The first time I saw a JVC UX-1 it was pictured on the side of a bus. The image was part of an ad that carried the simple message 'All features, Great, and Small'. And this turned out to be true, for the UX-1 micro system had every function imaginable, sounded like 'proper' hi-fi and was tiny.

The miniaturisation of hi-fi equipment has been covered in these pages before, models such as the Sony TA-88 and ST-88 [HFN Apr '12], Aurex Micro System 15 [HFN Apr '16], Technics SL-10 [HFN Apr '19] and Sony D-88 [HFN Jul '16] all demonstrating that diminutive equipment could still deliver decent sound quality. The UX-1 probably represented the limit of what was possible, its dimensions dictated as much by the formats it played as by the size of the mechanisms needed to achieve this.

Two-Party System
The UX-1 was the first of a new generation of micro systems. Introduced in 1991, it was soon imitated across the industry. Many, if not all, of the copies were of inferior quality or less well specified, but most of the big players had a go. Since playing records was no longer a priority, the width of the UX-1 was little more than the diameter of a CD or the length of a cassette. There had, of course, been radio/cassette/ CD portables before, and some of them even used detachable loudspeakers, but what made the UX-1 special was that it was built from the start as a hi-fi system. This meant no compromises had been made with regards to weight reduction or battery operation.

'Digital brilliance for on the go' – this German flyer promoted the UX-1's compact size and extensive feature set, though it still required an AC mains connection!

The main part of the system was divided into two units, carefully styled so that they could either be stacked on top of each other or placed side by side – a property that defined this new genre of equipment. The complete UX-1 package consisted of five items: the UX-RL1 CD/tuner unit, UX-RA1 cassette deck/amplifier unit, a pair of UX-B1001 speakers and the RM-RX1001 infra-red remote control. It was not intended to be a budget model so everything (bar the loudspeakers) was produced in JVC's top-tier factories in Japan.

Stack Machine
The UX-RA1 contained the power supply for the whole unit, the power amp and the cassette deck. The UX-RL1 housed the complete CD player, the tuner and preamp, plus a microprocessor controlled clock/timer. Inside, both units were stacked with multiple, densely packed PCBs, JVC's experience with portable video products providing the necessary miniature assembly techniques.

What was perhaps astonishing was how much JVC had packed in. The CD player had a motorised lid that could even be operated from the remote control. It was fully programmable and could make synchronised recordings onto a cassette. The tuner covered the FM and MW bands, could store 30 preset stations and had a PLL (phase-locked loop) stereo decoder. The timer could be used to start any source at any time and also make timed recordings from the radio station presets. Meanwhile, the preamp offered a motorised volume knob along with proper bass and treble controls. An auxiliary line level source could also be accommodated.

Pictured here with the system's two units placed side by side, the UX-1 met every need of the keen listener in the early 90s

As for the quality of the cassette section, this put many full-sized decks to shame. It was built around a three-motor, full-logic drive that offered track search facilities and auto reverse using a rotating head platform. The recording and replay electronics even had the necessary service adjustments for full tape calibration, should the owner wish to optimise the machine for a particular brand of tape.

Let's Get Active
As for the power amp, it was IC-based and produced a claimed 11-23.5W per channel. This, and the substantial mains transformer which powered it, were shoehorned into the back of the UX-RA1. Compared to the sophistication of the main units, the speakers, which were made in Malaysia, were perhaps a little unremarkable. Each contained a 12cm long-throw woofer and a 5cm cone tweeter. The cabinets were ported to provide a little extra bass and could be used either standing up or laid down on one side.

Bass enhancement technologies were all the rage in the early 1990s, Sony's 'Mega Bass' being the most widely recognised. The UX-1 included JVC's 'Active Hyper Bass' mode, which was engaged using a push-button on the front of the system and worked in much the same way as the Sony implementation, the aim being to produce a bass lift at low volume levels that diminished as the music became louder. In previous generations of equipment this had been achieved with tapped volume controls linked to extra filters and the once familiar 'Loudness' button.

The units could also be stacked, as seen here. Arranged like this, the UX-1 is exactly the same height as its matching loudspeakers

The trouble with this arrangement was that the depth of the effect was linked to the mechanical position of the control, not the actual signal level or its content. Both Mega Bass and Active Hyper Bass made electronic measurements of the signal as it passed through the amp and boosted the bass accordingly. As well as leading to a more pleasant effect, this also preserved the power amplifier's headroom with the result that unnecessary distortion could be avoided.

