Luxman L-509Z Integrated Amplifier User Manual
- June 17, 2024
- LUXMAN
Table of Contents
Luxman L-509Z Integrated Amplifier User Manual
INTEGRATED AMPLIFIER
hen I reviewed Luxman’s L-509X flagship inte- grated amplifier,in May 2018,1
that sleek machine shook me to my vitals. I wrote, “Record after record, the
L-509X illuminated every important aspect and area of the recording. It lived
and breathed in the air around the notes, consistently creating big, solid,
spatially natural images that presented me with a) the roundness and
complexity of each instru-ment, b) a holistic sense of the musicians’ intent,
c) excellent touch and texture and impact,
and d) a unified whole, regardless of musical style or dynamic level.” I
concluded, “the Luxman L-509X integrated amplifier takes a different path to
musical involvement. The L-509X is one of the most intimate-sounding, dynamic,
texturally nuanced, truthful purveyors of music of my experience.”Luxman’s
new flagship integrated, the L-509Z, has the same thick aluminum top plate
and steel casework as its forebear and weighs a similarly knee-crushing 64lb.
The older L-509X cost $9495; its newer, younger sibling rachets that up to
$12,495. The front-panelcontrols are nearly identical, including those big,
eye-catching dual VU meters; except for a new 4.4mm Pentaconn five-conductor
mini headphone jack and a mute button, the Z matches the cosmetics of the X to
a T. But as in all things, appearances can be deceiving. Even
SPECIFICATIONS
Description Two-channel inte- grated amplifier with 4-parallel bipolar,
push-pull, class-AB out- put stage. Inputs, line: 4 pair single-ended (RCA;
Line 1 and Line 2 are “Original high rigid- ity terminals”), 2 pair balanced
(XLR); Amplifier in (“Main In,” RCA); Phono, switchable MM, high/low, MC
(RCA). Outputs, line: Rec Out, Monitor, Pre Out (all RCA); two pair
loudspeaker output terminals with indepen- dent on/off switching. Input
sensitivity/input impedance, MM phono 2.5mV/47k ohms;
MC-H phono 0.3mV/100 ohms; MC-L phono 0.1mV/40 ohms, SE line 180mV/47k ohms;
Balanced line 180mV/79k ohms; Main in 1.1V/47k ohms. Output power: 120Wpc into
8 ohms (20.8dBW), 220Wpc into 4 ohms (20.4dBW). Frequency response: phono
20Hz–20kHz,
±0.5dB; line 20Hz–100kHz,
±3dB. Tone controls: Bass
±8dB at 100Hz; Middle ±8dB at 760Hz; Treble, ±8dB at 10kHz. THD: <0.007% (8
ohms, 1kHz),<0.03% (8 ohms, 20Hz–20kHz).
Signal/noise ratio (IHF-A): MMphono >87dB; MC-H phono
70dB; MC phono >62dB; line
105dB. Damping factor: 330. Power consumption: 390W (maximum), 150W (no signal), 0.5W (standby). Supplied acces- sories: RA-17A remote control, power cord.
Dimensions 17.3″ (440mm) W × 7.6″ (193mm) H × 18.2″(463mm) D. Weight: 64.6lb (29.4kg).
Serial number of unit reviewed G30800022. Manufactured in Japan. Price $12,495. Approximatenumber of dealers: 70. Warranty: three years. Manufacturer Luxman Corporation, 1-3-1 Shinyokohama,
Kouhoku-ku, Yokohama-shi, Kanagawa 222-0033, Japan.
Tel: (81) (0)45-470-6980.
Web: luxman.co.jp. US distributor:
Luxman North America, 27 Kent St., Unit 122, Ballston Spa, NY 12020. Tel: 518-261-6464.
Web: luxmanamerica.com.com.
LUXMAN L-509Z
preamp section. The L-509Z has a fully discrete LIFES system in the preamp.
