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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 ↗
The history and technologies of Luxman of Yokohama, Japan, and what Pearl Audio keeps on the floor.
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.
A rack of Luxman in our showroom, February 2025. Photo: Pearl Audio.
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.
The L-509Z, November 2025. Photo: Pearl Audio.
The L-509Z
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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.
The PD-191A on our credenza, January 2024. Photo: Pearl Audio.
The PD-191A
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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.
The L-509Z with Sonus faber in our Big Room, January 2026. Photo: Pearl Audio.
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.
Sonus faber Olympica Nova with Luxman and a McIntosh MC275 on our credenza, August 2026. Photo: Pearl Audio.
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.
MilestonesScroll →
1925Founded in OsakaIn 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.
1958MA-7ALuxman'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.
1961SQ-5AA 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.
1966MQ-36 OTLAn 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.
1975Fiftieth anniversary: M-6000A 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.
1980PD-300A 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.
1984Alpine ElectronicsAlpine 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.
1996C-10 and B-10Flagship 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.Luxman C-10X Control Amplifier
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1999ODNFThe 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.
2007Eightieth anniversary; back in the USThe 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.
2009International Audio GroupLuxman 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.
2011PD-171Turntable 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
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2020D-10XThe 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
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2022LIFES in the M-10XThe 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
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2025CentennialThe 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
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2026Component of the YearStereophile 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
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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.
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.
From the L-570 to the L-100 CENTENNIALSince 1990
Pure Class A
Luxman has kept a pure Class A integrated amplifier in its line for decades, from the 1990s L-570 through the L-550 and L-590 families to the L-100 CENTENNIAL, its first Class A integrated built on LIFES. The M-10X and B-100 power amplifiers run in Class A for their first 12 and 25 watts.Read the deep diveClose
What it does
In a Class A output stage the transistors conduct the full waveform continuously, which removes crossover distortion at the cost of heat and efficiency. Luxman has kept a pure Class A integrated in its line for decades: the L-570 of the 1990s, which Luxman calls its best-selling model of that decade; the L-550A and L-590A MkII, sold in the US in 2007 at $4,500 and $9,000; the L-550AX and L-590AX of 2011; the L-590AX MkII; and the 300-unit L-595A LIMITED of 2020, which reissued the L-570 design, followed by the L-595ASE in 2021. The L-100 CENTENNIAL, announced in Japan in September 2025 and worldwide on February 10, 2026, is the first update of the regular-line Class A flagship since the L-590AX II, about ten years, and the first pure Class A integrated built on LIFES: 20 watts per channel into 8 ohms and 40 into 4 from a bipolar three-parallel push-pull stage, LIFES 1.1, LECUA1000, a custom EI transformer with 80,000 µF of capacitance, and 210 watts drawn at idle. The power amplifiers keep the tradition at low levels: the M-10X runs in pure Class A up to 12 watts, the B-100 CENTENNIAL mono amplifier up to 25 watts into 8 ohms.
Why it matters in a system
A Class A amplifier spends its power on linearity rather than efficiency: there is no transition between output devices for the music to cross, so the smallest signals are handled by the same conducting stage as the loudest. Twenty watts of Class A is enough for a sensitive or moderately sized loudspeaker in most rooms, and on Stereophile's bench the L-100 clipped at about 72 watts into 8 ohms and 122 into 4 before its Class AB margin ran out.
What you may hear
Ken Micallef, reviewing the L-100 for Stereophile's October 2026 cover, called it the best Luxman he had heard and wrote that it seemed to float images into the room, not simply between the speakers. Dylan Wahl's measurements found a product designed with care in every technical aspect.
