fanfare ft-1a manual

fanfare ft-1a manual

Bluebook The right price. Every time. Virtual Systems Let the world see what you've built. Merch Rep the community and hobby you love so much. SIGN UP LOG IN Forum The conversation begins and ends here. Learn Welcome to Audiogon. The Fanfare FT-1A is an analog-tuned FM stereo tuner with digital frequency display and a choice of wide or narrow IF bandwidth. 550.00 Sorry, this listing has ended. The Fanfare FT-1A is an analog-tuned FM stereo tuner with digital frequency display and a choice of wide or narrow IF bandwidths. This highly selective and sensitive tuner comes with a 3-ring owner’s manual, review copies, product literature, and remote. “The Fanfare FT-1A FM tuner is a winner.”—Larry Greenhill, STEREOPHILE. Made-in-the-USA. Shipping weight: 22 lbs. Thank you for viewing our listing. Spearit Sound Order by phone M-F 10-7, Sat. 10-6, Sun. 12-5 EDT (877) 853-7425, (413) 584-9547. NEWSLETTER Weekly Digest of hottest items, coupons, offers and more. We've just launched a dedicated AudioMart in Russia, UK Audio Mart. For details please read this FAQ entry. From the Stereophile review, which is on the Fanfare web site as a pdf: “Like the FT-1, the Fanfare FT-1A is an analog-tuned FM stereo receiver with digital frequency display and a choice of wide or narrow IF bandwidths. Tuning is carried out using the digital counter in 50kHz increments. The tuner's infrared remote control mirrors all front-panel functions. It has eight presets with UNISET programming control. The rated sensitivity remains excellent, requiring l5dBf in mono and 32dBf in stereo for 50dBf quieting. Selectivity is rated at a very respectable 75dB alternative channel, 25dB adjacent channel (Narrow mode). The capture ratio remains 1.5dB. The FT-1A also has balanced outputs, an option seen only on expensive audiophile tuners such as the Magnum Dynalab MD-202 and MD-208.http://kornyezet.ektf.hu/userfiles/epson-rx640-manual.xml

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Best of all, the FT-1A gave up none of the FT-1's strengths, including excellent sensitivity, good quieting, and thoroughly musical sound. And it handled multipath as gracefully as did the Day Sequerra FM Reference.” This unit is in excellent condtion, with no scratches or dents. Remote and operator manual (notebook) included, but no original box. Estimated 15 pounds packed weight. FYI, I have perfect feedback on Audiogon and eBay under the same user id. Please login or register here. The FT-1A scans up and down in frequency when tuning (the FT-1 scanned only up), and you don't have to leave Stereo mode to scan. The dedicated Scan function moves the tuner to the next successive station with a received signal of at least 50dBf, whether in mono or stereo.The DX mode gave 18dB attenuation when off, to protect the FT-1's front-end from RF overload. The FT-1A's circuit board uses more reliable surface-mount technology (SMT) components and the circuit features a designated UNISET frequency-control system, based on a firmware microchip that allows for easy updates in the field.Tuning is carried out using the digital counter in 50kHz increments. It has eight presets with Uniset programming control. The FT-1A has a fluorescent display for frequency—I could read a station's frequency and strength from my listening chair, 10' away. The internal components are upgradeable to the FTA-100 version, which includes AMAX AM-stereo reception.Selectivity is rated at a very respectable 75dB alternative channel, 25dB adjacent channel (Narrow mode). There is also a composite output for use primarily in an FM broadcast setup. Its output is adjustable from 2.5 to 4.5V (peak-peak), which is sufficient to drive most modulation monitors or FM exciters.FM signals were received by a high-gain (12.5dB greater than a dipole), nine-element Channel Master Stereo Probe 9 Yagi antenna, its rotor mounted to my chimney about 25' above the ground.http://phillipsseafoodllc.com/userfiles/epson-rx680-manual.xml