Still Surprises
On its release in 1991 the UX-1 stood alone in the JVC catalogue. The following year saw the UX-A3 and UX-A5 micro systems launched, the former a budget version of the UX-1 with mechanical cassette controls and less power, the latter a more comprehensive model that offered more features but which had been simplified inside so as to be easier to produce. After these came the flood; it seemed like everyone was making micro hi-fi. Even B&O's Beosound Century was essentially a reworking of the JVC UX-1 concept.

Today the UX-1 still surprises with how small it really is. It is also unusually solid, feeling well engineered and properly built. The two units are joined with a thick ribbon cable just long enough to allow side-by-side placement, though it doesn't stretch very far. There are lots of controls, but the regularly used ones are sensibly large. Programming the timer proved to be a baffling experience, but it can be done. Auto reverse means that up to two hours of recording time is available, so you need never miss BBC Radio 3's Sunday Morning concert again. The lower display (actually a bit of a cheat as it's one big LCD panel inside) has a 'power meter'-type readout, but this is of little practical use as it shows only the level going into the preamp. It thus shows 'full scale' all of the time, and so can't be used to gauge how much volume you have left to play with. Even the cassette deck doesn't need it as the recording level is set automatically.

Tim Listens
Auditioned as a whole I found that all three sources gave a broadly similar sound. I've heard better CD players and much worse cassette decks (this one is unusually good), while the tuner seemed able to pick up noise-free stereo reception on FM with nothing more than a short length of wire poked into the aerial socket.

Removing the casing shows the CD/tuner section – an impressive feat of packaging based around four layers of printed circuits

It is the overall sound of this tiny combination that intrigues the most as it gets right down to the roots of what I think vintage hi-fi is all about. Obviously, small ported cabinets and cone tweeters are never going to produce state-of-the-art performance and the speakers are by far this system's weakest link, but the sound they deliver has an authentic quality that makes them worth persisting with. Overall, the UX-1 package has a dry and well controlled presentation that's slightly sucked out in the midband and a little papery and soft at the top. Switching in the bass boost adds a bouncy, chewy bottom end to the proceedings, which integrates surprisingly well, the operating points of the circuit seemingly being well chosen and carefully matched to the loudspeakers.

Serious listeners may turn their noses up at this, but this sound was as much a part of the early '90s music scene as glow sticks and outdoor raves. In short, it takes you back there, which is something only the best and most appealing vintage hi-fi does.

Compared to a full-sized system carefully setup in a well planned room, the UX-1 sounds obviously deficient in terms of clarity, focus and scale. However, when used at close quarters in a smaller space it makes a lot of sense. If you want to turn a box-room into an imaginary concert hall then this is a great way to do it. I was impressed by the way REM's 'Nightswimming' [Automatic For The People; WB 9362-45055-2] retained much of its dark and melancholic atmosphere when played through the JVC ensemble. Small units and portables can often play the basics of a tune but fail to communicate the emotion behind it, but the UX-1 is well above this level.

Perhaps even more impressive is the tape/power amplifier section, which houses the cassette mechanism, mains transformer and yet more electronics in close proximity

String Theory
It was a combination of bass warmth (the next best thing to true extension, something which isn't really practical with a unit of this size) and a reasonable ability to convey upper midrange textures which I think made the difference. In particular, the string section on the REM track sounded surprisingly convincing as a result, although I've heard other systems portray the woodwind sections with a better sense of creamy richness. Those who know the album will recognise this as one of the later tracks; I found that the little JVC UX-1 is one of those fatigue-free systems on which one starts listening to the beginning of an album and ends up enjoying the entire set, even if that was not the original intention.

Up All Night
The tuner was an addictive listen too. Even with a basic antenna, BBC Radio 3 (90.3MHz) provided clean stereo reception with a good sense of depth and space and I made a regular appointment with the Night Tracks programme while auditioning the UX-1. Careful positioning of the loudspeakers made it almost possible to replicate the immersive experience this broadcast's eclectic choice of material can generate when heard through full-sized equipment.

Rear view shows the umbilical ribbon cable that joins the two units, the auxiliary input and the AM loop antenna. The loudspeaker terminals are spring-clips

Is the JVC UX-1 a giant killer in the same way that the Aurex Micro System 15 was in its time? No, it doesn't come anywhere close, but I suspect that it was never intended to. It is a match for the bulk of modern alternatives though, whether they be speaker docks or other single-piece systems. It's perhaps more useful too given that it is able to play a wider variety of formats, isn't tied to a smartphone or a subscription service and can record. What's more, it's also an important part of audio history in that it can lay claim to having been widely imitated.

