Heads lapping? very interesting....that's why they are still so clean...
With my usage I'll surely die much earlier than them.
c
to my ears type 2 sounds simply more detailed - influenced by ads?
With my usage I'll surely die much earlier than them.
c
to my ears type 2 sounds simply more detailed - influenced by ads?
No, frequency response is that factor for sounding more detailed. It isn't magic.
For any form of noise reduction to work (track for frequency and level response on rec - play), the machine must play back on standard, and also record to that same standard. That's called calibration.
Basically, you decide what tape you're going to use and stick to only that. You have your machine calibrated to that tape. You can play back any tape if your machine is in calibration.
Abrasive tapes wear the head surface much more quickly, changing the calibration. Typically high frequencies will be reduced as the gap widens. Once a path is established in the head, you cannot change the azimuth or any other mechanical alignment until the heads and other worn parts are replaced. "Glass" (Ferrite) heads also wear, but they don't look like they do. That was the great lie Akai put out there. Those are harder heads, but much worse for frequency response and also maximum level. Terrible heads for sound quality. Sendust (Crystal Alloy - Nakamichi) are the best heads. Decent wear characteristics, great level handling ability too. The standard heat was referred to as a "butter head". It wasn't really that bad and sounded far better than Ferrite heads.
Keep your heads and tape path clean for longer life and better sound quality.
For any form of noise reduction to work (track for frequency and level response on rec - play), the machine must play back on standard, and also record to that same standard. That's called calibration.
Basically, you decide what tape you're going to use and stick to only that. You have your machine calibrated to that tape. You can play back any tape if your machine is in calibration.
Abrasive tapes wear the head surface much more quickly, changing the calibration. Typically high frequencies will be reduced as the gap widens. Once a path is established in the head, you cannot change the azimuth or any other mechanical alignment until the heads and other worn parts are replaced. "Glass" (Ferrite) heads also wear, but they don't look like they do. That was the great lie Akai put out there. Those are harder heads, but much worse for frequency response and also maximum level. Terrible heads for sound quality. Sendust (Crystal Alloy - Nakamichi) are the best heads. Decent wear characteristics, great level handling ability too. The standard heat was referred to as a "butter head". It wasn't really that bad and sounded far better than Ferrite heads.
Keep your heads and tape path clean for longer life and better sound quality.
Thanks for the precious explanations/hints, Anatech
I know very little about cassette decks, I have always considered them very convenient (indispensable when my son was learning the flute, long, long ago) but not completely satisfactory, and my two Teac decks with 3 heads (don't know what kind) better than others i could afford.
What I found was that, strangely, with a bit of miscalibration* I get a more convincing sound than through the Dolby filter - for my taste of course
c
* the Teac C2 has interchangeable Bias calibration cards, + manual switches - the A430 an Auto Bias procedure + manual knob. to set different tapes
I know very little about cassette decks, I have always considered them very convenient (indispensable when my son was learning the flute, long, long ago) but not completely satisfactory, and my two Teac decks with 3 heads (don't know what kind) better than others i could afford.
What I found was that, strangely, with a bit of miscalibration* I get a more convincing sound than through the Dolby filter - for my taste of course
c
* the Teac C2 has interchangeable Bias calibration cards, + manual switches - the A430 an Auto Bias procedure + manual knob. to set different tapes
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Hi nocdplz,
I was authorized warranty for Teac / Tascam. They made good decks, I have a V-800x somewhere. A Nakamichi three head machine is the very best you can buy for sound quality. There are real technical reasons for this. Teac / Tascam and Revox would be the next best machines. Once you hear a calibrated Nakamichi, you'll understand completely.
So there are a few calibrations the deck needs. Playback levels and equalization are critical to start, mechanical of course is a precursor. Meter levels are important, and then there is the Dolby or dBx calibration. Different machines have varying calibration points and they are not all created equally. Finally, and really critical, the record azimuth (can vary with bias level and tape case), record levels, bias and EQ. These interact with each other so you have to run through the cal a few times to do a really good job. What is available to the user can be helpful, but by no means complete.