For this review the antenna was pointed south, toward New York City, so I could try to receive weak signals from New Jersey stations adjacent to very strong Manhattan transmitters. Balanced interconnects included Madrigal and Cogelco Yellow from tuners to preamp. I found that the balanced outputs of both tuners matched closely in gain. I used Krell's CAST technology interconnects from preamp to power amp.The signal splitter has an insertion loss of 3dB, and the cable connectors reduce the level by an additional 2dB, for a total loss of 5dB. This results in fewer stations being received; the actual number cited here of stations received by either tuner is a conservative underestimate. However, as each tuner received the same attenuated signal, comparisons using the outside antenna should still be meaningful.The weakest signals picked up by the FT-1A—those that lit up only one bar on the FT-1A's display—gave a 15dBf reading on the FM Reference's 'scope grid. Both tuners pulled in adjacent-channel stations whose signals were in the 20-30dBf range. Of the stations received with my rooftop antenna, 20 produced strong, multipath-free signals that produced !w50dB quieting in the FT-1A.As always, listening to orchestral music on WQXR made each tuner's transparency immediately apparent. However, the FT-1A's remote control made it much easier to use than the FM Reference.It yielded even better ergonomic operation than the Fanfare FT-1, with quicker tuning and a front-end better able to handle strong urban RF and noise. And it handled multipath as gracefully as did the Day-Sequerra FM Reference.Unlike the FT-1A, the FM Reference's 'scope permits precise center-tuning of FM stations, and its manual rotary tuning lets you tune in finer increments than the FT-1A's 50kHz steps. On a handful of stations, the FM Reference was more transparent, with deeper bass response. But the Day-Sequerra is no longer made.But Mostly,FM in my city is used during Christmas.

Since before the age of recorded time, FM has been where you go to hear new music, be it the latest Jimi Hendrix album or a recent release from the Kronos Quartet.It started in 1977 with this little Lynn, Massachusetts FM station that I couldn't pick up with my Pioneer receiver, so I purchased an NAD FM tuner. Then I replaced the rest of the receiver with separates; then I replaced the separates with Revox gear; then I replaced the Revox gear with Quad gear; then I replaced the Quad gear with.you get the picture. A rabid audiophile was born, and FM is to blame.He was one of the founders of Magnum Dynalab, where he worked with Manfred Breunig on the original Magnum Dynalab FT-101 tuner project. Marv is also the author of Rediscover FM Stereo, an excellent primer on FM stereo for the terminally confused. Marv left Magnum Dynalab in 1991, and in early '93 founded Fanfare Electronics, Ltd. (footnote 1) to develop products for the FM-tuner and FM-reception market. The FT-1, Fanfare's premier product, represents quite an auspicious beginning.In other words, the FT-1 has all the bells and whistles of a mid-fi digital tuner, plus sound quality associated with the best audiophile products. Other finishes may be available upon request, depending on how hard you beg and how much you're willing to pay. The sample unit was the rack-mount version in ubiquitous black.It does use a proprietary digital microprocessor circuit called UNISET, which constantly samples for accuracy the frequency tuned to—if it detects any drift, the UNISET monitor immediately adjusts the tuner to keep it properly tuned.The low-level RCA output is direct-coupled, while the high-level output is boosted by an audio-grade amplifier stage. As long as the FT-1 is plugged into a working AC outlet, the tuning circuit stays on: If you listen very carefully, you can hear some signal coming from the FT-1 when it's turned off.

Don't worry, your system hasn't developed RF problems—it's just the FT-1's way of letting you know it's still there.Katy, my cat, hates it when I get up to fiddle with anything in my system—she thinks listening sessions were created so she can bed down and catch a few winks in SS's lap. The FT-1's remote control gets a five-paw rating from Katy, since it allows me to make all the adjustments from my chair. Not only can I change stations from my sitting position, I can also jump through and change presets, switch from wide to narrow band, change into mono if the signal is bad, and turn the tuner on and off. Only thing it doesn't do is make Katy lighter. Yep, remote control is a must for the cat-encumbered FM listener.But most tuners are positively plug-ugly. At least the FT-1 avoids the Ginza-at-midnight, cacamorphic, lights-bells-and-whistles look. Its layout is workmanlike and logical, resembling a piece of pro broadcast gear more than home-electronics equipment.I also made much use of the collected works of Philip K. Dick.I live in the foothills outside Boulder. Here, multipath and weak signals abound, making FM reception something of an interesting spectator sport. Since dipole ribbons scrunched up in dust-laden corners don't cut it at 6880', an outdoor antenna feeds my video room, and a Silver Ribbon dipole antenna is hooked up to a Magnum Dynalab Signal Sleuth in my large listening room. For the last three years, my reference tuner has been the Magnum Dynalab Etude. I've needed it.The tuners sounded very similar, with virtually no discernible differences in balance, dynamics, or tonal quality. On strong stations like Boulder's KBCO, the Etude had slightly better focus and soundstaging. On poor-reception stations like KUNC public radio from Greeley, CO, the Fanfare FT-1 had less hash and trash than the Etude.

