The History

Galactron's journey from the beginning to today

How our adventure began

s in all businesses of the past worthy of mention , even in the story of the genesis Galactron history and legend mingle , creating a fascinating mix of truth and fiction. History tells us that it all began on a cold night in January ( it was the year 1966) , when you’re college hopefuls , gathered around a table , over which towered a huge bottlae of whiskey , to decide how to baptize the small company that would produce the amplifiers created by their team. Bernardini , at the head of the unusual team formed by Berardi , Finocchiaro , Edward Arnold , Lojodice and Paw (as he called our heroes ) was looking for something that would evoke the future , progress : so, there was oriented names such as Galaxy or Electron. However , no definition convinced them fully , until two o’clock at night , Paw, now almost completely overshadowed by alcohol and sleep, he had the brilliant “… and why not Galactron ? ” . There was a scream and Lojodice , on the spot, created the brand .

Thus began one of the most prolific Italian hi-fi adventures : in a market just starting out, plagued by an absolute unpreparedness technical and commercial (not even exist the magazines !) , The Galactron was preparing to embody the dream future of every audiophile .

The birth of the first products : CC50 and PA25

In a small local street Mordini , in Rome, he began to produce his first hearing , the CC50 and PA25 , a mono preamp and power amp of which only 50 examples were built . However, it was not easy to enter the circuit of retailers , blinded dall’esterofilia and convinced that the only names on which was worth the risk were those of Harman Kardon , Marantz , Mc Intosh . Yet, for the time, Galactron accomplishments were definitely innovative : the use of silicon transistors , compliance with MIL and, above all , the idea that an amplifier should be an object constructed according to the needs of the user, with many inputs and a switch of the same equalization, projecting these products in a future unthinkable then for the short-sighted mentality of insiders.

So , to make ends meet , members Galactron were forced to do a bit ‘ of everything from the production of small hi-fi systems for the furniture factories up to the implementation of traffic light systems transistorized

( the famous DITRAC , Digital Traffic Controller) .

The golden years: 197

1975 was the year of management success: the Hi -Fi grew exponentially, but Galactron was able to resist the temptation to make a commercial success , limiting output to 24 pieces a day and focusing all his cards on the quality . The ’75 also saw the birth of a second integrated amplifier , the MK- 120 , which reproduced the aesthetics and functionality of the MK -16 + MK- 160, but was positioned at a level slightly lower market. The moment of maximum splendor touched in ’76 , however, he saw happen events that caused the rapid collapse of the shining meteor Galactron : Aris Bernardini , Director General and CEO since 1966 , outvoted on the development strategy to be followed in later years, he abandoned the ‘ company giving its shares before Galactron began the work of rehabilitation and expansion determined using the funds of the Cassa del Mezzogiorno , shortly after , Dr. Strampelli , the majority shareholder , passed away suddenly and ran the financial fortunes of the industry, remained already orphaned of her spiritual father and guide ( Bernardini ) and the designer ( Lojodice ) that had been able to give shape to ideas Galactron . In 1980 and ceased all production in 1984 was finally decreed the company out of business .

In the meantime , he had seen the light 1’MK2 , an integrated stereo 25 + 25 Watt , a fusion of the two previous models with a look created by Gianmaria Lojodice . It was a device traits markedly original : it was completely transistor and , thanks to its ” features” , was able to have , as part of the system , a function almost ” creative .” Thanks to this new trump card , the name Galactron began to penetrate in some shops in Milan , including Go is worth mentioning the memories of Via Montenapoleone and Ielli . The MK2 was produced until 1969 and were made ​​around 700 . The real success , however, came with the MK -1O , a truly revolutionary device , which united in himself all the audiophiles then they wanted but they could not imagine condensed into a single amplifier , a mixer to five inputs with possibility of fade, inputs adaptable with plug-in boards , monitoring tools input , tone controls to split ups and downs. The year was 1969, and the strong ‘ recklessness of youth , our heroes are put under the arm MK- I0 and began to contact foreign distributors , as long as a test carried out by the German magazine Hi-Fi stéréophonie , a sacred text for European audiophiles then ( in Italy there was still no specialist publication ), marked the success definitivodi Galactron .

