Yamaha CA-1000 III Integrated Amplifier
The Birth of Yamaha CA1000 III
Yamaha released the CA-700/500 and entered the component stereo market in 1972, and the next year began a completely different integrated amplifier lineup. This was the birth of the CA-1000 MK1, a classic representative Yamaha HiFi component that is still talked about today.
The seamlessly connected single-sheet aluminum front panel and a white wood cabinet (open-pore-finished prickly castor oil tree wood) modern style was created by the GK Design Group and its beauty was distinct from both the heavy wood grain style and the mechanical component style.
Of course the CA-1000 had more appeal than just its exterior. With features, performance, functions and high cost-performance, it overflowed with charm to steal the audiophiles heart: a power amp section with the world’s first Class A/B switchover that had a convenient switch that changed from low-distortion, priority-on-sound-quality Class A operation to high-power Class B operation, two huge 18,000 μF block aluminum electrolytic capacitors that blew away the competition, a phono equalizer boasting accuracy to within±0.2dB of the RIAA standard and a permissible MM input of 310mV, and a unique continuous loudness control.
With its audiophile insides and clean form, it would not be too much to say that this new Yamaha design swept over the industry overnight. The power amp’s output in class B operation was 70W + 70W (20Hz—20kHz, 0.1% THD, both channels driven) and in class A operation was 15W + 15W (same conditions). Only CA-1000 owners could enjoy both the delicate sound variations revealed by the operation mode change and the high heat radiation of class A operation (which they liked).
The CA-1000 pre-main amplifier has undergone its third evolution as the Mark III. The Yamaha CA-1000 lII was released in Japan market only in 1976, during the “Golden Era” of Japanese high-fidelity audio equipment
However, this iteration represents such significant advancements that it is more than just an upgrade—it’s a complete redesign. This transformation makes it justifiable to view the CA-1000III as a brand new product model in its own right rather than simply an improvement on its predecessors.
Here are some of Yamaha CA-1000III amplifier's design features:
- Switchable Class A/B Operation: Operates in Class B (Normal) mode or switchable to Class A. The amplifier features a first-stage transistor differential design with ultra-low distortion and a SEPP-compliant parallel push-pull configuration in the output stage.
- Equalizer Amplifier: The equalizer amplifier achieves an S/N ratio of 82 dB, employing Yamaha’s low-noise FET in the differential initial stage and a SEPP-compliant output stage. It accepts inputs of 310 mV or more with an RIAA deviation of 0.2 dB or less.
- Dedicated MC Head Amplifier: Incorporates a dedicated low-noise IC for moving coil (MC) cartridges, achieving the same high S/N ratio as the equalizer amplifier designed for MM cartridges. Conveniently switch between MM and MC cartridges from the front panel using the Phono Selector.
- NE-Type Tone Control Amplifier: Features ultra-low distortion with an NE-type tone control amplifier, first-stage FET differential, and a SEPP-compliant output stage.
- Independent Channel Peak Level Meters: Each channel has a wide-range, logarithmic scale peak level meter, displaying output power in watts (W/8Ω), REC OUT output in millivolts (mV), and a dB scale.
- High-Capacity Power Supply: Equipped with dual 18,000 µF capacitors and a high-capacity power transformer, ensuring stable and ample power delivery.
- Relay-Driven Protection Circuit: Uses a relay-based circuit for reliable protection.
- High S/N Ratio via Precision Volume Control: Achieved with 4 consecutive volume controls.
- Comprehensive Circuitry: Includes an array of integrated circuits for versatile functionality.
- Ergonomic Design and Premium Craftsmanship: Built with a stately cabinet crafted using Yamaha’s unique woodworking techniques, prioritizing ease of use and aesthetic appeal.