Again, most of these differences were very slight: The two tuners sounded so similar that, other than hearing the click of the switch, it was virtually impossible to hear when I had switched them.When I listened to one of our recent shows while comparing the Etude and the FT-1, I could track the trucks rumbling across the back of the soundstage. Nice high-tech production values: terrifying fidelity, perfect reproduction of low-level truck rumble.Even before they trashed the Suzuki Samurai (footnote 3), I found their value-for-money, lowest-common-denominator analysis of audio products repugnant. Sound never seems to matter to CR, just features and price. Feh.That's enough to pay for quite an elaborate antenna.This choice of outputs allows you to avoid the RHT-10's Achilles' heel: the excessive output level on heavily modulated stations.FM may not stand for Free Music, but with the Fanfare FT-1 tuner, your FM source might be the least-expensive Class A input in your system.Serves you right. But Mostly,FM in my city is used during Christmas. Click 'View Cart' to see the complete cart. Music Direct will not share any of your personal information with 3rd parties.It’s also the only tuner with broadcast-quality inputs and outputs for true broadcast monitoring. Match it up with the Fanfare FM-2G or FM-2GC antenna and you have state of the art FM performance with unparalleled sound quality! Able to lift fragile signals from the mire of today's FM congestion, those FM audiophiles who choose the FT-1A will delight in discovering the increased selection of FM stations they are able to receive. This coupled with the FT-1A 's excellent selectivity, and with both sensitivity and selectivity balanced to provide the most accurate audio possible, it’s a foregone conclusion that your regular music sources will now include that of FM radio. As one of the quietest and most sensitive analog tuners in the world, the FT-1A can now lay claim to being the most up-to-date.

What's more, tuning is always perfectly accurate from startup, eliminating the necessity for warm-up time, a not-uncommon trait of most analog designs. You can either tune up or down quickly with the 'tune' button, or you can scan up or down for 'listenable' stations using the 'scan' buttons. Presets are programmed from the tuner's front panel, or from the remote controller, by simply tuning to the desired station, setting the receive and IF band modes, and pressing the desired preset until the SET light flashes. We feel this system is functionally superior to systems requiring use of a meter. Why, because meters, while they are aesthetically pleasing, always have a margin of error which could easily translate into reduced stereo separation. Therefore, listeners must be totally reliant on their ears for best stereo separation. In contrast, the FT-1A tunes dead-on station every time, and stays on station, providing maximum stereo separation all the time. Chicago, IL 60660 Music Direct reserves the right to change the terms of this promotion or discontinue this offer at any time. Music Direct will contact you with shipping charges for these addresses. Customers can choose an alternative expedited shipping method but it will not qualify for this free shipping offer. Music Direct will not charge additional shipping for any back orders items. Orders will be held to ship all back ordered items together when they are all received in stock. Average ground delivery time ranges from 7-14 business days. Music Direct does not guarantee delivery within that specified time period. Should you have an issue of any kind, rest assured we're here to make it right. We stand behind every product we sell and offer free live support if you need assistance setting-up, troubleshooting, or maximizing your purchase. We also have a variety of resources available to customers including: You can review our complete return policy here.