Buying Secondhand
There are still plenty of UX-1s in circulation and none are particularly expensive, so buy only the best. The most fragile part is the power output IC. This can be damaged if a whisker of wire shorts out the speaker terminals. Other common failures are the bulb behind the LCD panel and the belt for the CD door, neither of which are difficult to sort out.

JVC's RM-RX1001 handset includes tape and CD transport controls, AM/FM tuning, volume, direct track access and Aux in selection

As the CD player will have done the lion's share of the work be on the lookout for worn optical blocks. The JVC 'Optima' laser used is available as a pattern part but these vary in quality – you may need to try several before finding one that is satisfactory.

The cassette section is durable – unlike some it doesn't rely on the capstan motor and belt to shift the mechanism since it has its own motor and geared drive. Poor speed stability points to a worn belt or pinch rollers, but working in the tiny mechanism is not for beginners.

Hi-Fi News Verdict
Not only is the JVC UX-1 a serious design laid out to proper audio engineering principles but few really small systems are as versatile or as capable. True, it's probably more of a collector's piece for audio historians than a unit you'd buy for sound quality reasons alone, but it does pretty well all the same. Is it hi-fi? Just. Is it fun? Undoubtedly. Oh, and buy one with the speakers, even if you do not intend to use them.

JVC UX-1 micro system Lab Report

Tested via its headphone output, and set to 2V/0dBFs, the UX-1's CD section may offer swift loading and track access but the audio performance is rather limited by the 14-bit Toshiba TD6710AF DAC and (analogue) minimum phase filter. The A-wtd S/N is just 81dB, low-level linearity is already –1dB adrift by –88dBFs while digital jitter – mainly data-induced in nature – is ~900psec. The frequency response is flat to within ±0.5dB from 100Hz-20kHz but shows a low bass roll-off amounting to –14dB/20Hz that carries through to the main amplifier outputs. JVC has included an 'Active Hyper Bass' feature that applies a +13.3dB boost at 50Hz but the response still remains –14dB down at 20Hz. While this rolled-off bass seems extreme by modern standards, it's less so when we consider the compact dimensions of the partnering UX-B1001 loudspeakers. Distortion, meanwhile, is relatively high at 0.3%/20Hz, 0.14%/1kHz and 0.9%/20kHz at maximum digital levels but reaches a minimum of 0.025% at –20dBFs [see Graph 2, below].

The partnering amplifier is rated at 2x11W/4ohm, albeit at a rather alarming 10% THD... Relaxing our standard 1% THD limit to 2% allows the UX-1 to squeeze out 2x6.5W/8ohm and 2x9W/4ohm, while there's sufficient 'headroom', and a maximum 2.9A current reserve, to accommodate 9W, 14.5W, 17W and 7W into 8, 4, 2 and 1ohm loads at up to 5% THD, respectively. I've already noted the amplifier's LF roll-off where distortion also climbs to a huge 33% (re. 0dBW/20Hz) before settling out at 0.028-0.24% from 100Hz-20kHz (re. 0dBW). Otherwise, overall gain is +23.7dB and the A-wtd S/N is only slightly below average at 83.1dB (re. 0dBW). PM

Dynamic power output vs. distortion up to 5% THD into 8ohm (black trace), 4ohm (red), 2ohm (cyan) and 1ohm (green) speaker loads. Max current is 2.9A

Distortion versus digital (CD) level over a 120dB range (1kHz, black; 20kHz, blue)

• Power output (<2% THD, 8/4ohm) 6.5W / 9W
• Dynamic power (<5% THD, 8/4/2/1ohm) 9W / 14.5W / 17W / 7W
• Output imp. (20Hz–20kHz/100kHz) 1.35–0.39ohm / 0.59ohm
• Freq. resp. (20Hz–20kHz/100kHz, 0dBW) –13.8dB to –1.2dB/–11.9dB
• Digital jitter (CD) 900psec
• A-wtd S/N ratio (CD/Amp) 81.1dB (0dBFs)/83.1dB (0dBW)
• Distortion (CD, 0dBFs/Amp, 0dBW) 0.14-0.90% / 33-0.028%
• Power consumption (Idle/2x6W output) 9W / 28W
• Dimensions (WHD) / Weight 458x258x222mm / 9.1kg 

Review: Tim Jarman, Lab: Paul Miller

Source: www.hifinews.com