Hardware Reviews

Luxman L-509Z Japanese metal machine

Luxman L-509Z integrated amplifier review https://the-ear.net

Luxman L-509Z integrated amplifier

My first introduction to the venerable Japanese audio brand Luxman was way back in 1981, when I could finally afford my first ‘proper’ hi-fi system. A very good salesman at a shop in Tottenham Court Road, London, the name of which has long since disappeared from my over-crowded memory bank, recommended Luxman source components to accompany the Quad 44/405 Mk2 amplification system that was to form the heart of the system. The Luxman turntable was a direct drive device, which he assured me was “the way forward for turntables”. He fitted an Ortofon moving magnet to the Luxman tonearm and set the correct loading to the phono stage built into the Quad 44.

The other piece was a Luxman cassette deck, which was definitely a step up from models that more mainstream brands were offering at the time. The loudspeakers he recommended were Rogers Studio Ones, along with the low stands they needed, which were on casters. A Quad FM4 tuner completed that set up once it was released some months later. Armed with two terminated lengths of QED 79 strand speaker cable and the appropriate RCA-DIN interconnects I rushed home to Gloucestershire and carefully set everything up. Both the Luxman pieces served me well for many year, giving countless hours of musical pleasure.

Thus when I was offered the chance to spend some time with the brand new Luxman L-509Z integrated amplifier, it took me about a nanosecond to accept. That was back in February, and I finally took delivery of one early in June. The first impression as I took the parcel from the courier was just how heavy it was. In fact in its shipping carton weighs well over 30kg, which makes it as heavy as my own Primaluna EVO 400 valve amplifier. Both are at the edge of what I can physically manhandle from carton to rack. However the L-509Z is most definitely a solid state Class A/B design. With the emphasis on solid.

Luxman L-509Z integrated amplifier review https://the-ear.net

Once I had it safely ensconced on my Quadraspire XL rack I was able to stand back and really appreciate its aesthetic. It reminded me of an amplifier that I owned for several years, the rather excellent Yamaha S-A3000. The front is dominated by a pair of VU meters, which give a real-time view of the output from the amp expressed in decibels.

From the left on the front of L-509Z we have the input selection knob below which sits the main on/off button, with a small blue LED above which glows gently when the power is on. A matching button to the right is marked ‘Separate’, and allows the use of the preamp and power amp independently. Next is an array of six smaller knobs, giving access to the phono stage (MM, MC-H and MC-L settings), speaker selection (off, A, B or A+B), then three tone controls (bass, middle and treble) and finally a balance control. The tone controls are out of the signal path when set to zero. To the right of those six knobs is a button marked ‘Line Straight’, which also bypasses all the tone controls, followed by a Mute button and two different sized headphone input sockets.

Above those two sockets sits the volume control knob, which visually matches its counterpart on the far left. Between the the two VU meters is a pair of seven segment LEDs, which show the selected volume as -dB.

Luxman L-509Z integrated amplifier review https://the-ear.net

The top of the cabinet has four slightly recessed cooling vents on either side, running from front to back. The cylindrical feet on the underside are made of cast iron, which was chosen for its sonic qualities, they also make a significant contribution to the weight of the unit. The black rear panel is a busy space. Looking from the left slightly separated from its RCA siblings, sits a pair of RCA inputs with a grounding post to their left. This gives access to the L-509Z’s excellent phono stage. Then come four pairs of RCA inputs, the first two of which are more substantial than the second two. There is then a gap to another three pairs of RCA connectors. These are marked Pre-out1 and 2 and Main Out, confirming the applicability of the Separate button located on the front. To their right are two pairs of balanced XLR inputs. Finally on the right are two pairs of mini jacks, arrayed vertically and marked Trigger and Control, allowing the amplifier to be incorporated into a home automation system, should that be of use.

The lower level is dominated by eight multiway binding posts, allowing the attachment of two pairs of loudspeakers. Last but not least is the IEC mains power input, unlike many designs there is no adjacent on/off switch associated with the power input.

Internally, the L-509Z is blessed with several innovative Luxman developed technologies. Both the pre and power amplification sections have LIFES (Luxman Integrated Feedback Engine System) while the power amplifier has ODNF (Only Distortion Negative Feedback). Luxman quote the power output at 120W per channel into 8 Ohms and 220W into 4 Ohms.

Luxman L-509Z integrated amplifier review https://the-ear.net

While clearly every part of the system has had lavish engineering attention, Luxman highlight the effort put into the volume control system. Acronym alert – the system used is called LECUA-EX (Luxman Electronically Controlled Ultimate Attenuator – Excellent eXperience). I shall leave you to read about all these technologies which are well explained on the Luxman website. What I will say that the volume control know is a thing of beauty in use, perfectly weighted in the fingers and offering very precise control of output levels. Being of an idle disposition I used the excellent remote control for the most part, but even via that it was very easy to find the desired level.