The underslung chassis and PID speed controlSince 2011
Belt-drive turntables
Luxman returned to turntables in 2011 with the PD-171, 28 years after the PD-350. The PD-191A and PD-151 Mk II hang the motor and transformer beneath a thick aluminum top plate, drive a diamond-cut aluminum platter by belt from a brushless DC motor under PID control, and rate wow and flutter at 0.04 percent or less.Read the deep diveClose
What it does
Luxman built turntables through the 1970s and 1980s, the PD-300 of 1980 with its vacuum disc stabilizer among them, and then stopped; the PD-171 of 2011 revived the line 28 years after the PD-350. The PD-191A, launched in Japan in 2022 and in the US in April 2023, was designed to replace the long-running PD-171 series, and the PD-151 Mk II of December 2022 brought the same engineering to a smaller chassis. Both hang the motor and power transformer beneath a thick aluminum top plate on damping rubber, an underslung arrangement that keeps the vibration sources away from the platter and arm; the plate is 15 mm on the PD-191A and 10 mm on the PD-151 Mk II. A brushless DC motor is driven by sine-wave PWM under PID speed control referenced to a MEMS oscillator, at 33, 45 and 78 rpm with ±6 percent adjustment. A 16 mm stainless steel spindle turns on a PEEK thrust bearing inside a brass radial bearing, and the diamond-cut aluminum platter, 5.2 kg and 35 mm thick on the PD-191A and 4.0 kg on the PD-151 Mk II, is driven at its outer flange by an EPDM belt. The PD-191A has a rosewood-stained wood front and weighs 24.8 kg; the PD-151 Mk II weighs 15.8 kg.
Why it matters in a system
A belt-drive turntable's weaknesses are usually motor vibration reaching the platter and speed that wanders with load and temperature. Luxman addresses the first mechanically, by isolating the motor beneath the plate, and the second electronically, with a control loop that compares the motor's speed to a solid-state reference many times a second. The result is a belt drive with the speed stability usually associated with direct drive, in a chassis heavy enough to sit still.
What you may hear
Paul Seydor, in The Absolute Sound, found the PD-191A exceptionally clean, unperturbed, and quiet, with deep black backgrounds, and wrote that he could happily live with it the remainder of his days. It has been a TAS Editors' Choice for 2025, 2026 and 2027.
Knife-edge bearings, developed with SAECSince 2022
The LTA-710 and LTA-309 tonearms
The PD-191A carries the 10-inch LTA-710, a static-balance universal tonearm developed with SAEC on a knife-edge bearing; the PD-151 Mk II carries the 9-inch LTA-309 built with the same bearing technology. Both take standard headshells, so cartridges can be changed or compared without tools.Read the deep diveClose
What it does
The PD-191A carries the LTA-710, a 10-inch universal static-balance tonearm developed jointly with SAEC, the Japanese maker that has designed tonearms for more than forty years. It measures 256 mm from pivot to stylus with 16 mm of overhang, has an effective mass of 13.73 g, and accepts cartridges of 4 to 11 g. Its bearing is a knife-edge, assembled, in Luxman's words, with high mechanical precision: the arm's vertical motion rests on a hardened edge rather than a ball race, a design SAEC is known for. Luxman has sold the LTA-710 separately since March 2024, and offers a headshell, a mat and a dust cover as options for the PD-191A. The PD-151 Mk II uses the 9-inch LTA-309, 222.5 mm long with 18 mm of overhang, also built with SAEC's knife-edge bearing technology, with an H4 bayonet headshell and a cartridge range of 4 to 10 g. The PD-151 Mk II keeps the exterior of the PD-151 of 2019 but has a new arm and a new motor; the PD-191A is 12 mm lower than the PD-171A it replaced.
Why it matters in a system
The tonearm is where the cartridge meets the turntable, and its bearing friction, effective mass and rigidity decide how faithfully the stylus can follow the groove. A knife-edge bearing offers very low friction in the vertical plane with no play, and a static-balance arm with a universal headshell lets an owner change cartridges, or compare them, without tools, which is how most Luxman turntable owners use them.
What you may hear
Paul Seydor of The Absolute Sound, who reviewed the PD-191A with its LTA-710 and has kept it on the magazine's Editors' Choice list, wrote that the 191A just radiates class and quality throughout.