The very best machine ever ... the Nakamichi ZXL1000 and ZXL1000 Limited. Way better than the cool Dragon. The CR-4, 5 and 7 are also extremely good machines. No matter the make or model, if it hasn't been calibrated by a good tech after you bought it, you aren't hearing what it can do. Mind you, there is no shortage of machines that simply can't be calibrated well and are not worth the effort to even plug in. If it is a dual bay machine (double trouble we call them), it is highly likely it's junk. There may have been a couple good ones, but zero great ones. So a BX-300 or better will perform amazingly well after a proper calibration. They will change your perception of a cassette deck. I have a TD-700 car deck also, the combination is game changing.
I need an older classic car to stick all my stuff in. We need to show car companies how to do car audio again.
I was authorized warranty for Teac / Tascam. They made good decks, I have a V-800x somewhere. A Nakamichi three head machine is the very best you can buy for sound quality. There are real technical reasons for this. Teac / Tascam and Revox would be the next best machines. Once you hear a calibrated Nakamichi, you'll understand completely.
So there are a few calibrations the deck needs. Playback levels and equalization are critical to start, mechanical of course is a precursor. Meter levels are important, and then there is the Dolby or dBx calibration. Different machines have varying calibration points and they are not all created equally. Finally, and really critical, the record azimuth (can vary with bias level and tape case), record levels, bias and EQ. These interact with each other so you have to run through the cal a few times to do a really good job. What is available to the user can be helpful, but by no means complete.
The very best machine ever ... the Nakamichi ZXL1000 and ZXL1000 Limited. Way better than the cool Dragon. The CR-4, 5 and 7 are also extremely good machines. No matter the make or model, if it hasn't been calibrated by a good tech after you bought it, you aren't hearing what it can do. Mind you, there is no shortage of machines that simply can't be calibrated well and are not worth the effort to even plug in. If it is a dual bay machine (double trouble we call them), it is highly likely it's junk. There may have been a couple good ones, but zero great ones. So a BX-300 or better will perform amazingly well after a proper calibration. They will change your perception of a cassette deck. I have a TD-700 car deck also, the combination is game changing.
I need an older classic car to stick all my stuff in. We need to show car companies how to do car audio again.
Thanks again, I have no difficulty to imagine the great quality* of the Nakamichi: they had an excellent reputation, and corresponding prices.
And ditto regarding the importance of calibrations: a diyer friend, my tube amp tutor, rearranged it for me every now and then, in the past.
But now those decks are just old friends, good for listening to old family tapes, so I try to keep the mechanics healthy, the only thing I can understand something about.
c
*I worked as photographer also for the Stable Theater of Tuscany, so I had the opportunity to listen to the technicians live recordings made with the studio Studer and the portable Nagra too - that's why I never thought of the cassettes as a reference-
And ditto regarding the importance of calibrations: a diyer friend, my tube amp tutor, rearranged it for me every now and then, in the past.
But now those decks are just old friends, good for listening to old family tapes, so I try to keep the mechanics healthy, the only thing I can understand something about.
c
*I worked as photographer also for the Stable Theater of Tuscany, so I had the opportunity to listen to the technicians live recordings made with the studio Studer and the portable Nagra too - that's why I never thought of the cassettes as a reference-
lol!
We (my family) had a Uher 4400 for live sound, the Nagra is a far better machine. Studer made the best open reel machines, period. Nothing like hearing stuff live, off the 24 track is almost as good sometimes.
I did live theater performances in a new well designed venu, it was great! Also worked in recording studios. No, cassette is not a reference, but the Naks are better than some open reels (sad to say).
The thing with Nakamichi is they pushed the pressure pad away from the heads (three head machines) and treated it like an open reel. Their head amp was also very low noise. They are really a step above the rest and made the most of the Sendust head they used. Each head is completely adjustable in free space - like an open reel.
We (my family) had a Uher 4400 for live sound, the Nagra is a far better machine. Studer made the best open reel machines, period. Nothing like hearing stuff live, off the 24 track is almost as good sometimes.
I did live theater performances in a new well designed venu, it was great! Also worked in recording studios. No, cassette is not a reference, but the Naks are better than some open reels (sad to say).
The thing with Nakamichi is they pushed the pressure pad away from the heads (three head machines) and treated it like an open reel. Their head amp was also very low noise. They are really a step above the rest and made the most of the Sendust head they used. Each head is completely adjustable in free space - like an open reel.
You made some good observations.
