Luxman L-509Z integrated amplifier

REVIEW
Chris Kelly
Mar 11, 2025

Luxman, as a company, is celebrating its centenary this year, which is an extraordinary achievement and surely warrants the use of the adjective ‘venerable’ to describe it. And it’s not difficult to see why this brand has such longevity – and is so well-loved and respected among audio enthusiasts worldwide – when it delivers products like the outstanding Luxman L-509Z integrated amplifier.

IAG (the International Audio Group, Ltd) has owned the Japanese brand since 2009. IAG also owns several highly regarded British brands, such as Mission, Wharfedale, and Quad. However, unlike many of these brands, the production of which moved to China in the late 1990s and early 2000s, the design and manufacture of Luxman remain based in Yokohama, Japan.

A short personal aside: My first experience with Luxman dates to 1981. A little more recently, I heard a predecessor to the L-509Z, the L-509fSE, when I worked in a high-end retail establishment in London about a decade ago. I thought it was delightful, but it did not fit into the owner’s long-term plans, so we did not take it on. The fact that this Luxman integrated amp was already well-established more than ten years ago shows the rarity of new models from the brand. This isn’t laziness; it’s because you don’t need to tamper with the classics. Regardless, when I heard this new model was coming into the UK, I metaphorically camped out on the distributor’s doorstep to get my review request in early.

Let’s Get Physical

It began with a courier groaning under the 30+kg weight of the very large box. I don’t do unboxing videos, but if I did, the viewer would have shared my astonishment to find the Luxman L-509Z encased in three cardboard boxes, like a Matryoshka doll. The packaging alone must weigh at least 3kg, but it is a harbinger of the company’s commitment to quality, which is still a hallmark of Luxman’s products.

I am used to lifting heavy audio equipment, but the Luxman L-509Z proved to be at the upper end of what my aged frame can manage. It is one of the best-built units that I have ever encountered. The build quality is beyond reproach. Having safely placed the unit on the shelf on my rack where my PrimaLuna EVO400 integrated valve amplifier usually resides, I could examine it in more detail. The finish on the silver casework was exquisite, and the visual impact from the front was beautiful. I love the retro look of the whole thing, particularly the pair of large VU meters that are proudly in the centre of the face plate and display in real time the output from the amplifier expressed in Decibels. Between them sits a pair of backlit seven-segment LEDs that show the current volume level, again in dB.

Rotary dial

On the left is a large rotary dial for source selection, and immediately below that is the master on/off switch. On the same line is a smaller button marked ‘Separate’, which allows the pre and power amplifiers to be operated independently. There is then a line of slim rotary controls. The phono stage is first. It has three positions to match most cartridges: moving magnet, high output moving coil, and moving coils with a low output. The second is for speaker selection, with click stops for two sets of loudspeakers, allowing the amp to drive A, B, A and B, and to turn the loudspeakers off altogether.

The next three are tone controls, allowing for boost or cut in Bass, Middle and Treble frequencies. Setting the dials to the centre removes these controls from the audio path. The last of the six dials is for adjusting balance. Beyond that, there are two more small buttons. The first sets Line Direct, and the second is Mute. Two headphone outputs are available for the popular jack sizes.

Vent holes

The top panel has no less than 14 vent holes on either side and shows off the beautiful finish of the enclosure. Moving around to the rear, the fit and finish remain exemplary, with all the sockets being solid. There is nothing flimsy here. Looking from the left, we find a pair of RAC sockets with an earthing terminal alongside for connection to a turntable, with a gap to four pairs of RCA inputs marked Line 1-4. In the next group are three RCA inputs, marked Pre-Out 1, Pre-Out 2 and Main In. Next are a pair of balanced XLR inputs, both of which have phase inversion switches, for those components wired back to front, as it were.

