Stationary machines like hollow chisel mortises and slot mortises occupy large amount of floor space in your shop, are expensive to purchase, require a lot of setup and maintenance, and force you to bring the material to the tool. Festool has taken the revolutionary concept of the Domino joiner and made it larger, the Domino XL Joiner. The Domino XL offers a more elegant solution to the challenge of large scale joinery. Amazingly simple to use, fast and accurate. The Domino XL now complements the capabilities of the original Domino DF 500, with a maximum tenon size of about five and a half -Inch in length (140 mm). No job is too big for the Domino XL. With an expanded range of thicker, longer tenons, you will quickly and precisely join massive slabs, doors and gates, or construct the most durable of tables and beds. With the Domino XL, you’ve got a system light enough and nimble enough for use anywhere in the shop or the jobsite. When the work piece is too large to come to the machine, this makes all the difference. Precision placement of solid hardwood tenons guarantees not only a perfect fit, but a finished product that will last for generations. What's in the box? XL D12 cutter, Plug-it Power Cord, Support Bracket, Wrench and T Loc Systainer Sys 5.
Probably the most remembered " Jubilee " or " Anniversary " series.
Yamaha spared no expense for the Centennial Series and could do so : this was before the 1987 crash and subsequent 1990s gradual retreat of all japanese brands toward the mid-end and low-end segments of the market.
The CX-10000 is a monster, a real monster with everything tripled - the chassis, the IC s, the possibilities, the VCAs and... the rarity.
The CX was highly reviewed in Japan back then, with a dedicated " Exciting Component " section in Stereo Sound. In other words : top of the pops and crème de la crème.
At least very exciting because DSP was a novelty.
Sound-processing-wise, the CX-10000 is divided in two : a digital parametric EQ plus associated side functions and a Digital Sound Field Processor ; both parts have their own D/A converters: Hi-Bit Yamaha for the DSP and Burr-Brown PCM-56P for the EQ part.
The other IC s used are exclusively Yamaha's :
3x YM3818 for DSP
3x YM3619 for 4fs digital filter (225th + 41st FIR)
1x YM3623 for digital i/o
2x YM3608 for DEQ, low/high filters & slopes
3x YM3901C for 16bit/48 Khz a/d
2x YM3020 for 16bit/48 Khz a/d
1x YM3615 for 18bit FS/H d/a
1x YM3023 for 18bit FS/H d/a.
The 3-band parametric EQ handles 4-step Q (0,7 / 1,4 / 3 / 6) while continuously variable low and high filters can see their slopes set at 6 , 12 or 18dB/octave . All this per channel, of course !
D/A is arranged according to Yamaha's Hi-Bit fashion. Output opamps are JRC 5532D .
Two transformers for the left and right analog channels and a third one for all things digital ; the six boxes (à la Accuphase or Sony TA-ER1 ) hold the VCA and LPF/HPF boards while the one at the bottom of the main board shields the A/D section.
The bottom plate is made of 5 mm thick steel ; gold-plated terminals ( 53 in toto !) are present. No S-Video plugs, though - this is 1987 !
Another touch to note is the balance ring which is exactly like that of Yamaha's 1st CD player :)
Made to feed the MX-10000 Hyperbolic Conversion Class A powerhouse.