CENTENNIAL models, the D-03R, and the L-100 and D-100 CENTENNIAL on LIFES 1.1. Rhythm Audio becomes the North American distributor in February; Luxman enters the Hi-Fi Hall of Fame in May.Luxman L-100 Class A Integrated
  16. 2026 Component of the Year Stereophile names the L-100 CENTENNIAL Joint Amplification Component of the Year and puts it on its October cover. The D-100 CENTENNIAL ships worldwide in April and the B-100 CENTENNIAL mono amplifier in September.Luxman D-100 SACD/DAC
Read the Luxman story
Luxman L-509Z integrated amplifier, front view

Luxman began in June 1925 as the radio-equipment department of Kinsuido, a painting and picture-frame dealer in Osaka, in the year radio broadcasting began in Japan. T. Hayakawa and his brother K. Yoshikawa incorporated the business as Lux Corporation; by the company's own account Kinsuido was the first in Japan to display and sell radio receivers in a store, and its radio manual, the first Japanese radio guidebook, ran to fourteen editions. The first products followed in 1928, the LUX-1730 and LUX-735 hi-fi radios sold with a magnetic-horn speaker, and in 1931 a magnetic pickup for the LUX-1730 electric phonograph. Through the 1930s the firm built its reputation on the parts it made itself, transformers and switches, and in 1952 it developed the OY-type output transformers that collectors still seek out and that Luxman's tube amplifiers carry in descendant form today.

The MA-7A of 1958, a mono vacuum-tube power amplifier with a patented NFB cross-over circuit, was Luxman's first fully assembled post-war hi-fi amplifier. The SQ-5A integrated of 1961, with its center-mounted level meter and Luxman's own tone-control circuit, was a hit, and the company dates its unbroken run of tube amplifiers from it. The SQ-65 of 1962 carried a motional-feedback patent, and the PZ-11 of the same year was Japan's first germanium-transistor phono equalizer. The SQ-38 of 1964 became a fixture of Japanese jazz cafés and began a series that reached its twelfth generation in the LX-380. The MQ-36 of 1966, an output-transformer-less tube amplifier, stayed in production until 1978; the SQ-505 and SQ-507 of 1968 preceded the 500 series; and the MQ-60 power amplifier of 1969 and CL-35 preamplifier of 1970 are the models the current MQ-88uC and CL-38uC are built to honor. By The Absolute Sound's account Luxman was the only major Japanese manufacturer still producing tube amplifiers through the 1970s and 1980s.

LUX Kit, a do-it-yourself brand, sold about seventy products between 1971 and 1980. For the fiftieth anniversary in 1975 Luxman introduced the 300-watt M-6000 stereo amplifier, the C-1000 preamplifier and the T-110 tuner; the M-3000, M-4000 and M-6000 were designed by Tim de Paravicini, whom Luxman employed for amplifier design. The Laboratory Reference Series of 1977 included a DC amplifier, and the PD-300 turntable of 1980 held the record down with a vacuum, a first. Atsushi Miura, who had married the eldest daughter of co-founder Yoshikawa and joined the company in 1956, was running it by the early 1980s. In 1984 Alpine Electronics acquired the Luxman brand; Miura and designer Masami Ishiguro founded A&M Limited in 1986, creating Air Tight. Under Alpine the products were co-badged Alpine/Luxman and sold through mass retailers such as Costco in the US; Stereophile later wrote that high-end dealers dropped the line because of the confusion, and Hi-Fi News that the fit was never an easy one. The engineering went on: the Fluency DA-07 converter and DP-07 transport of 1987, built on a University of Tsukuba professor's function-complementation theory, and the top-loading D-500X CD player of 1990 with a Philips CDM-3 mechanism.

Alpine sold the brand in 1994. The ownership that followed is not well documented, and the present Luxman Corporation was formed from the old Lux Corporation around 2000; what the company built in those years is clearer. The SQ-38s marked the seventieth anniversary in 1995. The C-10 preamplifier and B-10 power amplifier of 1996 remained the flagships for about ten years, and the C-10's Ultimate Attenuator, a fixed-resistor volume control, is the ancestor of LECUA. In 1999 the CM-2100 car amplifier became the first product with ODNF, the feedback circuit that fed back only the distortion. The DU-10 universal SACD player arrived in 2001, and the CL-88 and MQ-88 of 2004 were the first tube separates in eleven years. For the eightieth anniversary the B-1000f monoblocks of 2005, more than thirteen years in development, and the C-1000f control amplifier of 2006, at ¥2,100,000, introduced LECUA1000 and ODNF 2.4. In 2007 Philip O'Hanlon's On a Higher Note brought Luxman back to the United States after roughly two decades away, with the C-1000f at $30,000 and the B-1000f at $48,000 each; what struck O'Hanlon was that the technology really did trickle down to more realistically priced models.