Z-Series also has a seven-segment LED display, 12Vtrigger and control
terminals, and mid-frequencies (EQ ) adjust- ment controls.” The L-509Z also
includes Luxman’s “LECUA 1000 computerized attenuator” and “crack-resistant
peel coat PCBs,” the website states.Let’s go over that list of changes. “Fully
discrete LIFES” is
Luxman’s new feedback system, replacing the legacy ODNF (Only Distortion
Negative Feedback). LIFES stands for Luxman Inte-
grated Feedback Engine System; the L-509Z includes version 1.0, aka LIFES1.0;
LIFES is now used in both the L-509Z’s preamp and the power amplifier
sections. LIFES1.0 aims to reduce the unwant- ed effects of using negative
feedback and is said to lower the S/N ratio and distortion. Distortion is
lowered “to less than half of the distortion as compared to ODNF4.0, the final
derivation as utilized in the previous X-Series, with S/N improved by 3dB,”
wrote Pravel.
The L-509X included only bass and treble tone controls, now augmented by that
“MIDDLE” dial, which Luxman says is “effec- tive in the vocal and lead
instrument frequencies bandwidth.” L/R
MEASUREMENTS
performed a full set of measure- ments on the Luxman L-509Z using my Audio
Precision SYS2722 system.1 The amplifier is specified as having a maximum
output power of 120Wpc into 8 ohms; I preconditioned the L-509Z before the
measurements by following the CEA’s recommendation, running it at one-eighth
that power into 8 ohms for 30 minutes.
Following that period, the top panel was warm, at 92.6°F (33.7°C), and the
grilles over the internal heatsinks were hotter, at 111.5°F (44.2°C). I
performed a complete set of tests using the single-ended line inputs, as they
had been used by KM for his auditioning.
Looking first at the L-509Z’s unbal- anced line inputs, the amplifier
preserved absolute polarity at all of its outputs. The volume control operated
in accurate 1dB steps in Line Straight mode, and with the volume control set
to the maximum, “0,” the voltage gain at 1kHz was 43.7dB into 8 ohms from the
loudspeaker outputs and from the headphone outputs and 14.67dB from the
Preamplifier outputs. These gains were not affected by switching the tone
controls, set to do nothing, into the circuit. The single-ended input
impedance is specified as 47k ohms. I measured 43.5k ohms at 20Hz, 41.9k ohms
at 1kHz, and 34.8k ohms at 20kHz. In Separate mode,
which disconnects the amplifier’s front-end circuitry from the power amplifier
section, the latter’s input impedance was 46k ohms at 20Hz and 1kHz, 35.1k
ohms at 20kHz.
The Preamplifier output impedance was 680 ohms at all audio frequencies; the
headphone output impedance was 80 ohms, again at all audio frequencies. The
loudspeaker output impedance, including 6′ of spaced-pair speaker cable, was
low in the bass and midrange, at 0.1 ohm, rising to 0.14 ohm at the top of the
audioband. Consequently, the modulation of the
L-509Z’s frequency response due to the See com/content/measurements-maps-
precision.
Fig.1 Luxman L-509Z, line input, frequency response at 2.83V into: simulated loudspeaker load (gray), 8 ohms (left channel blue, right red), 4 ohms (left cyan, right magenta), 2 ohms (green) (1dB/vertical div.).
Fig.2 Luxman L-509Z, line input, small-signal, 10kHz squarewave into 8 ohms.
Fig.3 Luxman L-509Z, line input, frequency response at 2.83V into 8 ohms with treble, midrange, and bass controls set to their maximum and minimum (left channel blue, right red).
setting for the remote control allows for comfortable and thorough
volumecontrol action with minimal degradation in sound quality.”
So what about “crack-resistant peel coat PCBs”? On a typical circuit board, a
thin, lacquer-like polymer is used as asolder mask to prevent unwanted solder
accumulations between closely spaced components and solder pads; the mask also
provides some protection to the con- ducting traces during manufacturing.But
the mask, which is permanent, can cause stray capacitance; Luxman says it “can
have a smearing effect on audio signals.” In Luxman’s process, the mask is
removable—and is removed, remov-ing the mask-induced stray capacitance.
Another interesting thing about thecircuit boards is the curvy, swoopy course
of those 0.1mm-thick gold traces “utilized for each channel of the L-509Z
power amplifier section and in other internal locations”; those curvy traces
create “better sound, improved current flow, with lower inductance as compared
to PCB traces having ‘right-angle’ signal path direction changes,” Pravel
said. All internal wiring is OFC copper, and the
last leg, from the output stage to the loudspeaker binding posts, is a copper
cable with a 3.5mm2 cross-sectional area.
