Professional Documents
Culture Documents
No great work of art-no master- where the creation and recreation of our staff-engineers who are in love
piece of music-is created without music are directly compared. with music, in love with sonic per-
commitment. Every great artist- The concert hall symbolizes fection. Our philosophy sets us
every musician-is driven by an in- Nakamichi Philosophy-a dedica- apart from others and, more than
ternal need to express an emotion. tion to creativity, innovation, and mu- anything else, has helped establish
At Nakamichi, we understand that sical excellence. Its location in our our enviable reputation for innovation
need. We too are committed-to combined headquarters and re- and musical perfection.
excellence-to perfection in the search lab is symbolic in itself for This philosophy created the leg-
realm of recorded sound. In short, the Nakamichi Philosophy per- endary Nakamichi 1000-the
we are committed to high fidelity! meates our entire organization. world's first Discrete Three -Head
What does that mean? What is We are proud to be small enough Cassette Deck-the first cassette
"high fidelity?" For a company with for our President to have a drafting recorder worthy of the name "high -
Nakamichi's reputation for outstand- board in his office and a sketch pad fidelity." It led us to develop the
ing specifications, it may be sur- at hand as he prowls the laborato- Nakamichi 680-the world's first
prising to learn that specifications, ries keeping his finger on the pulse high-fidelity half -speed recorder. It
in themselves, do not concern us! of research. We are proud to be guided us in developing Hi -Corn
We are interested only in perfect large enough to have the finest staff II-the world's first 20 -dB noise -re-
music reproduction. When we attain and the finest test instruments in the duction system without audible side
that goal, excellent specifications industry. And we are proud of our effects. It produced the Nakamichi
follow automatically for they simply dedication to music and to re- 1000ZXL-the world's first cassette
document technical performance. search-research that creates the deck with true random-access pro-
We believe that excellent specifi- products of the future-the prod- gram selection.
cations are the effect-not the ucts of the next decade and Nakamichi Philosophy-the un-
cause-of high fidelity-the re- beyond. ending search for sonic perfec-
sull-not the means-of attaining This philosophy-this dedication tion-has now created the world's
our goal! to imagination and creativity-at- first automatic playback azimuth
All too easily, this distinction is tracts the very finest engineers to correction system-NAAC!
blurred and ultimately forgotten! Nakamichi Auto Azimuth Correction
Specifications become an end in is found only in the incredible
themselves. This is not surprising for Nakamichi Dragon and Mobile
specifications are easily quantified Sound System. NAAC-the unique
and naturally appeal to the techni- technological breakthrough that cre-
cal minds that create high-fidelity ates sonically perfect reproduction
products. DRAGON Auto Reverse Cassette Deck in a bi-directional playback system!
Not so at Nakamichi! We are un- NAAC-from Nakamichi-where
like many audio giants. To serve as devotion to music creates the prod-
a constant reminder that our goal is ucts of the future-today!
music reproduction, we constructed
an excellent concert hall as part of For more information, write to
Nakamichi U.S.A. Corporation
our headquarters/research facility. 1101 Colorado Avenue,
We consider the concert hall our Santa Monica, California 90401.
Ultimate Test Instrument-a place TD -1200 Mobile Tuner/Cassette Deck
Nakamichi
Taiiis Recording &
C
B
Buying Guide19841
FEATURES
Tape Recording: State of the Art Julian D. Hirsch.... 4
Home Taping: Sin, Crime, or Right? Carl Kaplan... 10
How to Choose a Cassette Deck Craig Stark... 14
Cover Equipment: A-Pioneer RT-707 open -reel tape deck;
B --Realistic 31-2005 graphic equalizer; C-dbx 4bx dynamic - Taking Care of Your Tape Deck David Ranada... 17
range expander with remote control; D-JVC HR3CU video
camera; E-RCA VCP900 videocassette recorder with remote
The Basics of Live Recording David Ranada... 20
control; F-Videotape (left to right) JVC, TDK, Maxell, Sony, How to Make Good Tape Recordings David Ranada... 26
Fuji, PDMagnetics, BASF; G-Kenwood 1022 cassette radio;
H-Audio-Technica AT9200 microphone; I-Nakamichi Dragon A Vocabulary of Tape Recording David Ranada... 32
cassette deck; J-Aiwa AD -F770 cassette deck; K-Denon DR -
M4 cassette deck; L-Tandberg 3014 cassette deck; M-Bang Abbreviations 35
& Olutsen Beocord 9000 cassette deck; N-Sony MDR-4L1S
headphones; 0-Cassette tape (left to right): Denon, Sony,
Directory of Manufacturers 36
Scotch, PDMagnetics, TDK, Yamaha, Maxell, Fuji, Memorex, Tape Equipment Test Reports Hirsch -Houck Labs... 37
Nakamichi, Loran, BASF; Accessory: Nagaoka by MicroFidelity
Wash -Up Four cassette deck cleaner; Open -reel tape: BASF, Harman Kardon CD9I Cassette Deck; Jensen RE530 Auto Cassette
Denon.
