More cassette decks, once upon a time one of these landed in our living room, a Yamaha TC-800 designed by Mario Bellini.
What’s a good game plan for looking for a tape deck on the used market?
I have about 100 cassettes of live recordings (I’m “post-cassette”, some else recorded these) I’d like to digitize. Ultimate fidelity isn’t necessary but high fidelity appreciated. I also don’t believe I need a slew of different features, nor do I need a dual cassette player/dubber.
I assume anything on the used market at this point requires servicing so ease of service and high general build quality would be important.
I was looking at the Nakamichi 1000XL, some offerings from Tandberg as well as some Tascam units. That Yamaha is very visually appealing however.
I would steer away from most two-head decks, the average permalloy tape head has a very short life span and an old used one has a chance of being toast. In addition, the tiny Phillips-head screw used to set azimuth on these decks was not designed to be used regularly and will strip out, ask me how I know this! With this in mind any one of the three-head Nakamichi decks in good shape is the best choice. The heads found in these decks are extremely long-lived. We had MR-1s in service three shifts 5 days a week for years and the heads were not substantially worn.
By a large margin, the most critical aspect of digitizing cassettes is getting the azimuth correct for each side of each tape. If you are using a Nak three-head deck and take the cassette well door off and identify the azimuth screw, it is trivial to adjust the azimuth quickly with these decks. Since the azimuth and height screws look very similar we actually drilled a hole in the cassette well doors directly over the azimuth screw so an operator couldn't accidentally mis-adjust the height. Another approach I have seen studios take is to color the azimuth screw with a red Sharpie marker.
I created a short document of guidelines for cassette transfers. If you missed the link I posted earlier: https://proaudioeng.com/wp-content/uploads/2018/01/A-Guide-to-Cassette-Transfers.pdf
Have fun, I always enjoy listening to these cassettes as they give their final playback, knowing they will be preserved in files.
Cheers,
Howie
Don't rule out Akai, they made some very nice cassette decks and had a 20+ year warranty on the heads, they just don't wear out.
Note: this only applies to their better models, I think they all had model numbers that started with GXC.
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LOL, the 1000ZXL is most definitely the best deck for recording, but not the best deck for playback use only since it is manual-azimuth adjust...I use a Nak Dragon for tape transfers, it is auto-azimuth and auto-reverse, so it halves the amount of tracking work one needs to do with the resulting files. Really, any decent condx Nak 3-head is a better than most other decks for transfers, if only because the heads are so much better and set up for easy azimuth adjustment.
Cheers,
Howie
Look for a later Naka. The 1000ZXL is a fabulous deck, but has more features than any human will ever need. Particularly, if it is just for playback. I prefer the ZX7 or the later ZX9, or even better, the CR7. These machines were much simpler and less troublesome than the 1000ZXL and, being later models, may have fewer hours on the heads, rollers and guides. Don't buy a Dragon! Great machine, but a nightmare to get right. That said, even a rather humble Naka, like the CR3 will provide excellent reproduction, PROVIDED heads, rollers and guides are in good shape. Better still, the CR3 is one of the last machines ever built and has a better chance of still working well.
+10, well said...and the Dragon as you say is difficult to get right, but it is a phenomenal machine when right. It has the same weakness these days as all Nak Diffused Resonance transports: lack of available parts...I have a Dragon set up with a post-equalizer feeding a Dolby 422 external decoder I've used to transfer many hundreds of tapes and indeed I'm having take up clutch issues with it. It is definitely fixable, but I have little time to fix stuff these days...and I have a backlog of tapes to transfer as well. Great...yet another project.
Cheers,
Howie
They do...the top surface wears to a slightly matt finish, and the head gaps chip away and then they are useless.
Dunno if Metal cassette tapes were the cause but I saw a couple of dead heads this way.
Dan.
I felt that way when all the ear buds where unholy pieces of **** that hurt, forced you to cram them in, and flew out of your ears if you so much as glanced a new direction. Like these. They felt invasive and terrible.
But then my phone came with these. I dont enjoy them for music or anything. They fatigue more than some good over-the-ear headphones that gently rest with cushions around the ear. But they are my go-to for phone calls for ease of use w/ hands free, and paranoia for having a computer spewing RF next to my brain. They however lose all comfort without the cushionny covering. I lost one, and only used one. I have actually heatshrinked the left ear piece to the rest of it, and twisting the left side to the main cord, so I can function while on the phone.
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Hi spaceistheplace,
Any Nakamichi three head machine with adjustable azimuth would do a great job. The CR-7 has automatic azimuth adjustments and would really make the work go a lot easier. Do clean the tape path between each side of cassette you play. Use Methyl Hydrate as it will remove invisible tape binder (to hold the oxides on the backing) with can deteriorate with time. This stuff will migrate through your entire tape collection if you aren't cleaning the tape path. Use something else on the pinch rollers though.