Inside, each channel of the L-509Z’s class-AB output stage uses three-stage
Darlington bipolar transistors in quadruple-parallel push-pull configuration
to deliver 120Wpc into 8 ohms, 220Wpc into 4 ohms—same power output ratings as
the L-509X. A new,
measurements, continued
**** Ohm’s law interaction between this imped- ance and the impedance of our
standard simulated loudspeaker2 was minimal (fig.1, gray trace). The
amplifier’s response into resistive loads was flat in the audioband, with its
output into 8 ohms (blue and red traces) down by 4dB at 200kHz. This graph was
taken in Line Straight mode and with the volume control set to its maximum.
Commendably, both the very close channel balance and the overall response were
preserved at lower settings of the volume control. The L-509Z accurately
reproduced a 10kHz squarewave (fig.2), with no over- shoot or ringing.
The audioband response with the tone controls switched on but set to do
nothing was still flat, but the output at 200kHz was 6dB lower than in Line
Straight mode. Fig.3 shows the effect of the tone controls set to their
maximum and minimum positions. The bass and treble controls boosted or cut
their passband outputs by 9dB, the midrange control by 8dB.
Channel separation was moderate, at 70dB across the audioband. The wide- band, unweighted signal/noise ratio, taken in Line Straight mode with the unbalanced input shorted and the volume control set to its maximum, was a good 72.6dB ref. 2.83V, which is equivalent to 1W into 8 ohms, in both channels. This ratio improved to an even better 83.7dB when the measurement bandwidth was
restricted to the audioband and to 86.8dB when A-weighted. Switching on the
tone controls set to do nothing decreased the S/N ratios by 12dB. The blue and
red traces in fig.4 show the amplifier’s low-frequency noisefloor at 1Wpc into
8 ohms in Line Straight mode with the volume control set to its maximum. The
level of random noise is low, but odd-order harmonics of the AC supply
frequency are present, which will be due to magnetic interference from the
power transformer. Reducing the volume by 20dB and increasing the input signal
by
the same amount so that the output power remains at 1W (green and gray traces)
See stereophile.com/content/real-life-measure- ments-page-
Fig.4 Luxman L-509Z, line input, spectrum of 1kHz sinewave, DC–1kHz, at 1Wpc into 8 ohms with volume control set to the maximum (left channel blue, right red), and to –20dB (left green, right gray) (linear frequency scale).
Fig.5 Luxman L-509Z, line input, distortion (%) vs 1kHz continuous output power into 8 ohms.
Fig.6 Luxman L-509Z, line input, distortion (%) vs 1kHz continuous output power into 4 ohms.
LUXMAN L-509Z
bespoke, low-loss 600VA EI-core power transformer, with round copper windings
and 40,000μF per channel of filter capacitance, features “newly developed,
large capacity filter capacitors of a more recent internal construction, like
those used in the M-10X power am- plifier,” Pravel wrote. The L-509Z adds
newly developed Toshin and Nippon Chemi-Con capacitors.
The L-509Z includes a higher- specced MM/MC phono section with a “new two-step
gain switch to select between high and low MC settings to accommodate a wider
range of MC cartridges,” the web- site states. By using the “Pre-Out” or “Main
In” connections and afront-panel switch (“Separate”) that decouples the preamp
and power amp sections, the listener can runthe L-509Z’s pre and power amp
sections as separate, standalone components. Luxman’s “beeline” technology
ensures the “short- est practical signal path implementation,” Pravel
explained. “Thepreamp section is located near the rear input-panel, so signals
don’ttravel the distance to the front panel. From input to output, short- est
signal routes are optimized for minimum capacitance.”
Twenty-eight sharply sculpted top-panel venting chambers, with honeycomb-mesh
protective
grids, add to the L-509Z’s allure. A chunky, user-friendly aluminum remote add
to its functionality.
Just like the L-509X, the ampli- fier is supported by four large insulator
feet made from a cast iron/graphite material, which protect the chassis from
external vibrations. “The material density [of the feet] increases from the
out- side diameter toward the center to counteract and suppress external
vibration effects,” Pravel wrote.