However, one could argue that the Dragon the following advantages:
1) A better transport than the 1000ZXL (dual brushless capstan motors for the Dragon vs. belt drive for the 1000ZXL, 58x, 68x, etc.).
A Dragon would typically measure better (wow/flutter) in this regard.
2) A simpler signal path for the record electronics vs. the 1000ZXL (which had auto calibration that could adjust EQ in addition to bias).
3) The Dragon could adjust playback head azimuth (NAAC) whereas the 1000ZXL had auto azimuth for the record head.
In terms of frequency response, any of the "newer generation" 3 head machines (like a 582) that were properly calibrated would measure 20-20KHz +/- 1dB (-3dB @ 27KHz) with Nakamichi ZX (TDK MA) tape, which was the best cassette tape that money could buy at the time.
I have a Teac C3 3-head rack mount deck, circa 1977. Other than head cleaning and a new tape counter belt, it has never needed any service. It's built like a tank; very solid.
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Hi Raichu,
Given that I worked on all those machines, I respectfully and strongly disagree with you. The 1000ZXL has the better transport, execution being more important than the idea. The transport used in the Dragon and similar machines used nylon injected around an aluminum plate. It cracks and fails, and it has three chassis plates. Difficult to work on. The 1000ZXL has a far better transport. I do own a Dragon, a BX-300 and a CR-5 plus a couple other brands.
The signal path is pretty simple, the 1000ZXL simply had a better computer and program. Can the 1000ZXL be made even better with newer electronics? Sure, that's progress. By the way, they all adjust level and bias. They have to. I almost hate to add this timbit of info in, but compared to the recording studio, no signal path can be more convoluted. Nakamichi electronics has always been very good.
Yes. You set playback to the international standard. If you have a tape that doesn't comply - too bad. The record azimuth can rotate with varying bias, you have to correct for it. The 1000ZXL records on standard. Nak had to relax their stance on this, but it isn't the correct thing to do. The same thing happened with the OMS-5/7. It was designed to reject defective CDs, later they modified the servo circuits to track garbage. I do own an OMS-7.
Given that I worked on all those machines, I respectfully and strongly disagree with you. The 1000ZXL has the better transport, execution being more important than the idea. The transport used in the Dragon and similar machines used nylon injected around an aluminum plate. It cracks and fails, and it has three chassis plates. Difficult to work on. The 1000ZXL has a far better transport. I do own a Dragon, a BX-300 and a CR-5 plus a couple other brands.
The signal path is pretty simple, the 1000ZXL simply had a better computer and program. Can the 1000ZXL be made even better with newer electronics? Sure, that's progress. By the way, they all adjust level and bias. They have to. I almost hate to add this timbit of info in, but compared to the recording studio, no signal path can be more convoluted. Nakamichi electronics has always been very good.
Yes. You set playback to the international standard. If you have a tape that doesn't comply - too bad. The record azimuth can rotate with varying bias, you have to correct for it. The 1000ZXL records on standard. Nak had to relax their stance on this, but it isn't the correct thing to do. The same thing happened with the OMS-5/7. It was designed to reject defective CDs, later they modified the servo circuits to track garbage. I do own an OMS-7.
Hi Philbo,
We modified a few of those with the 122 MKII head, it has separately adjustable record head azimuth. ou set playback, then once locked you can align the record azimuth. Better head material, does require some circuit changes.
We modified a few of those with the 122 MKII head, it has separately adjustable record head azimuth. ou set playback, then once locked you can align the record azimuth. Better head material, does require some circuit changes.
Teac C3 - it has never needed any service. It's built like a tank; very solid. (Philbo)
Quote for the C2, the A430 seems a baby in comparison, and hifi average....... but: it's belts lasted 1/4 century, present ones (from china?) no more than a lustre.
carlo
what kind of heads it uses? i got some curiosity from your posts - thks
Quote for the C2, the A430 seems a baby in comparison, and hifi average....... but: it's belts lasted 1/4 century, present ones (from china?) no more than a lustre.
carlo
what kind of heads it uses? i got some curiosity from your posts - thks
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That's the thing ... everything needs cleaning and lubrication. Lubricants oxidize, and they can get sticky. When you don't do this, the bearing surfaces begin to wear and then it become unrepairable.