The last two inputs are for integration of the unit to a home automation system, should you wish to use it thus. The bottom half of the rear panel is home to two pairs of multi-way binding posts for connecting two pairs of loudspeakers should you so desire. These can be run separately or together, although in the latter case, care must be taken to ensure that the combined impedance is suitable for the amplifier. All this is set out in the accompanying Owner’s manual. There is the IEC input for mains connection, which does not have an accompanying on/off switch.

Even the underside of the L-509Z deserves mention, fitted as it is with cylindrical feet made of cast iron, which must be significant contributors to the overall weight of the machine. A quick word of appreciation for the remote control is required here. It is constructed of aluminium, although the battery door is slightly incongruous, being plastic. The remote allows selection of input, volume level and muting, and will also work with any Luxman disc player released since 1996.

Technology

You can go to Luxman’s excellent website and read about all the wonders within that elegant but substantial frame. Luxman call the design concept as ‘single chassis separates’, with both pre and power amplifier sections using their LIFES 1.0 (Luxman Integrated Feedback Engine System), which follows work initially done in 2021 for the brand’s flagship power amplifier, the M-10X. The power output figures quoted for the L-509Z are 120W per channel into 8 Ohms and 220W per channel into 4 Ohms. For this review, I used my Harbeth Compact 7 ESXD loudspeakers, which are 6 Ohms across their entire frequency spectrum, and they proved to be an excellent match for the Luxman.

Volume control is another fine piece of engineering that incorporates LECUA-EX (Luxman Electronically Controlled Ultimate Attenuator – Excellent eXperience). This allows the user 88 steps between 0dB and 87dB. The knob feels very well-weighted, but the remote control allows a very accurate volume setting too, and that was how it was used here after the initial set-up.

For the review, I connected my Linn Sondek LP12, which was rebuilt mainly using Tangerine Audio hardware components and whose Ittok arm is currently fitted (and will be for the foreseeable future) with the excellent Vertere Dark Sabre moving magnet cartridge, to the phono input. My Yamaha CD-S3000 was connected to the Line 1 RCA input and also served as the DAC for an AURALiC ARIES Mini streamer, which has been upgraded with various products from Network Acoustics, and for our television sound as well.

Listening To The L-509Z

As is my habit, I allowed the Luxman some time to settle into its new surroundings after setting it up. Streaming from Qobuz, I started off with Cara Dillon’s 2024 album Coming Home, to which I have been drawn regularly in the last few weeks. I was oblivious to this artist until one of her tracks was played at a British loudspeaker manufacturer whose production facility I visited. This Northern Irish singer/songwriter has one of the most beautiful voices I have heard and on this fine album she uses it to both sing and speak her deeply affecting lyrics, which are accompanied by sparse yet perfect instrumentation arranged by her husband Sam Lakeman. If that name rings a bell, he is the brother of Seth Lakeman, who is a highly regarded purveyor of fine folk music.

What I was not prepared for from the start of listening to the L-509Z was the magnificent soundstage which it would create. We use words like ‘holographic’ and ‘three-dimensional’ too often, which can somewhat devalue them, but they are entirely appropriate here. Ms. Dillon was right there in the room with me, well forward of the front plane of the Harbeths, with her gossamer voice grabbing the attention while the supporting instruments were arrayed around and behind her. Every tiny detail captured in the studio was given its own place in the mix. For detail seekers, the L-509Z is a perfect choice, but that is just one of its myriad capabilities.

First impressions count

My late mother, who specialised in sharing her endless supply of pithy truisms, used to say “You cannot undo a first impression”, and I was delighted that the L-509Z created a deep, lasting and very positive impression on me. During my brief but intense time with this amazing device in my system, I fed it a very varied diet of rock, pop, jazz, electronica, folk, large and small scale classical music as well as television sound, and there was nothing that knocked it off guard. A favourite album for more than half a century, my original UK pressing of the Who’s Who’s Next came blasting into the room with every element intact. Somehow that attention to detail never overwhelmed the musicality, and finally etched as it all was, it never felt overdone.