The L-509Z features a large numerical “seven-segment” LED display, which made reading volume levels a cinch across my small room. The VU meters are illuminated by white LEDs, making them easier on the eyes. The back panel sports four pairs of single-ended (RCA) line inputs and two pairs of balanced (XLR) inputs; the first
measurements, continued
reduced the level of the 60Hz component by the same 20dB and those of the
higher- order spuriae by up to 10dB.
Figs.5 and 6, respectively, plot how the THD+noise percentage varies with
output power into 8 ohms and 4 ohms with both channels driven. The downward
slope below 30Wpc into 8 ohms and 60Wpc into 4 ohms indicates that the
distortion lies below the noise up to these powers, but it remains very low
until the actual onset of clipping. At our usual definition of clipping, which
is when the THD+N reaches 1%, the L-509Z slightly exceededits specified output
powers of 120Wpc into
8 ohms (20.8dBW) and 220Wpc into 4 ohms (20.4dBW). The Luxman clipped at
140Wpc
into 8 ohms (21.46dBW) and 225Wpc into 4 ohms (20.5dBW). I didn’t test the
Luxman’s clipping power into 2 ohms, as the ampli- fier isn’t specified as
being able to deliver full power into 2 ohms.
Fig.7 shows how the THD+N percentage changed at 12.67V, which is equivalentto
20W into 8 ohms, 40W into 4 ohms, and 80W into 2 ohms. The distortion into 4
ohms (cyan and magenta traces) and
8 ohms (blue and red traces) is very low, rising only a little in the top two
octaves, which suggests that the amplifier has a wide open-loop bandwidth.
However, into 2 ohms, the distortion in the right channel (gray trace) is
higher than that in the left channel (green trace), though it is still low in
absolute terms.
The THD+N waveform at 20W into 8 ohms was primarily the second harmonic
(fig.8), which will be subjectively innocu- ous up to much higher levels than
those observed in the L-509Z (though some crossover distortion is present; see
fig.9). Intermodulation distortion was also ex- tremely low, even into 4 ohms
(fig.10).
To examine the performance of theL-509Z’s phono input, I connected a wire from
one of the Audio Precision’s ground terminals to the grounding lug on the
Luxman’s rear panel. This input preserved absolute polarity in all three modes
at all three output types. In MM mode, the input impedance measured an
appropriate 44k
Fig.7 Luxman L-509Z, line input, THD+N (%) vs fre- quency at 12.67V into: 8 ohms (left channel blue, right red), 4 ohms (left cyan, right magenta), 2 ohms (left green, right gray).
Fig.8 Luxman L-509Z, line input, spectrum of 50Hz sinewave, DC–1kHz, at 20Wpc into 8 ohms (left chan- nel blue, right red, linear frequency scale).
Fig.9 Luxman L-509Z, line input, 1kHz waveform at 30W into 8 ohms, 0.0036% THD+N (top); distortion and noise waveform with fundamental notched out (bottom, not to scale).
two RCA inputs are on “original high rigidity terminals.” This is “a design
borrowed from our flagship C-900u/C-10X preamplifiers,” according to Luxman
USA head Jeff Sigmund. “These terminals employ a special copper alloy with the
conductivity equivalent to copper and the hardness equivalent to brass. They
also feature an improved internal structure allowing for better contact with
the associated cable, as well as improved oversized termination points where
the 509Z’s internal wiring connects to the rear of the termi- nal assembly.”
Why use only two? On the inside of the rear panel, they take up too much
space.
Two preamp outputs and one power-amp input facilitate system configuration
including biamping. A classic Luxman hairline fin- ish adorns the amplifier’s
top panel. The supplied remote control replicates the front-panel options,
including power on.
To the lovely, CNC-cut top plate, Luxman adds “blaster-finished” aluminum-
alloy front and side panels and powder-coated steel bot- tom and rear panels.
Aluminum-alloy blaster finish, which is also used on the remote, is the “same
process used in camera finishes by the likes of Nikon and Canon,” Pravel
wrote.