Permission is herebyShootouts competed for Jim's attention with many other audio projects and no new installments are now expected. A - C - appears next to those few tuners that seem to get everything right as far as sound quality is concerned. The familiar numerical listing need not always apply within this elite group. The - M - class indicates excellent tuners that may not have every minute characteristic that satisfies Jim's tastes. Jim's rules for the better tuners are (1) a focused, articulate and musically involving midrange, (2) sweet, natural-sounding highs (any hash, sibilance or non-musical detail added by the tuner itself will take points away), and (3) last, but not always least, is good, deep bass and a sense of dynamics. All the other audiophile buzzwords usually fall into place if these three criteria are met. Remember them as you read the shootouts and agree or disagree with Jim's findings. Let the games begin! Each amp has a choke input power supply, a long tailed pair front end and a 5V4 tube rectifier. Various 6L6 type output tubes can be used, and the front end uses two 6SN7's. All tubes will be old stock. All parts besides the transformers are new. This type of line stage has been in my system for many years and has never failed me sonically or in reliability. The Creek sees the line stage's 250 K ohm input. Some tuners with very high output impedance may have some bass rolloff. Audioquest cable will be used on both tuners. The antenna is an Antenna Performance Specialties APS-9 FM antenna, mounted on a Radio Shack rotator to catch the best signal. If choosing a tuner based on the shootout results, your mileage could definitely vary if you decide to use a dipole or whip antenna. All shootout tuners are in good operating condition but are not measured and may not be in perfect alignment. In order to semi-conclusively rank one tuner above another, you'd need to test at least three fully aligned and measured samples of every tuner.

McIntosh MR 78 Winner: L-02T The MR 78 was factory serviced by McIntosh in 2001. They were running neck and neck in pulling in stations near and far. Rotating the APS-9 about 45 degrees off best signal brought the same noise from both tuners. The L-02T has a more natural sound than the MR 78, which has a slight mechanical sound. Kenwood L-01T Winner: L-02T The most noticable difference so far was with my antenna pointed toward 88.7 East to Kilgore, TX. The L-02T pulled it in fairly strong but the L-01T has noticably more noise and fade. The L-02T looks to be the clear winner of the three stock tuners so far (when you consider both sonics and DXing). I dialed in a strong local station on 107.5 and turned the antenna 45 degrees off direct line of sight. Again the L-02T showed its stuff and stayed almost dead quiet, while the L-01T had noticable background noise. Both have better than average bass. The L-01T has a slightly forward midrange and treble. It was a pleasant sound listened to alone, but when held up next to the L-02T, the L-01T's sonic faults became more noticable. The L-02T has a very neutral sound from top to bottom. The midrange is much more natural sounding and the highs are more laidback, and there even seemed to be more ambiance retrieval. Next the Sequerra Model 1 goes up against the champ. P.S. It wouldn't be fair to put my modified Kenwood KT-7500 in the ring. Sequerra Model 1 Winner: L-02T These are the two most seductive tuners yet in the shootout. The Sequerra has a large, rich-sounding bass - to a fault even, if you want accuracy. The harmonics keep on going. This richness of tone goes on into the lower midrange, very seductive for a transistor tuner. BUT when I switch to the L-02T, I get a feeling of accuracy not in the Sequerra. The bass is there but more accurate, the midrange is there but more precise. Again, from top to bottom, the L-02T sounds the most natural - again the winner in my system.

Denon TU-850 Winner: L-02T The only drawback is the bass, which is a touch light or rolled off. This may even be unfair, as I am listening to it and comparing it to a Sequerra Model 1 and Kenwood L-01T and L-02T, all three of which have better than average bass with a feeling of reserve power behind them. Yamaha CT-7000 Winner: L-02T It was a tough call between the CT-7000 and the L-02T. The Yamaha is a very pleasant sounding tuner, top to bottom. The bass is not as tight as the L-01T but very pleasant. The Yamaha's whole soundstage sounds a touch more diffused than the precise imaging presented by the L-02T. The CT-7000's treble is good, with no unpleasant sibilance. Kenwood KT-917 Winner: L-02T The Kenwood KT-917 is big and beautiful, with as much class as any analog tuner ever possessed. The 917 has a very good sound, top to bottom, and the bass is very good. Its midrange and highs are smooth and detailed with no real sibilance problems, and I had several long listening sessions without any so-called listener's fatigue. The KT-917 even slightly outclassed the L-02T in the DX department, and not only because of its third IF band. With the 917, I was able to squeeze out a couple of stations at the lower end of the band that the L-02T couldn't even catch. One station was there in the 917's Normal IF band while the L-02T couldn't even pull it in its Narrow setting - go figure. This may just be an exceptional 917. While the sound of the KT-917 is great, it still falls short of the L-02T's high standards. Again, the 917 sounded great, just not quite up to the level of the L-02T. I'll have to be more conscious of my aversion for spit, splash and sibilance when judging these tuners. I may have let the Yamaha seduce me into a sound that will have one day become boring to me. Sansui TU-X1 Winner: L-02T It gave up nothing from bass to treble to the Kenwood. I could live happily with either of these supertuners.