-Chris
Any Nakamichi three head machine with adjustable azimuth would do a great job. The CR-7 has automatic azimuth adjustments and would really make the work go a lot easier. Do clean the tape path between each side of cassette you play. Use Methyl Hydrate as it will remove invisible tape binder (to hold the oxides on the backing) with can deteriorate with time. This stuff will migrate through your entire tape collection if you aren't cleaning the tape path. Use something else on the pinch rollers though.
-Chris
Hi Zaphod Beeblebrox,
No, you listed the Nakamichi standard tape transport #1 machines. You want to use the more simple Nakamichi standard tape transport #2 machines instead. The first mech has failures with the nylon injected on the metal that can cause it to fail. Also prone to failure was the auto-azimuth mechanism. With the second standard mechanism, aside from the rubber idler for the reels, there are no real failure issues. There was a gear upgrade for that rubber idler (OK01000), and a drop in T/U tension from 50 gr/cm to 35 gr/cm. Things can fail, but this was a more stable (as in has less problems) than the first transport used as a standard.
Best, Chris
No, you listed the Nakamichi standard tape transport #1 machines. You want to use the more simple Nakamichi standard tape transport #2 machines instead. The first mech has failures with the nylon injected on the metal that can cause it to fail. Also prone to failure was the auto-azimuth mechanism. With the second standard mechanism, aside from the rubber idler for the reels, there are no real failure issues. There was a gear upgrade for that rubber idler (OK01000), and a drop in T/U tension from 50 gr/cm to 35 gr/cm. Things can fail, but this was a more stable (as in has less problems) than the first transport used as a standard.
Best, Chris
Hi Dan,
Those Akai heads were actually just ferrite heads. They have terrible overload characteristics and high noise. They do wear, but what's worse is that the gap chips on the inner aspect which makes the gap wider. If you look closely with a light, if the area where the tape rides is wavy, that head is done. Just awful sounding machines compared to anything else using the standard "butter" heads (they wear quickly, but don't cost much to replace). The Nakamichi Crystal alloy heads are a type of Sendust head (JVC used those too). These wear a little better than the butter heads, and probably about as well as the glass heads. Many manufacturers used ferrite heads for a while trying to make the head last once the real chrome dioxide (industrial abrasive) tape came out. Memorex was the worst for tearing the heads out of machines. Then, metal tapes. They were also hard on tape heads. Stuff like BASF used to shed oxides like there was no tomorrow. Filthy stuff (normal tape).
This is where Nakamichi really lucked out. By pushing the pressure pad in the tape case away, they really dropped the pressure on the head and enjoyed extended head life as a result. I used to install Sendust heads into Teac/Tascam and Marantz machines. Sometimes other brands too. Yamaha might have used a Sendust head in some of their machines too. A couple machines used the Nakamichi standard mechanism #2. I have one of those here somewhere, along with a Teac V-800X and a few Nakamichi machines. Dragon, BX-300 and a BX-2 somewhere around here. Then a smattering of some other interesting decks.
-Chris
Those Akai heads were actually just ferrite heads. They have terrible overload characteristics and high noise. They do wear, but what's worse is that the gap chips on the inner aspect which makes the gap wider. If you look closely with a light, if the area where the tape rides is wavy, that head is done. Just awful sounding machines compared to anything else using the standard "butter" heads (they wear quickly, but don't cost much to replace). The Nakamichi Crystal alloy heads are a type of Sendust head (JVC used those too). These wear a little better than the butter heads, and probably about as well as the glass heads. Many manufacturers used ferrite heads for a while trying to make the head last once the real chrome dioxide (industrial abrasive) tape came out. Memorex was the worst for tearing the heads out of machines. Then, metal tapes. They were also hard on tape heads. Stuff like BASF used to shed oxides like there was no tomorrow. Filthy stuff (normal tape).
This is where Nakamichi really lucked out. By pushing the pressure pad in the tape case away, they really dropped the pressure on the head and enjoyed extended head life as a result. I used to install Sendust heads into Teac/Tascam and Marantz machines. Sometimes other brands too. Yamaha might have used a Sendust head in some of their machines too. A couple machines used the Nakamichi standard mechanism #2. I have one of those here somewhere, along with a Teac V-800X and a few Nakamichi machines. Dragon, BX-300 and a BX-2 somewhere around here. Then a smattering of some other interesting decks.
-Chris
Cassette memories... When I was a young'un, I separated the worn-out Ferrite head from its mounting plate in my Sony Walkman, and super-glued a Sendust head in its place (I used that Walkman a lot). I'm sure the playback EQ was never quite the same, even after some tweaking, but it stayed put for a surprisingly long time. Sounded pretty good too, as I recall.