The drive is part of the chassisSince 2020
LxDTM-i disc transport
LxDTM-i, Luxman's original disc transport mechanism, bolts the drive into a box of 8 mm aluminum side frames and a 5 mm steel top plate tied into the chassis, so the mechanism cannot resonate on its own. It reads SACD and CD in the D-10X, D-07X and D-100 CENTENNIAL.Read the deep diveClose
What it does
LxDTM-i stands for LUXMAN original Disc Transport Mechanism, improved. Rather than a drive floating on soft mounts, Luxman bolts the mechanism into a rigid box of 8 mm aluminum side frames that extend to the front and rear panels, with a 5 mm steel top plate that ties the assembly into the chassis, so the drive cannot resonate independently of the player. It was introduced in the D-10X in 2020 and is used in the D-07X of 2023, where the transport is mounted directly to the chassis side panel with a die-cast aluminum tray, and in the D-100 CENTENNIAL of 2025, whose third-generation version adds an 8 mm aluminum base plate. The D-10X, D-07X and D-100 read SACD and CD; the D-07X also decodes MQA-CD. The D-03R, Luxman's CD-only player of September 2025, uses a different single-laser CD drive fixed to a 3.2 mm steel base, and has no SACD playback. All of the players also accept USB, coaxial and optical inputs, so the same transport and converter serve a network transport or a computer as well as discs.
Why it matters in a system
A disc player's transport is a motor and a laser trying to read a spiral a fraction of a micron wide while the chassis around it vibrates with the music; the less the mechanism moves, the fewer corrections the servo makes and the steadier the data stream reaching the converter. Luxman treats the drive as a structural part of the player, not a module dropped in, and the weight of the players, 17 kg for the D-07X and 25.4 kg for the D-100, reflects it.
What you may hear
Paul Seydor, placing the D-07X on The Absolute Sound's Editors' Choice list, described it as a scaled-down 10X instead of a hot-rodded 03X; it has held the listing for 2025 and 2027.
The world premiere was a LuxmanSince 2020
ROHM MUS-IC converters, one per channel
Luxman was the launch customer for ROHM Semiconductor's MUS-IC audio converters, giving the BD34301EKV its world premiere in the D-10X of 2020. Every current Luxman player runs two ROHM chips, one per channel, into a discrete, fully balanced current-to-voltage stage, and accepts USB, coaxial and optical sources as well as discs.Read the deep diveClose
What it does
Luxman was the launch customer for ROHM Semiconductor's MUS-IC family of audio-grade converters: the D-10X of 2020 was, in Luxman's words, the world premiere of the ROHM MUS-IC BD34301EKV as of May 2020. Every current Luxman disc player uses two ROHM chips, one per channel, in what Luxman calls a dual monaural configuration, each feeding a discrete, fully balanced current-to-voltage stage; on the D-07X that stage uses four matched modules, and out-of-band filtering is performed in the buffer stage rather than at the converter. The chips differ by model. The D-10X and D-07X use the BD34301EKV. The D-03R of 2025 uses the BD34352EKV with selectable digital filters, replacing the pair of Texas Instruments PCM1795 converters in the D-03X it succeeded, and doubles the capacitance feeding the converter. The D-100 CENTENNIAL uses the BD34302EKV, the higher-tier chip above the BD34301EKV, with an output stage built on LIFES 1.1, the first in a disc player. The players accept USB at up to 768 kHz/32-bit PCM and DSD to 22.5 MHz (384 kHz on the D-03R), with coaxial and optical inputs and outputs, so each works as the DAC for the NT-07 network transport or a computer.
Why it matters in a system
Running one converter per channel removes crosstalk inside the chip and lets each channel have its own supply and output stage, and the discrete I/V stage after the converter is where Luxman's analog engineering shows. Because the DAC is the same whether the source is a disc, a streamer or a computer, an owner can begin with CDs and add the NT-07 later without changing converters.
What you may hear
Paul Seydor, in The Absolute Sound, noted that the D-10X, excepting Blu-ray audio, will play virtually any audio-only two-channel or hybrid disc on the planet; Rafael Todes of StereoNET found the D-03R's predecessor, the D-03X, an unashamedly luxurious and refined sounding machine.
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.