Unlike many manufacturers that insist you download the owner’s manual, Luxman included a copy, which, as Art Dudley wrote in his April 2020 review of the Luxman CL-1000 preampli- fier, “suggests a manufacturer who gives a shit about the customer and who realizes that anyone who spends this much money on a single audio product might be presumed to have more than a pass- ing interest in how the thing works.”2
Setup
Once secured in my audio rack, it was a joy to slide my left hand over the
L-509Z’s silken casework as my right hand removed the rubbery plastic caps
that protect the back-panel RCA and XLR jacks. The L-509Z is beautiful to
behold and pleasant to operate.
Sigmund suggested 200 hours of break-in for the L-509Z, and he wasn’t kidding.
It sounded confused and bloated on initial hookup—I feared something was
broken. But after two weeks of constant streaming, it had come into its own.
I experimented with the tone controls and found the efficacy of the “Line
Straight option,” which bypasses the tone controls, to be mostly recording or
whim dependent—not sure which. Generally, activating Line Straight made music
sound cleaner, better focused, well organized, and orderly but perhaps a
little rigid. With Line Straight disengaged, music was less tidy and seemed to
fill up the room with sound more easily. I mostly stuck with Line Straight for
its exacting sonic signature.
Alongside Mono, Mute, Phase Reverse, and Subsonic, the L-509Z offers Loudness,
which increased low-end weight to a greater de- gree than any ’80s era
integrated I remember. Engaging Loudness was like wrapping the music in a
soggy wool sweater; I liked it, but it made me break out in a rash. Increasing
bass via the tone con- trols didn’t achieve the same deep-in-a-sauna effect
that the Loud- ness feature did. Some of these controls are only on the
handset.
Fig.10 Luxman L-509Z, line input, HF intermodulation spectrum, DC–30kHz, 19+20kHz at 40Wpc peak into 4 ohms (left channel blue, right red, linear frequency scale).
Fig.11 Luxman L-509Z, MM phono input, response with RIAA correction (left channel blue, right red) (0.5dB/vertical div.).
Fig.12 Luxman L-509Z, MM phono input, spectrum of 1kHz sinewave, DC–1kHz, for 40mV input with volume control set to –12dB (left channel blue, right red, linear frequency scale).
Listening
What immediately struck my ear, brain, and backside, to a degree beyond other
tubed or solid state amplifiers I’ve had in-house, was the size and stability
of the L-509Z’s presentation. L-509Z images were large, dense, and spatially
profound, presented within a soundstage of considerable scale. The L-509Z
recreated record- ings with nearly life-sized portrayals of musicians,
vocalists, and the ambient space in which they were captured—all this in my
small listening room. The amp’s pure sonorities in the upper mids through the
treble captured my ears. This is an amp of brilliant pu- rity and fluid
communication. Its squeegee-clean top end allowed cymbals, guitars, pianos,
and percussion to resonate and commu- nicate direct to my gut.
Recordings I know well, such as Miles Davis’s Miles in the Sky (LP, Columbia
CS 9628), trumpeter Matthew Halsall and the Gondwana Orchestra’s Into
Forever (LP, Gondwana Records GONDLP013), the Horace Silver Quintet’s Finger
Poppin’ (LP, Blue Note 4008), and drummer Kendrick Scott’s Corridors (LP,
Blue Note 4552189) were presented in near-3D on a generous stage with
munificent images.
In those respects, the Luxman outperformed other integrated or separate
amplifiers I’ve reviewed or had/have in house. Myreference PrimaLuna and
Shindo Labs tubed electronics sounded tonally sweeter; the Luxman inhabited my
room as if it had won an election and was implementing its own agenda.
Playing Ella Fitzgerald’s Ella Swings Lightly (Verve MGVS 64021) using the
Luxman’s own phono stage, I relished the delicacy of her voice and
responsiveness of the ensemble. Equally, my 1957 Lexing- ton Ave press of
Sonny Rollins’s Blue Note BLP 1542 ( Sonny Rollins Vol.1 ) sounded
pungent, powerful, and barking-mad dynamic: I defy any Tone Poet to sound
this good. The Miles Davis Quintet’s Workin’ (Prestige PRLP 7166) smacked
me with its potency, pres- ence, and transparency to the source, especially
Paul Chambers’s tractor-beam acoustic bass.