Power Output
- Class B 8Ω: 100W + 100W (0.02% THD, 20Hz–20kHz)
- Class B 4Ω: 120W + 120W (0.02% THD, 20Hz–20kHz)
- Class A 8Ω: 20W + 20W (0.02% THD, 20Hz–20kHz)
Power Bandwidth
- Class B: 10Hz–50kHz (0.02% THD)
- Class A: 1Hz–70kHz (0.02% THD)
Damping Factor: 45 ~ 70 (1kHz, 8Ω)
Total Harmonic Distortion (THD)
- PHONO 1, 2 (MM, MC): 0.003% or lower at REC OUT (5V, 20Hz–20kHz)
- MC: 0.03% or lower at PRE OUT (3V, 20Hz–20kHz)
- Tuner, AUX, Tape: 0.005% or lower at PRE OUT (3V, 20Hz–20kHz)
- Speaker Output: 0.01% or lower at 50W, 8Ω, 20Hz–20kHz (Class B)
- Speaker Output: 0.005% or lower at 10W, 8Ω, 20Hz–20kHz (Class A)
- Line-Level Outputs: 0.005% or lower at 100W, 8Ω, Volume -20dB, 0.1W–100W
NOISE & DISTORTION: 0.1%, VOL -20dB, 0. IW ~ 100W /8Ω
DINAMIC RANGE: VOL -40dB, 4mW -100W/8Ω
Signal-to-Noise Ratio (S/N Ratio)
- PHONO 1, 2: 82dB (IHF A Network) -134dBm
- MC: 65dB (IHF A Network, Input 0Ω & Short circuit), -163dBm / 68dB (IHF A Network, Input 50Ω & Short circuit), -166dBm
- Tuner, AUX, Tape: 100dB (IHF A Network), -116dBm
- Main: 115dB (IHF A Network), -113dBm
Residual Noise: Less than 0.1mV
Input Sensitivity / Impedance
- PHONO 1: 2mV / 47k, 68K, 100KΩ
- PHONO 2: 2mV / 47kΩ
- MC: 50µV (0.5mv)/ 10Ω
- Tuner, AUX: 120mV / 50kΩ
- MAIN IN: 1V/25kΩ
Maximum Input (1kHz, 0.02% Distortion)
- PHONO 1: 310mv & below
- PHONO 2: 310mv & below
- PHONO MC: 7.5mv & below
- Tuner, AUX: 20V & below
Turnover Frequencies
- PHONO 1, 2, MC: 30Hz~ 15KHz(0 ± 0.2dB, RIAA deviation)
- TUNER -> PRE OUT: 15Hz ~ 100kHz (+0-10dB)
- Tuner -> SP OUT: 5hz ~ 50kHz (+0-10dB, 8Ω Load)
Tone Control
- BASS: Turnover 125Hz 500Hz (20Hz 土 10dB variable)
- Treble: Turnover 8kHz 2.5kHz (20kHz 土 10dB variable)
Filter Controls
- Subsonic Filter: 15Hz, 12dB/OCT
- High Filer: 10kHz, 12dB/OCT
Physical Dimensions
- Dimensions: 461 (W) x 360 (D) x 170 (H) mm
- Weight: 19kg
- Power Consumption: 260W
- AC Power: 100V, 50Hz–60Hz (Japan Domestic Model)
Note: A step-up or step-down transformer is required for use outside of Japan to ensure compatibility with the local AC voltage, depending on your country or city of residence.
Specifications and appearance are subject to change without notice.
“My dad has always loved that Yamaha gear and I'm only now starting to appreciate it. It cost him a fortune back in the day. I think it was around a months average salary for each piece in his little collection “
“The Yamaha CA-1000 was a quality amp - I had one in the 80's and with class A switching it was a sweet sounding amp”
stereonet.com
“These Yamaha's are for me without doubt belonging to the best class A amps I have ever heard…An interesting thing with the CA1000 is the main's input with a disconnect knob to bypass the complete pre-amp part. With a nice little tubed pre-amp, you’ll hear music as you never did before…”
“I have had my Yamaha CA 1000 since new in 1973 it is still working perfectly…it is like an old friend the sound is smooth and gives no fatigue after many hours of listening, these older amps can still sound great, proves how good they are.”