The rest of the system included an Auralic Aries Mini streamer, augmented with hardware from the Network Acoustics catalogue, which significantly enhance its performance. I have a Linn Sondek LP12 which started its long life back in the early 90s, but all that remains of that are the Ittok arm and the lid. The internal hardware is by Tangerine Audio. I use a Linn Lingo4 power supply and the bearing was upgraded to Cirkus during the rebuild. A Vertere Dark Sabre moving magnet is fitted to the Ittok and was fine tuned in situ by the brand’s sales leader Mike Burn, so I know it is optimally aligned with perfect tracking weight. Loudspeakers were my Harbeth Super HL5+ on Skylan stands.

Listening to the L-509Z

I knew that I was not the first to get hands on this particular L-509Z, so there was no need for an extended run-in, instead I gave it about an hour to warm up before I started to listen with intent. The first session involved streaming some favourites from my Qobuz collection, starting with  Cara Dillon’s latest album Coming Home. I am latecomer to this delightful Irish singer/songwriter’s work. She sings and sometimes speaks her way through a collection of her own work, which to me sounds like poetry set to music. Through the L-509Z she was able to step out of the Harbeth speakers and give me an intimate recital of her delicate yet powerful music. There was a warmth to the sound and a realism that proved totally addictive, with Ms Dillon at the centre of a holographic soundstage.

Luxman L-509Z integrated amplifier review https://the-ear.net

The rest of the day was spent trawling through a number of tracks from an eclectic selection in my Favourites folder. One of the reasons I sometimes prefer using the Auralic is the ability it confers to flit, butterfly style, from track to track, album to album and genre to genre.

I went from the Beach Boys’ sublime God Only Knows to the deep boogie of ZZ Top’s La Grange, with several zigs and zags along the way, and the L-509Z did an excellent job no matter what it was playing, with a presentation that seemed perfectly judged. A fellow reviewer who knew I had it here messaged me to ask if I found the sound a bit “bright”, which he had read elsewhere. My reply was an emphatic no, at least not in the context of my system. Through the Luxman the music has real presence, with every part of a recording audible, each instrument or orchestral section properly represented within that wonderful soundstage, but never in a way that discourages long listening sessions.

Following that streaming experience I had high expectations of the built in phono stage, and I was not disappointed. The first album I set onto the LP12’s platter was a relatively recent purchase Congo Funk!, a double album whose contents are described on the front of the gatefold cover as “ Sound madness from the banks of the mighty Congo River. Kinshasa/Brazaville 1969-1982”. The recording are all analogue, and capture the energy, expertise and sheer joy of the various musicians involved. The Dark Sabre seemed to be able to retrieve all the richness and vibrancy captured in the grooves, and the amplifier projected an engrossing performance into the room. Sitting still while all this was going on was simply not an option.

Luxman L-509Z integrated amplifier review https://the-ear.net

I expected great things when I switched to one of my favourite jazz albums, the Paul Chambers Quartet’s Bass On Top,of which I have written much in other reviews. Through the L-509Z it was as good as I have ever heard it, sounding as if it was recorded last week not way back in July 1957. It was during this session that I had a play with tone controls on the amplifier, not because there was anything wrong with the sound without them but because the recording is so good it makes it easy to hear what the controls are doing. The changes are subtle but as the dials are moved it’s easy to hear the effect. Should you have recordings in your collection which to your ears are deficient in some part of the frequency spectrum you will be a be able to tame them using the controls. However, for me the voicing of the amplifier has been so well chosen that I never felt the need to move them at all.

During the review period I played all sorts of music through the Luxman, from solo piano and cello pieces in my classical music collection, through choral and opera, with stops at the classic rock, blues, jazz and electronica shelves. At no point did the Luxman fail to offer as beguiling a version as I have ever heard of those pieces.

Luxman L-509Z integrated amplifier review https://the-ear.net

Final thoughts

Although I was only able to enjoy the Luxman for a relatively brief time, it made a lasting impression on me. From the initial weight of it as I lifted it from its packaging, the exemplary build quality and finish through to the musical magic which it creates I was utterly blown away. This will be the yardstick by which all future visiting amplifiers will be measured here, and it will take something really extraordinary to replace the L-509Z in my affections. The UK price of around £11,000 may seem a little rich for many, but if you have the budget and are in the market I urge you to audition it, preferably at home and with your own loudspeakers. This is a very fine amplifier indeed.

Specifications:

Type: Integrated stereo amplifier with phono stage
Analogue inputs: 4x RCA, 2x XLR, power amp in- RCA
Phono input: MM, MC-H, MC-L
Digital inputs: N/A
Analogue outputs: 2x pre-out RCA
Bluetooth: N/A
Headphone output: 3.5m jack, 6.3mm jack
Speaker outputs: 2 pairs with 5-way binding posts
Power Output: 120W into 8 ohms; 220W into 4 ohms
Dimensions (HxWxD): 193 x 440 x 463mm
Weight: 29.4kg
Warranty: 3 years

Price when tested:
£10,999
Manufacturer Details:

Luxman Corporation
http://www.luxman.com

Type:

integrated amplifier

Author:

Chris Kelly

Distributor Details:

IAG UK
T +44(0)1480-447700
iaggroup.com

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