What the L-509Z does is bring all music to life, finding the inner strength in quiet passages while being able to belt out the climaxes with gusto without ever becoming fatiguing. The closing track on Who’s Next is, as many of you will know, is ‘Won’t Get Fooled Again’. I was lucky enough to be in the crowd at the Oval cricket ground in September 1971 when the Who topped the bill of a daylong festival of London-based bands. ‘Won’t Get Fooled Again’ that night was incredible, with the whole band playing and singing at the very best of their ability, and the whole place on its feet. That feeling was totally recreated in our living room, with me cranking up the volume to anti-social levels.

Happy confirmation

I then switched to vinyl replay and happy to confirm that the Luxman design team have thrown their hearts and minds into this too. First on to the Collaro mat on my LP12 was Congo Funk! hich describes its content on the album cover as “Sound madness from the banks of the mighty Congo River. Kinshasa/Brazaville 1969-1982”. Two slabs of all-analogue black vinyl on which are captured a host of West African musicians whose joyful playing is guaranteed to lift the darkest of moods. Having them transported thousands of miles to perform live in my living room was one of the highlights of my time with this extraordinary amplifier.

An opinion I have seen regurgitated from time to time is that Harbeth loudspeakers are very ‘pipe and slipper’, which I take to mean that they are a bit dull and boring. I have always known as a Harbeth owner for well over a decade that such opinions can only come from a source that has never actually heard them. Pair them with a good amplifier and they will do a fine job, as they do every day for me. However, pair them with an extraordinary amplifier and that faintly patronising description is shown for its inaccuracy and ignorance.

Terrific

The Compact 7s here sounded absolutely terrific driven by the Luxman, and pulled off that disappearing trick that the best loudspeakers do in a really well sorted system. The soundstage seemed to go from wall to wall in the room, with commensurate height and depth. This happened whether the volume was dialled well back or advanced to window rattling levels.

The designers of the L-509Z obviously spent many long hours working on its voicing, to the extent that the tone controls were redundant on pretty much every record that I played. However, to pique my own curiosity and because you might want to know, I did spend an afternoon playing with them and it was an interesting experience. I started with a favourite from my small but growing collection of jazz records, Bass On Top by the Paul Chambers Quartet. Mr. Chambers was at the time the bassist in Miles Davis’ band, but on a day in July 1957 went to Rudy van Gelder’s studio in Hackensack New Jersey with three friends.

A single day

In the space of a single day this very gifted group (Kenny Burrell on guitar, Hank Jones on piano, Art Taylor on drums along with Paul Chambers on bass) laid down seven tracks – over 40 minutes of music – of what I suppose could be called mainstream jazz. Using the tone controls, I was able to increase or decrease each instrument’s place in the sound story, not in an exaggerated way but subtly. Mr van Gelder’s production skills were such that he got the balance spot on in the studio, but it was fun to see if I could do better – needless to say I could not. If you own a few less-than-stellar recordings, you may find it helpful to use those tone controls, but otherwise, I would class them as nice to have rather than essential.

Television sound was always crisp and well defined and once again the extensive soundstage worked very well. We watched our BluRay copy of Top Gun: Maverick (not very high brow I know, but very entertaining) and the F18s on full throttle sounded thrilling, while the dialogue and soundtrack really came alive through this “simple” two channel replay system.

Headphones

Finally, I did give both headphone sockets a try. The Owner’s manual reminds one to turn the speaker selector dial to the Off position before using headphones, so that was my first action. I plugged my Audioquest Nighthawk closed back ‘phones into the larger of the two sockets and lined ups couple of SACDs to play through the Yamaha. First up was the Rolling Stones 1969 album Let It Bleed. Afficionados of the band will remember that the inner sleeve of the album contained the instruction “this record should be played loud”, and that is faithfully reproduced on the fold out sleeve of the DSD version. It would be rude not to comply so once Gimme Shelter started I found a setting that was loud without being uncomfortable, and that in-your-head experience that can only come from this method of listening brought the band to life.