The problem of heads has been adressed by German manufacturers of reel to reel machines rather well, I think, Several German manufacturers of high quality machines (Uher, ASC, Grundig, etc) used head assembleies as esaily replaceable blocks, which could be changed on the fly, swapping four track with two track ones by undoing two external scerws. Chages clearly showed that tracking and azimuth (which could be easily adjusted externally) were not an issue. I wore out two such blocks in my audio life, so I know first hand.
My Sony TC-K 808 cassette deck uses a conventional construction of its own three head setup, the heads being ferrite ones and seemingly very long lasting in line with Sony's reputation of durable products, I expect them to be be around for quite a long while still as the deck has been little used even 25 years down the line, I am only just getting back to taping.
My Sony TC-K 808 cassette deck uses a conventional construction of its own three head setup, the heads being ferrite ones and seemingly very long lasting in line with Sony's reputation of durable products, I expect them to be be around for quite a long while still as the deck has been little used even 25 years down the line, I am only just getting back to taping.
There are many top of the line cassette decks on ebay now.
High prices.
A lot of Naks plus an Eumig rarity
http://www.thevintageknob.org/eumig-FL-1000.html
George
High prices.
A lot of Naks plus an Eumig rarity
http://www.thevintageknob.org/eumig-FL-1000.html
George
Ages ago we did one of the (now 
) infamous listening tests where one of the sources was an old Sony TCK5
You can read the comments for yourself:
Based on sonics... which do you prefer ?
Based on sonics... which do you prefer ?
Still have the TCK5 and also have a mint Sony WM6DC tucked away in dry storage.
) infamous listening tests where one of the sources was an old Sony TCK5You can read the comments for yourself:
Based on sonics... which do you prefer ?
Based on sonics... which do you prefer ?
Still have the TCK5 and also have a mint Sony WM6DC tucked away in dry storage.
IMHO, the 1000 ZXL was and still is the real thing in sound quality, but so many parts gave many chances to fail.
As swiss service guy therefore, i had apx 3'000 Nakas to fix and adjust around 1985-1988. Had 2 pcs 1000ZXL at home, one of them was equipped with the selected parts of the Golden 1000 ZXL like motors , heads, ABLE Board and whatever. Really freaky.
Did 28 kHz- 3dB limit at -20 dB, +/- 0,5dB and noise floor without Dolby B was the same level like the best other ones with Dolby B
Dragon's Auto Azimuth was cool, but created lots of problems, who cannot be fixed due unavailable parts.
I still have some boxes filled with Naka parts, but the later machines had all problems with the CAM Motor. Was a Sankyo drive unit.
In the meantime i learned how to fix them, but maybe 20 % no success.
So the CR 7, BX 300DR 1, ZX9 are a good choice for used gear. Pretty reliable.
I am only in 3 Head Decks...
Akai Heads were nearly undestructable, but not really adjustable. Azimuth errors.
Also Cam Motor problems....
The Eumig FL 1000 uP was also very cool, but no more parts since a zillion years, thus not really recommended, somehow like slot machines, much input , low output
But whatever i did, the big Open Reel Tapes from Studer were better sounding than any cassette.
In the end i sold all tape decks and bought vinyl records which i still own and give me lots of good times and pleasure.
Spotify or similar supply my friends with their choice of music, i visit them , get a free drink for my music recommendatiions and we have got nice event.
only my 2 C
Regards
Frank
As swiss service guy therefore, i had apx 3'000 Nakas to fix and adjust around 1985-1988. Had 2 pcs 1000ZXL at home, one of them was equipped with the selected parts of the Golden 1000 ZXL like motors , heads, ABLE Board and whatever. Really freaky.
Did 28 kHz- 3dB limit at -20 dB, +/- 0,5dB and noise floor without Dolby B was the same level like the best other ones with Dolby B
Dragon's Auto Azimuth was cool, but created lots of problems, who cannot be fixed due unavailable parts.
I still have some boxes filled with Naka parts, but the later machines had all problems with the CAM Motor. Was a Sankyo drive unit.
In the meantime i learned how to fix them, but maybe 20 % no success.
So the CR 7, BX 300DR 1, ZX9 are a good choice for used gear. Pretty reliable.
I am only in 3 Head Decks...
Akai Heads were nearly undestructable, but not really adjustable. Azimuth errors.
Also Cam Motor problems....
The Eumig FL 1000 uP was also very cool, but no more parts since a zillion years, thus not really recommended, somehow like slot machines, much input , low output
But whatever i did, the big Open Reel Tapes from Studer were better sounding than any cassette.
In the end i sold all tape decks and bought vinyl records which i still own and give me lots of good times and pleasure.