In 1971 , on the occasion of the first edition of the SIM , they proposed two equipment intended to remain the dream of a generation of audiophile preamplifier MK- 16 and MK -160 final . Again, Galactron anticipated time materializing the wildest fantasies of fans of Hi-Fi. The MK -16 resumed the concepts presented by MK- I0 extending , implementing a ten-band equalizer , a variable loudness proportionally controlled by the volume knob and a removable tray that allowed the insertion of a quadraphonic matrix decoder . The finish was a four-channel , but it offered the possibility of working in stereo bridging two at the final stages .

E ‘duty , at this point, emphasizing the crucial role supported by the newly formed Italian printing Hi-Fi in the process of ” myth ” of the image Galactron : SOUND before, Stereoplay shortly after , even the venerable and prim DISCO ( … who remember that? ) poured rivers of love and support on the small Roman company , making her dream and loved by an entire generation of audiophiles. Paradoxically, even the detail: love-hate relationship that was created with that peculiar character by the name of Marino Mariani and which manifested itself through its infamous magazine audiovision , contributed so much to consolidate the image of the undisputed leader of the Galactron that historical moment . In the early ’70s, the press around the world spoke of Galactron , from the aforementioned Hi-Fi stéréophonie , the Revue du SON, by HiFi CHOICE to HIFI NEWS to finish the famous HIGH FIDELITY AUDIO and the sanctuary .

Product , marketing, passion , enthusiasm and support of the specialized press created the magical cocktail of success. In 1973 he was presented a second end stereo , MK- 100 , which supplemented the range and in the meantime , the aziendaera grown , occupying 350 square meters, more than a third of the production exported to over 21 markets and employed about sixty of people.


Rebirth of New Galactron

The first generation Galactron had shown an economic theory that seemed at that time forgot : the creation of “needs” in the users . The market grew measurably continuously reproducing itself by offering products standardized and devoid of personality and showing a flatness creative striking results that reached the market only taking advantage of the favorable economic wave , but does not embody the desires of the buyers. Galactron knew instead materializing dreams .

Today, even in a market reality completely different from the economic point of view , the type of supply is very similar to that of then , since very few brands offer products with really sound personality and aesthetics. The miracle , then , is repeatable !

The Galactron since 1966 , always working with great seriousness is so well established in the fields and HI -END HI – FI in Italy and in various countries around the world , founding its origins in professional experience achieved . The HiFi approach was strongly anomalous , we dare say opposite to that followed by the classic design philosophy , which defines ” objectively ” the quality of an audio amplifier from the result of a series of measures in what you want fine . Three decades of audiophilia have convinced the company that the correlation between the results of electrical measurements and the actual “quality” of an audio amplifier are rather modest . This does not at all mean that the measures are misleading or useless , but only that they do not tell you EVERYTHING about the sound quality !

From this considered conviction , in 1993 they started the job not by the circuit design but from experimental research bijective relationship between the sound quality of an amplifier and its electrical and construction characteristics . This attitude of “candid humility ” forced them to reject a priori any axiom that it had not been experimentally tested directly from the internal research team , according to a sort of cancellation of the past that has made it possible to overcome prejudices and false dogmas , but has forced designers to make a long and exhausting series of tests and urged the involvement of specialists in diverse fields , such as medical doctors ( otolaryngologists , neurologists , psychologists ) , in addition to requiring constant intervention and constructive specialists in electro- which was assigned the task of avoiding any solution of continuity between the amplifier and a speaker system , considering that these elements as a single component.

Once identified experimentally the ideal characteristics of an amplifier for the reproduction of music, the definition of the circuit is triggered by such reflections as a logical consequence.

The entire project is centered on electric hybrid module GSM 001 closely built “custom” from Galactron , which represents the entire range of audiophile amplifier , both in the preamp , which in the end of power, and of course in Integrated .

All circuits strictly comply with the conditions by comparison, identified as a result of psycho -acoustic experiments.

In 1994 he finally moved the production of Galactron with the new MK series in 2000 and then in 1997 with the Signature series . Even today, the MK series 2000, some news is very real.