Luxman CL 350 (1972)

Forty-nine silicon transistors, a brushed brass faceplate, and a back panel so loaded with RCA jacks it looks like a patchbay. Luxman's first transistor control amp didn't hedge.

Overview

The CL 350 arrived in August 1972 at ¥79,000. It was Luxman's first control amplifier built around transistors rather than tubes. Luxman was a Japanese maker known for valve gear, and here it was going solid-state in its flagship preamp line with a parts count that borders on the obsessive. Inside are forty-nine silicon transistors and eight diodes, in a chassis 476 mm wide, 182 mm tall and 244 mm deep. The pull-out faceplate is brass, the enclosure is solid metal, and the toggle switches are arranged vertically.

The topology is where the CL 350 earns its keep. Each input terminal gets its own dedicated amplifier stage, and source selection happens only on the output side of the circuit. That's an unusual arrangement, and the payoff is real: it simplifies the wiring on the input side and reduces the adverse effects of shield wires and switching noise.

Frequency response is rated at 10 Hz to 50 kHz within -1 dB, and total harmonic distortion is quoted at 0.03% or less at 1 V output. The pre-out impedance is 100 Ω, low enough to drive long interconnects or the matching M150 power amplifier without drama. Rated output voltage is 1 V, with a maximum of 7 V at 0.3% distortion. That gives headroom when the source material has wide dynamic swings.

Key Features

Three-Stage Direct-Coupled Equalizer with Push-Pull Output

The phono stage is a three-stage direct-coupled equalizer that combines PNP and NPN transistor types. The third stage runs push-pull for improved linearity and power efficiency. Luxman used ultra-low noise PNP silicon transistors throughout to keep the noise floor down. RIAA equalization is accurate to within ±0.3 dB from 30 Hz to 15 kHz, a tight tolerance for 1972. Signal-to-noise on the phono inputs is rated at 63 dB or more, while the aux and tape inputs manage 80 dB or more. The mic input is the weak link at 59 dB, but that's typical for the era and rarely the input anyone cares about.

Dual Phono Inputs with Impedance Switching and MC Transformer Support

Phono 1 offers switchable input impedance of 100 Ω, 50 Ω or 30 kΩ, so it can match a wide range of moving-magnet cartridges without external loading plugs. Phono 2 is set at 50 kΩ but supports an MC step-up transformer. There are slots on the back panel for Luxman's own 6421 S transformers, which means low-output moving-coil carts can be run directly without a separate head amp. Input sensitivity for both phono inputs is 2 mV, and the phono stage handles input voltages up to 300 mV or more before overload. MM/MC selection is on the front panel, with the impedance options on the rear.

LUX System NF Tone Control with Selectable Bending Points

The tone controls aren't the usual fixed-shelf afterthought. Luxman's LUX System NF design uses bending point switching. Low-frequency turnover is selectable at 150 Hz, 300 Hz or 600 Hz, and high-frequency turnover at 1.5 kHz, 3 kHz or 6 kHz. A defeat switch takes the whole network out of the signal path. A separate low-frequency trimmer adjusts the 150-300 Hz range, and it sits after the equalizer stage so it doesn't affect what goes to the tape outputs. The high- and low-cut filters each offer two cutoff frequencies: 25 Hz or 60 Hz on the low end, 7 kHz or 12 kHz on the high end.

Flexible Input Complement and Output Architecture

The back panel is unusual for a preamp of this vintage, loaded with RCA connectors. Inputs are Phono 1, Phono 2, Aux 1, Aux 2, Aux 3, Tape 1 and Tape 2. There is a DIN input/output connector for the first tape monitor channel and large jacks for the microphone input. Aux 1 and Aux 3 have level controls, handy for matching sources with different output levels. There are two outputs to power amplifiers, and the unit supports dubbing between the two tape decks. A -15 dB attenuator switch drops the output level when needed. The headphone output is on the front panel, driven by a fully direct-coupled complementary circuit with an output capacitor.

Chassis Finishes and Matching System

The CL 350 was available in Shiraki and Rosewood finishes, designed to visually match the M150 power amplifier. The M150 was the intended companion, and the two were frequently sold together. Luxman's own documentation and later sources also identify the M1600 as a compatible partner, and some listings describe the CL 350 as the "ultimate partner" of the M1600. Original documentation notes the M150 was eventually discontinued and replaced by the M1600, so both pairings make sense depending on when the CL 350 was purchased.

Historical Context

The CL 350 was released in August 1972 and was Luxman's move into solid-state control amplification. The company had built its reputation on tube gear, and going transistor for its first control amp was a deliberate choice. The ¥79,000 price was serious money in 1972 Japan. This was positioned as a high-end component, not an entry-level piece.

Production years are murky. The release date is firmly August 1972, but sources disagree on when production ended: one reference cites 1974-78, another suggests 1973-1979. The CL 350 stayed in the catalog for several years and was sold alongside both the M150 and later the M1600. The M150 was discontinued at some point during that run and replaced by the M1600, so late-production CL 350s were likely paired with the newer power amp.

Collectibility & Value

The CL 350 shows up on the used market with some regularity. Prices vary widely depending on condition and whether the unit has been serviced. Fully recapped examples have sold in the $1,400 - $1,500 range - one unit listing at $1,401, another at $1,514 (the latter described as "fully recapped with nichicons"). Complete systems command more: a CL 350 paired with an M150 sold for $3,321, and a CL 350 with an M1600 listed at €2,480.

Listings mention "minimal wear on the wood case" and "fully recapped" as selling points. So many listings emphasize recapping that original electrolytics are probably a concern. The fact sheet doesn't document specific failure points or common problems, so buyers should assume standard vintage maintenance applies. Owner's manuals, service manuals and a review are available through vintage audio documentation sites.

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