“I bought my Yamaha CA-1000 in about 1976, when I lived in Leeds, England. At the time, I did extensive listening and testing, with a variety of equipment. Easily, the Yamaha was the best. I still own it but don''t use it much as I have gone across to a Leak tube amp (Since I am using Klipsch horn speakers, which don''t require much driving. The Yamaha gives a sound very similar to a tube amp - maybe a fraction more analytical than the Leak and a fraction less "mellow". There is, nevertheless, no listening fatigue - which is more than I can say for a mass of modern amplifiers. This amp cost 400 pounds in about 1976/1977 (I can''t remember!). It was a huge amount then but well worth it.”
audioreview.com
Original Japanese
ヤマハ CA-1000III
Posted by audio sharing on 1976年9月21日
Leave a comment (0)
Go to comments
岩崎千明
音楽専科 10月号（1976年9月発行）
「YOUNG AUDIO 新製品テスト」よりヤマハのプリメインアンプＣＡ１０００が、マークIIIとなって２度目の改良を受けた。もっとも、この改良は、単に改良というだけでなくて、まったく新らしく設計をしなおしたと思われるくらいに変わってしまって、もはや、改良というよりも、新型の新製品といってよかろ
ＣＡ１０００IIIは、ヤマハの高級イメージにささえられたオーディオ製品の中核をなすプリメインアンプの中で、最高のランクに地位する機種だ。その品質に関しては、デビュー当時よりもっとも高いクウォリティと、品位のある外観と、さらに、質の高いサウンドとで日本の市場におけるこの価格帯の中でもっとも優れた存在であった。オーディオアンプとしてその完成度は世界の超一流品にも匹敵するといわれてきた。デビュー以来、すでに４年目になろうとした今日、そのすべての特徴は、今も少しも色あせることはない。しかし、オーディオ志向の需要者層が大きく変わった。10万を越えるというこうした高級アンプを買おうというと若がえって、20歳をはるかに切ってしまうほどだ。
こうした使用者の変革に伴なう使い方、デザイン感覚、さらにはサウンドへの好み、といった大きな条件を踏まえて、ヤマハにとっての「不朽の名作」ＣＡ１０００を再度改めたわけだ。マークIIへの変革は、内部の改良に伴なう性能向上だけであったが、今度はそうした意味でも新製品ともいえるほどの大向上ぶりである。
まず、もっとも目立つのは、ふたつのレベルメーターで、これは、最近の高級アンプの新しい動向である。主に、録音マニア達の好みに対応したものと思える。レコーディング・アウト・セレクターというつまみが、新しく付けられて、いわゆるテープモニター・スイッチの大巾な拡大用途に対応している。このスイッチの２つのポジションは、１→２、２→１のテープコピーとなっている。インプットセレクターには、テープ１、テープ２の２つのポジションが独立して付いている。このように単にテープモニター・スイッチを付ける今までのアンプに対してこのアンプのテープ録音への配慮は、不慣れな、初心者にも使いわけが、容易になるように心を配ったものといえる。
今までにない新しい「フォノ・セレクター」は、カートリッジの種類とか銘柄によって、もっとも理想的使用状態になるようカートリッジの負荷抵抗を選べるようになっている。さらに、特出すべき大きなボイントだが、ＭＣ型カートリッジのためのヘッドアンプも内蔵されており、トランスとか、アダプターアンプを加えることなく、そのままフォノ１につないで使用することができ得る。
もともとこうしたＭＣ型カートリッジ用のヘッドアンプは、ノイズの点でたいへん難かしくて、高価にならざるをえない。だから、プリメインアンプの中に収めるということは、技術的にも価格的にも、とても難かしいことなのである。ＣＡ１０００の伝統的特徴であるＡクラス切換によるパワーアンプのＡ級動作は、タイプIIIになって、さらにパワーアップされて、用途を拡げた。普通のブックシェルフでも、夜なら充分な音量で楽しむことも、やりやすくなった。
さて、ＣＡ１０００IIIは、この改良によって、音がいかに変わったかは、大いに気になるに違いない。ひと言でいうならば、格段に明るく、力強く、特に、ボーカルとソロとが非常にくっきりと、聴ける。Yamaha CA-1000III (English translation)
Posted by audio sharing on September 21, 1976
Chiaki Iwasaki
Music Specialist October issue (published in September 1976)
From "YOUNG AUDIO New Product Test"
Yamaha's pre-main amplifier CA1000 has been improved for the second time as the Mark III. However, this improvement has changed so much that it is not only an improvement, but also a completely new design, so it can no longer be called a new product rather than an improvement.