It was very hard to pull out any negative or positive differences between the two. Any difference heard would have to be a matter of personal taste in picking one over the other. The pinpoint imaging of good monitor speakers never ceases to amaze me. With these two tuners on the shelf giving such good and equal sound quality, I really needed the extra imaging properties of my small speakers to pull out the differences. The TU-X1 presented a slightly larger soundstage. Within that larger stage, there was a slightly more diffuse sound. The L-02T had more precise imaging. Each voice, musical instrument, etc.The apparent front-to-rear imaging - sense of real music being played - was good on both tuners. The L-02T still has the more natural sound, as it has in every shootout so far. And I love to be surprised and fooled by a tuner that can trick my ears into believing it's the real thing. Maybe with a transistor system, it would come off as having a thinner sound, when comparing. Revox B260 Winner: L-02T This one has deep, rich bass. The lower midrange and bass are warm and seem to invite long listening sessions. There is better than average front-to-back depth. The highs are more extended than the L-02T's, but not unpleasant. The B260 has slightly more background hiss than either the L-02T or the TU-X1, but all in all, it was an enjoyable listening experience. After long listening sessions, I thought the highs were a little too much of a good thing, but I can understand someone liking this total sound package. DXing weak and distant stations showed the Revox to be no match for the L-02T. Kenwood KT-7500 Winner: L-02T The soundstage has a flat, one-dimensional presentation. Instruments and voices appear to be lined up in a single row, left to right, forward of the speakers. The bass has a flat, one-note quality to it and the treble, while not harsh, is more pronounced than it should be (yes, the exaggerated sibilance is there).

With all that said, I didn't find the sound irritating after a long listening session. It was more bland than irritating. DXing was a pleasant surprise in the fact that weak stations were captured by both tuners. The 7500 did have much more noise and problems from strong nearby stations, though. Both tuners were able to pick up 88.7 which is 140 miles east of my house, but the 7500 faded in and out much more often. Pioneer TX-9800 Winner: L-02T Sorry, but I feel better for having said that - JMO. The TX-9800's sound was a pleasant surprise. The bass was full and rich, and I enjoyed the difference compared to most other tuners in the survey. The bass had a full, slower but extended sound compared to the tight punch but deep sound of the L-02T. The imaging was somewhere between the L-02T and the TU-X1. The highs had a slightly forward sound that somewhat took away from the total package. The overall soundstage was forward of the speakers with good front-to-rear apparent depth. I was more impressed than I expected to be and give it a high rating. It doesn't compare with the more natural-sounding L-02T or the TU-X1, but I would definitely prefer the TX-9800 to the Revox B260 if those were my two choices. DXing was OK and on occasion, I noticed a quieter signal than on the L-02T. Kenwood KT-815 Winner: L-02T The 815 has a sonic signature that focuses on the midrange. Maybe a good thing for talk radio programs, but not for music. The bass has a shy, one-note quality, a fairly focused midrange and fairly bright, forward highs. If any nice old tuner ever begged for a makeover in the audio stage, this is the one. The difference between it and the L-02T made me want to hurry this shootout to a finish. Even to ring the bell early and declare the champ, still the champ. If any nice old tuner ever begged for a makeover in the audio stage, the KT-815 is the one. Tandberg 3011A Winner: L-02T Its black face and silver knobs blend well with its red and cream lighting.

I found the short dial very distracting after using wall-to-wall tuning indicators on Sansuis and Kenwoods for so long. I never had the feeling that I was tuning a station precisely using this truncated system. The 3011A is a nice-sounding tuner with some interesting tonal characteristics. The treble was sweet and never irritated. The lower midrange through the treble had a lighter presentation to the sound compared to the L-02T. The 3011A had very good imaging and the ability to help me imagine that I was in the audience. The bass was good but gave just a hint of running out of gas compared to the L-02T. Listened to alone, it was very nice. Listened to against the L-02T, you're left wanting a little more. Still, I give the 3011A high marks for its pleasant musicality. Magnum Dynalab FT-11 Winner: L-02T The Magnum Dynalab FT-11 has had two different versions that I am aware of. The revisions are in the audio circuit, as well as slight cosmetic changes. The original FT-11 uses the same basic audio circuit as the FT-101A's high-output circuit. It consists of a 5532 dual op-amp buffer that sees the audio signal from an LM4500.It had good bass punch, the treble wasn't forward or bright, and imaging was also good. Listening to it against the L-02T showed that the FT-11OLD had less life to the midrange. Another way to try to explain is that the L-02T is more natural-sounding. Winner: the L-02T. The FT-11NEW had a more realistic midrange than his older brother but a lighter, looser bass. Against the L-02T the whole presentation from top to bottom had a lighter sound. The bass had less punch. Listening to it by itself, it was a very pleasant sound. If I could have one of the FT-11's given to me as a gift, I would choose the NEW over the OLD for sound quality.Luxman T-117 Winner: L-02T This little tuner left me in shock. I'm not a big fan of digital tuners, probably because of my age (56), tastes and history.