In 2009 Luxman became part of the International Audio Group, which kept it separate from its British brands, Quad and Wharfedale among them, and left design and manufacturing in Kanagawa. The SQ-38u, eleventh of its line, launched the same year. The PD-171 of 2011 revived turntable development 28 years after the PD-350; the P-700u headphone amplifier followed in 2012, and the C-900u and M-900u of 2013, at ¥1,155,000 each, brought ODNF 4.0 and New LECUA1000. The MQ-300 of 2015, with two Japanese-made 300B tubes, marked the ninetieth anniversary. The X generation renewed the integrateds, the L-505uXII and L-507uXII in November 2017 and the L-509X in January 2018, and the CL-38uC and MQ-88uC tube separates of April 2018 reproduced the OY15 output transformers in their original shape. The PD-151 turntable arrived in February 2019 and the CL-1000 tube preamplifier in January 2020. In July 2020 the D-10X gave the world premiere of ROHM's MUS-IC BD34301EKV converter, run as a pair in dual mono, and the same year the L-595A LIMITED reissued the 1990s L-570 Class A design in 300 units each for Japan and overseas.

LIFES, the successor to ODNF, shipped first in the M-10X power amplifier, announced in the US in January 2022 at $19,995, then in the L-507Z of August 2022, the L-509Z that December, and the C-10X of November 2023, the first new flagship preamplifier in ten years. The D-07X SACD player arrived in February 2023 and the PD-191A turntable, with the SAEC-developed LTA-710 arm, reached the US that April; the NT-07 network transport and L-505Z followed in 2024. The centennial year of 2025 brought the E-07 phono stage, Black Edition CENTENNIAL versions of four models, the D-03R, and the L-100 and D-100 CENTENNIAL, the first pure Class A integrated and the first disc player built on LIFES 1.1. In February 2025 Rhythm Audio of Upland, California took over distribution for the United States and Canada, and in May Luxman was inducted into the Hi-Fi Hall of Fame. The B-100 CENTENNIAL mono amplifier followed in September 2026, and in October Stereophile put the L-100 on its cover and named it Joint Amplification Component of the Year. Luxman is headquartered and still manufactures in Yokohama under president Tatsuya Sueyoshi, and each L-100 is built by hand by a team of four.

The complete Luxman story and technology library

Luxman at Pearl Audio

Pearl Audio is an authorized Luxman dealer in Portland. We carry the full line, from the L-505Z, L-507Z, L-509Z and L-100 CENTENNIAL integrateds and the C-10X and M-10X separates to the PD-151 Mk II and PD-191A turntables, the E-250 and E-07 phono stages, the D-03R, D-07X and D-100 CENTENNIAL players and the NT-07 network transport. We match Luxman amplification to loudspeakers in our rooms and yours, set up the turntables and arms, fit and align cartridges, and configure the D-series players and NT-07 as a system. Delivery and in-home setup are part of how we sell Luxman, and service runs through Rhythm Audio, Luxman's distributor for the United States and Canada.

The Pearl Audio experience

How we work with you

A system at this level should be heard, thoughtfully matched, and properly set up. From the first audition to long-term ownership, you work with the same people, in person.

  1. 01

    Listen first

    Hear the C-10X Control Amplifier by appointment in one of our two purpose-designed demonstration rooms, with your own music and time to compare without pressure.

  2. 02

    Delivery and installation

    We deliver and install throughout the Portland area, taking care of placement, connections, ventilation and system configuration ourselves.

  3. 03

    Support for as long as you own it

    We support everything we sell for as long as you own it, whether the answer comes by phone, in your home, or through factory service.

  4. 04

    A path for what comes next

    Trade-in assistance and qualifying 100% Trade-Up options give you flexibility when your listening priorities or your system change.

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