Revised V1 - The CA-1000 pre-main amplifier from Yamaha has undergone its second evolution as the Mark III. However, this iteration represents such significant advancements that it is more than just an upgrade—it’s a complete redesign. This transformation makes it justifiable to view the CA-1000III as a brand new product model in its own right rather than simply an improvement on its predecessors.
The CA1000III is the highest-ranked model among the pre-main amplifiers that are the core of audio products supported by Yamaha's high-end image. In terms of quality, it was the best presence in this price range in the Japanese market with higher quality, more elegant appearance, and high-quality sound than at the time of its debut. As an audio amplifier, it has been said that its perfection is comparable to the world's top-class products. Today, it's already been 4 years since its debut, and all its features will not fade at all now. However, the audience of audio-oriented consumers has changed significantly. If you want to buy these high-end amplifiers that are over 100,000, you will be so young that you will be far younger than 20 years old.
Based on the major conditions such as usage, design sense, and even preference for sound that accompany the transformation of these users, we have revised the "timeless masterpiece" CA1000 for Yamaha again. The transformation to Mark II was only a performance improvement with internal improvement, but this time it is a big improvement that can be said to be a new product in that sense.
First of all, the most prominent is the two level meters, which is a new trend of high-end amplifiers these days. It seems to mainly correspond to the preferences of recording enthusiasts. A knob called Recording Out Selector has been newly added to support the large expansion application of the so-called tape monitor switch. The two positions of this switch are tape copies of 1→2 and 2→1. The input selector has two positions, tape 1 and tape 2, independently. In this way, the consideration for the tape recording of this amplifier for the previous amplifier that simply attaches a tape monitor switch can be said to be careful to make it easy to use even for unfamiliar and beginners.
The new "phono selector" that has never been seen before allows you to choose the load resistance of the cartridge to be the most ideal state of use depending on the type and brand of the cartridge. In addition, although it is a huge point that should be emphasized, it also has a built-in head amplifier for MC type cartridges, and it can be used by connecting to phono 1 as it is without adding a transformer or adapter amplifier.
Originally, these head amplifiers for MC-type cartridges are very difficult in terms of noise and have to be expensive. That's why it's very difficult to fit in a pre-main amplifier, both technically and in terms of price. The Class A operation of the power amplifier by A-class switching, which is a traditional feature of the CA1000, became Type III, and was further powered up to expand its use. Even on an ordinary bookshelf, it has become easier to enjoy it at a sufficient volume at night.
Well, the CA1000III must be very concerned about how the sound has changed due to this improvement. In a word, it is much brighter and powerful, especially vocals and solos can be heard very clearly.
- End
This Yamaha CA-1000 III (Japan Domestic Model) has undergone a meticulous cleaning and restoration process, both inside and out, by our skilled local Japanese technicians. A complete overhaul was carried out, ensuring optimal performance. While there are minor vintage wear marks on the wood casing, the front faceplate remains in mint condition.
The amplifier has been exceptionally well cared for by its original Japanese owner, who kept it in a smoke-free environment. Since its return to us at Vintage Japan HiFi, it has undergone a thorough week of testing.