I grew up around my grandfather's farm and my dad worked with radio for 20 years in the Air Force and was a ham. My younger days saw all kinds of meters bouncing and flashing at home, in the movies, etc. That style left a lasting impression, and that may be one of the reasons I've avoided digital tuners in the shootouts so far. But not anymore! I hooked up the Luxman, sat down to listen and got back up thinking I was listening to the L-02T. No, it was the Luxman. This is a very good-sounding tuner. After listening for a couple of days, here are my findings. A very pleasant sound, top to bottom. The T-117 gave up a little richness in tone quality to the L-02T in bass. If these sound like negatives, they're really not. I went to TIC and re-read the writeup on the T-117, and I agree, without reservation. It sounds better than a Magnum Dynalab FT-101 or any other stock Magnum I've owned or heard, and it costs less, but it's not as attractive as a FT-101 in an analog sort of way. Using narrow band and switching from 200 kHz tuning steps to 25 kHz steps on the rear of the tuner, I was able to pull in 88.7 Tyler like I could on the L-02T. On other stations, too, the two tuners seemed to be neck-and-neck in pulling power. Fanfare FT-1A Winner: L-02T The inside is surface mount technology so DIY'ers beware. With the tuner's high-gain output, the sound was clean but bright and forward in the midrange. The highs were not irritating and the bass lacked punch. Considering this tuner is so much newer than the others, I left it on for a few days to warm up. It didn't help as I still couldn't warm up to the sound. I tried the low-gain output and that tamed the midrange somewhat, but the bass was still not impressive. DXing against the L-02T was a no-go, too. For example, pointing west toward 88.7 about 40 miles away, the Fanfare picked up the station OK but was swamped in wide mode.

It was so directional grabbing the signal in narrow that I used it to mark my rotor for an exact alignment toward 88.7's tower. Pointing toward the east at 88.7 in Kilgore, Texas at 130 miles the L-02T was able to catch it with constant drift on this day. The Fanfare was swamped by nearby 88.5 to the south in wide or narrow mode. Again the winner of the shootout is the L-02T. Sansui TU-717 Winner: L-02T A couple sounded thin and bright, but most sounded pretty good. This one sounds pretty darn good. The bass is slightly tubby-sounding compared to the L-02T but still a pleasant, rich sound. The midrange is realistic and the front-to-rear imaging is very good. The soundstage is slightly forward of the speakers compared to the L-02T. This isn't a bad thing, just a different presentation from the L-02T's. There is some spit in the 717's treble, but the treble band isn't overly noticeable like the ReVox B260's. Still, it's a good reason to put better caps in the audio section path. All in all, the 717 was a most enjoyable listen. I give it a high rating and now want to modify one. I am very impressed with its sound compared to the more expensive toys. In the DXing test, the TU-717 fell flat compared to the L-02T. Please remember that none of these shootout tuners have seen an alignment in years, as far as I know, with the possible exception being the Mac MR 78. I veered from the shootout format to see which one really had the better sound in a one-on-one while the L-02T slept. To have a little fun, I had my wife plug in the RCAs and set the volume of the variable output of the Sansui to match the fixed output of the Luxman. Without knowing which was which, I listened and made notes of Tuner A and Tuner B. Tuner A had a slightly richer bass and the imaging was excellent. Tuner B gave a sweeter presentation to the music and the imaging was very good. Tuner A had a treble that was slightly forward of Tuner B's treble. It could come down to the music being played.http://excelcarebydivinee.com/images/bps6-manual.pdf