The L-509Z was beyond quiet, presumably due to Luxman’s noise-suppressing
technologies. Beyond its bass-to-midrange neutrality and superpure, upper-tier
clarity, the L-509Z had no obvious signature. It was largely music and
equipment agnostic. It allowed recordings, whether from streaming or vinyl, to
speak. It did, however, provide a clear view of the accompanying equip-
ment, most of which does have a sonic identity and personality.
I was impressed with the Luxman phono stage. The tubed Manley Chinook had a
larger presentation and a more relaxed and swinging sense of flow, but the
Luxman stage had serious clarity and drive.
Up to this point, I had done all my listening with the Volti Audio Razz
speakers, which, with their high sensitivity coupled with the Luxman’s power,
superbly charged bass-oriented instruments with drive, and music in general
with excellent space and depth, providing consistent delight.
I pulled out the DeVore O/babies. They revealed the Luxman’s purity. The
DeVore’s explicit tweeter, though, requires careful matching. I pushed them
closer to the back wall. The resulting sound was crystal-clear and graphic
with a tight, solid low end. Music didn’t bloom as with the best tube amps,
but the L-509Z’s presentation left no detail uncovered. The Luxman/DeVore
combi- nation was consistently engaging, with superhigh resolution and
excellent front-to-back layering.
Seeking synergy closer to that of the Luxman/Volti audio pair- ing, I invited
the venerable, tried-and-true Spendor BC-1s to my even more venerable
(circa-1860) tenement apartment.
In his October 1978 review of the Spendor BC-1, J. Gordon Holt wrote, “Its
assets include truly remarkable reproduction of depth and superb imaging and
scale. … Despite their manifest shortcom- ings, these speakers can recreate
the gestalt of live music like few
systems—so well, in fact, that we found ourselves digging out old records we
hadn’t listened to for years and enjoying them for their content as well as
for their naturalness. … Summing up, then, we would characterize the Spendor
BC-1 as a music lover’s speaker system rather than an audiophile’s system.”
I wish he could have heard them with the Luxman.
The Luxman didn’t overcome the BC-1’s wooly bass, but as Holt stated, music
sounded live and natural; the Luxman driving the Spendors was a natural fit,
like Mingus’s bass with Dannie Rich- mond’s drums. The duo made music feel
good, effortless, and fun. Records pulled me into a large, deep stage, liquid
yet punchy and large in scale. I could’ve listened to this jam all night.
That little speaker with the big voice, the GoldenEar BRX, also sounded alive
and liberated when driven by the L-509Z. The amp paired smoothly with the
speaker’s expressive folded-ribbon tweeter and 6″ mid/woofer, providing a
luminous stage with dead- center focus and an airy, ambient glow. Playing
Coleman Hawkins with the Red Garland Trio (LP, Prestige Swingville SVLP
2001), the master tenor player sounded relaxed and airy, guttural and groov-
ing, the other trio positioned a step or two behind him on the stage. The
Luxman provided a swinging, happy gestalt that moved and liberated this
listener.
Conclusion
Some amplifiers make you work to understand their meaning and message. Others
shout their personalities like “Swifties” aboutto see their heroine. The
Luxman L-509Z never shouts, barks, or begs. Its message is clarity, balance,
coherence, seamlessness, quietude, and a certain invisibility—in keeping, I
believe, with a Japanese audio aesthetic of delivering music artifact free,
above all else.
As Luxman’s evolving noise-suppression technologies make the company’s
amplifiers more silent, what is left behind is purity and focus. The L-509Z
builds on tradition without losing the plot. It’s an exacting integrated
amplifier with a good phono stage, a bevy of control options, and plenty of
power. The Japanese company’s flagship integrated merits a “Sai-kōkyū”
designation. We call it Class A. ■
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References
- ラックスマン株式会社|プリメインアンプ、プリアンプ、パワーアンプ、真空管アンプ等、オーディオ機器のご案内 - LUXMAN
- luxmanamerica.com.com
- Home Page | Stereophile.com
- Luxman L-509X integrated amplifier | Stereophile.com
- Home Page | Stereophile.com