To try the smaller socket I used a pair of Sivga ‘phones, and for them I played my treasured copy of Lyn Stanley’s Interludes. Ms Stanley is an absolute stickler for sound quality, and on this 2015 recording she was able to call on the cream of Los Angeles’ musical elite as accompanists, resulting in an album where her wonderful voice is centre stage but each musician has their own performance space. The Luxman transported me in to the studio with all of them, creating a sense of intimacy and involvement for the listener. It takes some chutzpah for a jazz vocalist to take on Led Zeppelin’s ‘Whole Lotta Love’, but Ms Stanley pulls it off with great panache. We were in strong goosebump territory here.

Final Thoughts

My brief time with Luxman L-509Z left me with an indelible impression. It is a behemoth, but every ounce, every gram of its weight translates into an outstanding performance. A fellow scribe who knew it was here asked me if I found it ‘bright,’ as he had read that others had reported it so. I’m afraid I have to disagree. For my taste, the designers of the L-509Z have created a magnificent flagship integrated amplifier. The voicing is perfectly judged, achieving incredible detail retrieval without sacrificing one iota of musicality. I could listen to recordings in a way only the best amplifiers can achieve. At the same time, it drew the very best from my source components and my loudspeakers, allowing me to appreciate fully just how good a system I have here.

I have spoken of the build quality, but it is worth repeating here. The L-509Z was built to give a lifetime of musical pleasure. God forbid it should ever happen, but I would add it to the short list of things that would remain intact after a nuclear catastrophe (assuming it was powered off at the moment of the explosion – EMP would fry the circuits otherwise!). As an armchair warrior, I can also highly commend the Luxman remote control, which is comfortable to hold and easy to use, with very tactile buttons clearly marked and spaced apart enough to prevent the wrong one from being pressed by mistake.

Flagship

As a flagship integrated amplifier, the Luxman L-509Z must be counted as a major achievement by the designers and engineers who brought it to life. It is an unashamedly analogue device in an increasingly digital world, but it is all the better for it. If I had the funds, I would bring one into my system in a heartbeat. I would pair it with one of Luxman’s high-end SACD/DAC units, and I think we could all live happily ever after. Is it expensive? Yes, it is. But it outperforms any separate pre and power amplifiers that I can recall at a similar price point, and in an era when you can walk into my former employer’s London emporium and lay down the price of a decent house in my part of the world on a system, I think it represents outstanding value.

Technical specifications

Type: Solid-state Integrated amplifier
Power output: 120W per channel (8Ω), 220W per channel (4Ω)
Input Sensitivity/Impedance: Phono (MM): 2.5mV/47kΩ, Phono (MC-H): 0.3mV/100Ω, Phono (MC-L): 0.1mV/40Ω, Line: 180mV/47kΩ, Balanced line: 180mV/79kΩ, Main In: 1.1V/47kΩ
Output Voltage: Pre Out: 1V
Frequency Response: Phono: 20Hz-20kHz (±0.5dB). Line: 20Hz-100kHz (within -3dB)
Total Harmonic Distortion: 0.007% or less (8Ω, 1kHz), 0.03% or less (8Ω, 20Hz to 20kHz)
Signal-to-noise Ratio (IHF-A): Phono (MM): 87dB or more, Phono (MC-H): 70dB or more, Phono (MC-L): 62dB or more, Line: 106dB or more.
Volume adjustment: LECUA-EX
Amplification feedback circuit: LIFES 1.0
Output configuration: Bipolar 4-parallel push-pull
Damping factor: 330
Max. amount of tone control: Bass: ±8dB at 100Hz, Midrange: ±8dB at 760Hz, Treble: ±8dB at 10kHz
Dimensions (WxHxD): 44×19.3×46.3cm
Weight: 29.4kg
Price: £10,995, $12,495, €13,000