Spotify or similar supply my friends with their choice of music, i visit them , get a free drink for my music recommendatiions and we have got nice event.
only my 2 C
Regards
Frank
Hi Frank,
I would only question the ZX9 as it has the original standard mechanism. Even the door popper fails due to cracking nylon.
As for the Akai heads, nope. They wore out exactly the same as a ferrite head. No surprise since that is exactly what they were. They don't look worm on casual inspection, but the highs take a nose dive the same as with the other ferrite head machines. Also, characteristically the heads saturate early in record. Good training for a swap into digital recording I guess.
Over here they claimed a 17.5 year warranty on the heads. Pretty safe bet since the rest of the needed parts would be NLA shortly after 5 years. I did attempt to collect on that warranty for several customers. Not only did they not have stock on the needed heads, they refused to attempt to order them. BS warranty.
The 1000ZXL and 1000ZXL limited were very reliable. Yes, those transports had every option going, but they broke with the same frequency as all the other machines. The big problem with that machine was that the instructions in the service manual to calibrate the computer were incorrect. When I called for help, the answer came back that I was the only one who attempted to calibrate that. Remember the switch box to talk to the uP?
The open reel machines from Studer (and Revox) were the best sounding products. The Tascam machines (some) came reasonably close to the Studer and Revox machines.
The Tascam 122MKIII had a rec/play head that had additionally adjustable record azimuth. I used those heads in some Marantz decks as well.
-Chris
I would only question the ZX9 as it has the original standard mechanism. Even the door popper fails due to cracking nylon.
As for the Akai heads, nope. They wore out exactly the same as a ferrite head. No surprise since that is exactly what they were. They don't look worm on casual inspection, but the highs take a nose dive the same as with the other ferrite head machines. Also, characteristically the heads saturate early in record. Good training for a swap into digital recording I guess.
Over here they claimed a 17.5 year warranty on the heads. Pretty safe bet since the rest of the needed parts would be NLA shortly after 5 years. I did attempt to collect on that warranty for several customers. Not only did they not have stock on the needed heads, they refused to attempt to order them. BS warranty.
The 1000ZXL and 1000ZXL limited were very reliable. Yes, those transports had every option going, but they broke with the same frequency as all the other machines. The big problem with that machine was that the instructions in the service manual to calibrate the computer were incorrect. When I called for help, the answer came back that I was the only one who attempted to calibrate that. Remember the switch box to talk to the uP?
The open reel machines from Studer (and Revox) were the best sounding products. The Tascam machines (some) came reasonably close to the Studer and Revox machines.
The Tascam 122MKIII had a rec/play head that had additionally adjustable record azimuth. I used those heads in some Marantz decks as well.
-Chris
Hi Chris
We can discuss endless.
ZX 9 , yes, i had some broken nylon, but found some ways to fix it.But this machine sounded pretty close to the 1000 ZXL imho.
My ZXsL failed much more times than customers ones.
Had really every sh.. you can image. But i could fix it for nearly free.
Funny times.
Akai heads, long time no more seen, so what, i found the Nakas anyway way better, but customers wanted the GX 95. The Cam-Motor problems occured usally way sooner than head wore out.
Yes, i remember the switchbox for ZXL, i still have it and it took me lots of times to use it due some strange instructions, the story * uhhhhhhhhhhh, you are the first one with this problems* seems to be a constant in my life
Had also TX 1000 Turntable to fix, the excenter thingie did not work.
Jigs and tools were so expensive that the import company decided to put the TT in a dark cellar and give a new one to the customer.
But i am still a Nakafreak, the sounded really nice and, looked good and had the most innovative ideas.
And of course, the Studer Open Reels were the real thing, the company was located 5 miles from my place of living.
We can discuss endless.
ZX 9 , yes, i had some broken nylon, but found some ways to fix it.But this machine sounded pretty close to the 1000 ZXL imho.
My ZXsL failed much more times than customers ones.
Had really every sh.. you can image. But i could fix it for nearly free.
Funny times.
Akai heads, long time no more seen, so what, i found the Nakas anyway way better, but customers wanted the GX 95. The Cam-Motor problems occured usally way sooner than head wore out.
Yes, i remember the switchbox for ZXL, i still have it and it took me lots of times to use it due some strange instructions, the story * uhhhhhhhhhhh, you are the first one with this problems* seems to be a constant in my life
Had also TX 1000 Turntable to fix, the excenter thingie did not work.
Jigs and tools were so expensive that the import company decided to put the TT in a dark cellar and give a new one to the customer.
But i am still a Nakafreak, the sounded really nice and, looked good and had the most innovative ideas.
And of course, the Studer Open Reels were the real thing, the company was located 5 miles from my place of living.
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