Nad C 300 Brochure

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C300 Integrated Amplifier

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- 2 x 25W Continuous power (8 ohms) - 45W Dynamic power (8 ohms)
- 70W Dynamic power (4 ohms) - 90W Dynamic power (2 ohms)
- In excess of 40A peak current! 0 Large, Toroidal "Holmgren" transformer
- "Class A" discrete amp module driver stage
- Non-intrusive protection against short circuits, overheating and DC offset
0 All Discrete circuitry - Short signal path from input to output - All sockets Gold plated
- Remote control for Volume & Muting - Headphone socket 0 7 Line inputs,
including two tape inlouts - Tone control defeat switch

NAD has a formidable reputation when it comes to integrated amplifiers.
The NAD 5020, which is widely regarded as a milestone amplifier; the 510
with its unusual circuit topology offering performance at a price not
deemed possible and recently the all new C320, which is taking the world
by storm, are some examples underscoring this reputation

The 0300 is Erik Edvardsens latest amplifier design, partly a continuation
of the C320 and a redevelopment of the 510. The C300s pre-amp circuit
topology is \irtually the same as that of the award-winning C320. Whereas
the 510 used a combination of MOS-FET and Bi-polar output stage, the
0500 uses an entirely MOS-PET output stage.

Although the C300 takes the place of the 510, it can't be viewed as a direct
replacement. The superior performance, remote control, component qual-
ity make it even better value-for-money than the 310 is, even if it's at a
slightly higher price-point.

Features:
The 0300 is remote controlled for the most important functions: Volume
and mute.

Flexibility is another NAD strong point. The C300 has 7 line inputs (includ-
ing 2 tape in/outputs with dubbing facility) so will not run out of inputs
easily The headphone socket will drive virtually any non-electrostatic
headphone.

It is fashionable to omit tone controls nowadays: However, provided that
the tone controls are properly designed, these can really be a useful tool to
make improvements to the overall sound. The C300 tone controls only
work at the frequency extremes leaving the critical mid-band essentially
unaltered. The tone control circuits can be completely bypassed by using
the tone defeat switch.