It sounds truly exceptional! This amplifier is performing at its original factory specifications, a testament to the skill and craftsmanship of our expert local Japanese technicians.
Condition Overview:
Cosmetic Condition: 9/10 – Excellent overall, with only minimal signs of age.
Performance: 10/10 – Operating at peak specifications, delivering stunning sound clarity and depth.
This Yamaha CA-1000 III is a pristine example of a vintage amplifier, a true rarity today. Finding one in such exceptional condition is becoming increasingly difficult. This is a keeper and a must-have for any serious audiophile or collector. Don’t miss out on the chance to own a piece of Yamaha's golden era of audio engineering.
Note:
Our overhaul service focuses on preserving the original sonic character of the amplifier. We only replace non-functioning electronic parts, ensuring each piece remains true to its factory specifications. Unlike the common practice in many US HiFi workshops, where all capacitors, transistors, and other components are replaced, our ex-Sansui engineers and technicians advise against this, as it changes the amplifier’s authentic sound profile. We honour this approach to maintenance and restoration. However, if you’re looking for more extensive "recapping," feel free to reach out by email for a personalized service quote.
All control knobs and switches have been professionally cleaned and lubricated. However, scratchy noise cannot always be completely eliminated and may reappear over time. This is an unavoidable characteristic of vintage Hi-Fi equipment due to age and component wear. It should not be considered a defect, but rather a natural sign of the unit’s history and originality.
Please refer to our disclaimer notes for further details.
If this occurs, gently rotate the relevant control knobs (volume or balance) back and forth several times before use. In many cases, this will significantly reduce or temporarily eliminate the noise.
Please visit our YouTube channel, vintagejapanhifi_real, to enjoy audio demos of our special HiFi equipment, including vintage classics like the Micro Seiki DD-5, Sansui AU-20000, Hitachi IA-1000, and Yamaha CA-1000III. These recordings capture each piece’s unique sound profile and performance, helping you experience their quality before making a purchase.
You can also follow us on Instagram at vintagejapanhifi_real for the latest updates, images, and insights into our curated selection of vintage Japanese audio gear.
For any vintage audio hifi equipment:
Please be aware that, given this vintage hifi equipment's age, certain switches and original parts are no longer in production. While we’ve thoroughly cleaned and lubricated any “gari gari” scratchy controls (as they’re called in Japan), it’s simply not possible to eliminate this characteristic entirely since volume knobs and switches cannot be disassembled.
We recommend regular servicing every 2 to 3 years, depending on the equipment, to keep this vintage hifi in peak condition. This advice applies to all vintage equipment—be cautious of sellers who claim "brand-new condition" or “better than original.”
Minor scratchy sounds in control knobs are typical for vintage gear and should not be seen as a defect but rather a natural sign of its history since it does not affect the actual performance or introduce noise into the audio signal source unless being operated.
If this occurs, gently rotate the relevant control knobs (volume, or balance) back and forth several times before use. In many cases, this will significantly reduce or temporarily eliminate the noise.
For optimal sound quality, we advise pairing this amplifier with high sensitivity speakers (88-92 db). If you need guidance on amplifier matching, feel free to reach out for assistance. If you need guidance on amplifier matching, feel free to reach out for assistance.
"Where audio heritage meets absolute trust”
Welcome to the ultimate destination for golden-era Japanese audio engineering. Buying premium Japan Domestic Market (JDM) hi-fi equipment online should be an exciting, seamless experience. Below, we answer our community's most frequent questions regarding voltage, restoration, shipping, and logistics to give you absolute peace of mind.
1. Restoration & Maintenance
- The Takumi Overhaul Process: Every restored component undergoes an exhaustive, archival-grade restoration by our elite Japanese Takumi technicians. This includes deep internal chassis detailing, advanced chemical treatment of all potentiometers and switches to permanently eliminate artifact noise, targeted replacement of aged or leaking capacitors, precision re-soldering of compromised micro-joints, and fresh installation of period-correct belts or bulbs. Circuitry is then meticulously re-biased to original factory specifications.