Moving coil through iron, not siliconSince 2008
Phono stages: super-permalloy transformers and the Articulator
Luxman's phono stages raise moving-coil signals through built-in step-up transformers with super-permalloy cores and begin with a paralleled-FET first stage. The E-250 is the half-width model; the E-07 of 2025 is the flagship, with four transformers, a front-panel load selector and balanced input and output. Both carry the Articulator, which demagnetizes the cartridge and transformers with the music signal.Read the deep diveClose
What it does
Luxman's solid-state phono stages amplify moving-coil cartridges through built-in step-up transformers with super-permalloy cores rather than active gain alone, and begin with a paralleled-FET first stage. The E-250, successor to the E-200 of 2008, is a half-width unit with 38 dB of gain for moving magnet and 57 and 66 dB for high- and low-output moving coil through a two-stage transformer, four MM load resistances and four capacitances, two inputs with the cartridge type set per input, a low-cut filter, a mono switch and RIAA accuracy of ±0.3 dB. The E-07 of February 2025 is the flagship: a non-feedback RIAA circuit with four parallel FETs, four super-permalloy transformers (left and right, high and low impedance), a six-position MC load selector on the front panel from 4.7 ohms to 1 kilohm, one balanced and two single-ended inputs, balanced and single-ended outputs with phase inversion, three power transformers, 3.6 mm copper base plates and a petal-shaped grounding structure Luxman calls PGS, at 13.2 kg. Both carry the Articulator, which demagnetizes the cartridge and transformers using the music signal itself. The L-509Z, L-507Z, L-505Z and L-100 integrateds have MM/MC stages built in, the L-509Z with two MC gain steps.
Why it matters in a system
A moving-coil cartridge delivers a few hundred microvolts, and the first stage that receives it sets the noise floor of the whole record-playing system. A transformer raises that signal with no active devices and no added noise before any amplification happens, which is why Luxman has stayed with the approach; the loading selector and per-input settings mean one phono stage can serve two turntables or two arms.
What you may hear
John Atkinson called the E-07 one of the best-measuring phono preamplifiers he had encountered, and Herb Reichert, in the same Stereophile review, an heirloom-quality product that should please the most discriminating phonophiles. Michael Fremer's advice at Tracking Angle: don't buy until you get a chance to hear the Luxman E-07.
A streamer without a DACSince 2024
The NT-07 network transport
The NT-07 of 2024 is Luxman's first streamer, and it deliberately omits a converter. It gathers Qobuz, TIDAL, Spotify, radio, NAS and USB sources on an OpenHome platform and sends them by USB at up to 768 kHz/32-bit and DSD 22.5 MHz to a Luxman D-series player, which becomes the system DAC.Read the deep diveClose
What it does
The NT-07, announced March 8, 2024 and shown at High End Munich that May, is Luxman's first network transport, and it deliberately has no digital-to-analog converter. It gathers music from Qobuz, TIDAL Connect, Spotify Connect, TuneIn, a NAS or a USB drive on an OpenHome/UPnP platform controlled by the LUXMAN Stream app, and hands it on by USB at up to 768 kHz/32-bit PCM and DSD 22.5 MHz, by coaxial or optical at up to 192 kHz/24-bit, or over HDMI ARC, with resampling from 44.1 to 384 kHz to suit the converter and MQA handling that can be off, core decode or pass-through. The intended partner is a Luxman D-series player, whose USB input turns it into the system DAC; the D-07X, D-100 and D-03R all accept the stream, the first two at the full rate. Inside is a linear power supply with an OI-core transformer and two 10,000 µF capacitors, gigabit Ethernet and the RC-30 remote, in a 10.3 kg chassis that matches the amplifiers. Roon Ready certification was described by Luxman as underway as of March 2024. A Black Edition CENTENNIAL version followed in April 2025.
Why it matters in a system
A streamer that contains a DAC duplicates what a Luxman disc player already has and ties the owner to that converter's generation. Separating the two means the network side, which changes quickly, can be updated or replaced without touching the analog side, and a single converter handles discs and streams alike. For an owner of a D-series player, the NT-07 is the path to streaming without a second DAC.
What you may hear
The sound of an NT-07 system is the sound of the Luxman converter it feeds; the transport's job is to deliver the stream intact and at the right rate. Luxman describes it as cutting edge, multiple source music streaming.