So when you say it has never needed service, you didn't express yourself well. What you really are saying is that you have never noticed a problem with it's operation and you have neglected its maintenance. Yes, it is built like a tank. Even tanks require maintenance.
Another thing I have noticed over decades of service. The average person doesn't notice a decline in performance until it becomes severe. You tend to adjust to it as the performance drops over time. This is true with everything. Once restored, people are pretty universal in their response - "I can't believe I thought it was okay".
So when you say it has never needed service, you didn't express yourself well. What you really are saying is that you have never noticed a problem with it's operation and you have neglected its maintenance. Yes, it is built like a tank. Even tanks require maintenance.
Another thing I have noticed over decades of service. The average person doesn't notice a decline in performance until it becomes severe. You tend to adjust to it as the performance drops over time. This is true with everything. Once restored, people are pretty universal in their response - "I can't believe I thought it was okay".
How true! maintenance... do you know a good ear doctor? ;-)
The mechanical one is visible, while the electronic components, el caps and so on...
The mechanical one is visible, while the electronic components, el caps and so on...
couple posts back, like, two years ago 🙂ROFLMAO🙂 , someone (Mr ChrisCables) posted a Yamaha K720. ******* wicked looking machine. Thank you for posting that. I may yet become cassette-a-holic once again. Oh yeah, tape decks. not enough time/room at work to enjoy tapes with.
I will give my crappy Pyle double deck a good clean and a session with some rubber renew and hopefully I will be back to digitally dubbing cassettes again.
Still have the same two decks I listed in post #10 two years ago. I need to service the transport in the KA-7ES, not urgently, but it clicks and sometimes will not eject the tape without a quick shuttle. The KA-3ES got a full overhaul and mechanically works better, but does not sound as good. I enjoy them once in a while, but truthfully they are a dead end as are most analog sources. (This is a complete flip on my part over the past few years.) The only real competition in my system to good digital recordings are stupidly expensive master quality 2 track tape played on my Studer A-810 and some vinyl.
It's fun to play with the technology and in some cases as Anatech has said it can be very good, an entertaining anachronism. I originally abandoned cassette around 1990 and returned around 2018 mostly because I wanted to play with last gasp hardware which in some cases was very good.
Note that the KA-7ES is quite expensive, the KA-3ES is more reasonable and probably would benefit from a good refresh. I am planning on evaluating OPA1655 and 1656 in the replay amps sometime this winter. I will need to check calibration - it is one of those machines that you also can "fiddle with" with front panel calibration controls. I don't like Dolby noise reduction, particularly the later C and S types - too much audible pumping.
It's fun to play with the technology and in some cases as Anatech has said it can be very good, an entertaining anachronism. I originally abandoned cassette around 1990 and returned around 2018 mostly because I wanted to play with last gasp hardware which in some cases was very good.
Note that the KA-7ES is quite expensive, the KA-3ES is more reasonable and probably would benefit from a good refresh. I am planning on evaluating OPA1655 and 1656 in the replay amps sometime this winter. I will need to check calibration - it is one of those machines that you also can "fiddle with" with front panel calibration controls. I don't like Dolby noise reduction, particularly the later C and S types - too much audible pumping.
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Hi Kevin,
Try a Nakamichi. Game changer in a three head model. I got tired of cassette (servicing other brands), until I sparked up my BX-300. Then I bought a CR-5 not very long ago. It reminded me how different they are. My TD-700 car deck is also amazing.
What Nakamichi brings to the table is low circuit noise, no FM scrape noise (pressure pad is pushed away) and crystal clear highs. They sound a lot better than many consumer open reel machines.
Try a Nakamichi. Game changer in a three head model. I got tired of cassette (servicing other brands), until I sparked up my BX-300. Then I bought a CR-5 not very long ago. It reminded me how different they are. My TD-700 car deck is also amazing.
What Nakamichi brings to the table is low circuit noise, no FM scrape noise (pressure pad is pushed away) and crystal clear highs. They sound a lot better than many consumer open reel machines.
I have a Teac C3 that I bought new about 50 years ago. Still works...
I did put in a new tape counter belt around '93.
I did put in a new tape counter belt around '93.
Still have the Technics RS-az7 , since I was a kid . ( Im 28 ).
Needs " re-belt " tho .
Needs " re-belt " tho .