- The Endurance Bench Test: To guarantee absolute reliability before international transit, every restored unit undergoes a rigorous 24-hour stress test (operating 8 hours straight per day over 3 consecutive days) to monitor thermal stability, power delivery, and sonic purity.
- Authentic Japanese Components: We preserve the original sonic signature of your gear by utilizing premium, high-grade Japanese components—such as Nichicon, Elna, and Rubycon capacitors, and made-in-Japan transistors. To maintain absolute design integrity, certain discontinued vintage parts may be meticulously sourced from donor units of the exact same model.
2. Premium Shipping & Packaging
- Transparent Shipping Rates: Vintage components are exceptionally heavy (often weighing 20kg to over 40kg). Shipping fees are calculated accurately at checkout based on actual weight or volumetric size. Rates are tied directly to the live, official reference rates of our premium carriers (EMS, DHL, FedEx) and reflect current global carrier tariffs.
- Our Packing Standard: Every unit is engineered to survive cross-ocean journeys. We use heavy-duty, double-walled boxes and custom high-density foam molding. For turntables, heavy platters, counterweights, and headshells are completely removed and packed securely underneath the chassis to protect delicate spindles and tonearm bearings.
- Pre-Shipping Video Validation: As a mandatory final step in our workflow, every piece of equipment undergoes a meticulous, final in-house audio testing and functional bench test right before packing. We film this process and upload the high-fidelity video directly to a private Google Drive folder for your personal review before the unit departs. If any anomaly is detected, it is routed back to our workshop for final servicing at our own cost.
3. Voltage Requirements (JDM vs. International)
- The 100V Requirement: True JDM (Japan Domestic Market) audio equipment is engineered strictly for Japan’s native 100V power grid. If you live in the US (120V), Europe/UK (230V), or Australia (240V), plugging the unit directly into your wall will damage the delicate vintage circuitry.
- The Solution: Operating a 100V unit on a high-quality, isolated step-down transformer is incredibly simple, safe, and does not degrade sound quality. Our team can recommend or supply the exact wattage transformer required for your specific model to ensure perfect, lifelong operation.
4. Duties, Taxes, & Currency
- Customs and Import Taxes: International shipments are subject to the import laws, customs duties, and VAT of your destination country. These fees are the sole responsibility of the buyer and are collected by the courier upon delivery (DAP / Delivered At Place). We handle all export customs paperwork flawlessly on the Japanese side to ensure swift clearance. We do not offer DDP (Delivered Duty Paid).
- Multi-Currency Secure Checkout: Our storefront allows you to securely browse and checkout in multiple major global currencies using fully encrypted methods, including international credit cards, Apple Pay, Google Pay, and Alipay.
- Exclusive 3% Wise Discount: For maximum efficiency, we recommend utilizing Wise (Bank Transfers) for your investment. Clients opting for Wise receive an exclusive 3% privilege discount, which stacks directly on top of our ongoing 8% to 10% cross-border tariff mitigation discounts. Contact our team prior to checkout to have this applied to your invoice.
5. Workmanship Warranty & Returns
- 15-Day Workmanship Warranty: We back our elite restoration craftsmanship with a dedicated 15-day warranty. If you encounter any unexpected operational issues upon unboxing, simply notify us within 7 days of delivery. Should a component require technical attention, we will immediately collaborate with you on an efficient solution, which may involve remote diagnostics or coordinating and subsidizing support with a qualified, third-party vintage audio technician local to your area.
- 15-Day Return Window: To qualify for a return, the item must be in its exact received condition, packed securely in its original specialized materials, and pre-approved with an official Return Authorization (RA) number. Approved returns are subject to a restocking fee to cover the complex logistics of international re-importation.
For a complete, transparent breakdown of our terms, step-by-step claims instructions, and restocking details, please review our official FAQ page and different policies on Terms of Service, Return and Shipping.