Radio; Nakamichi Dragon Cassette Deck; Onkyo TA -2035 Cassette
Cover Photos: Geoffrey Rosengarten Deck; Revox B710 MkII Cassette Deck; Sherwood S-6000CP Cassette
Deck; Sony SL5200 Videocassette Recorder; Tandberg 20A -SE Open -
CONSUMER COMPUTERS 8 ELECTRONICS MAGAZINE
DIVISION Reel Tape Deck; Vector Research VCX-800 Cassette Deck.
President: Larry Sporn
Vice President, Publishing Director: J. Scott Briggs
Vice President, General Manager: Eileen G. Markowitz
Midwestern Office
The Pattis Group J. SCOTT BRIGGS Publisher WILLIAM LIVINGSTONE Editorial Director
4761 West Touhy Avenue
WILLIAM A. BURTON Directory Editor
Lincolnwood, Illinois 60646
312-679-1100 BORYS PATCHOWSKY Art
Arnold S. Hoffman RAY DOUGLAS HYDE, JR., MARGARET RENNER LIDZ Editorial Assistants
BRIAN McCABE Advertising Director
Western Office
3460 Wilshire Boulevard RICHARD J. HALPERN National Advertising Manager
Beverly Hills, California 90010
213-387-2100
Japan
lwai Trading Co.,Ltd.
TAPE RECORDING & BUYING GUIDE is published annually by Ziff -Davis Publishing
J.S. Yagi
603 Ginza Sky Heights Building
Company, One Park Avenue, New York, New York 10016.
18-13, Ginza 7 -Chrome
COPYRIGHT® 1983 BY ZIFF-DAVIS PUBLISHING COMPANY. ALL RIGHTS RESERVED.
Chuo-Ku, Tokyo, Japan 104
Telephone: (03) 588-0165, 545-3908
1984 TAPE RECORDING & BUYING GUIDE is published annu- PERMISSIONS: Material in this publication may not be reproduced
ally by the Ziff -Davis Publishing Company, One Park Avenue, in any form without permission. Requests for permission should be
New York, N.Y. 10016. Also publishers of Stereo Review, Com-
puters & Electronics, Experimenter's Handbook, Invitation To
directed to Bette Amado, Ziff -Davis Publishing Company, One Park
Electronics and Stereo Buyers' Guide. Avenue, New York, New York 10016.
A
CASSETTETAPE
E REAL
on
Colu-nbia Co.,
Ltd., No.14-14,
4-010ne..Akasaka,
Minato-Ku,
Tokyo 107,
Japan
MUSIC'
Denon America,
Inc. 2:
Tape Recording:
State of the Art processors that can convert a standard
VCR to a digital audio recorder. Digital
compact cassette recorders have been de-
veloped by several Japanese manufactur-
ers and demonstrated to the press at re-
cent electronic trade shows. They are still
a few years away from being marketable,
however.
An interesting development, bridging
the gap between analog and digital tape
recording (but much closer to digital in
its performance potential) is the Sony
Beta Hi-Fi system, which is available
from other Beta licensees as well. This is
a relatively simple and inexpensive modi-
fication to a Beta videocassette recorder
that enables it to record two stereo chan-
nels on separate FM carriers interleaved
with frequency bands allocated to the
video portions of the TV signal. By re-
cording and playing back the audio pro-
grams through the rotating video heads,
the Beta Hi-Fi system achieves the ad-
vantages of wide bandwidth, low noise
and flutter, and stereo sound without
interferance with or from the video pro-
gram, retaining the long recording/
playback times of videocassettes (up to 5
hours in the Beta format). A test report
on the Sony Beta Hi-Fi system appears in
By Julian D. Hirsch this issue of the Tape Recording & Buy-
ing Guide.
Like all other hi-fi components, tape and advanced open -reel decks have been Another system for recording high-fi-
decks have undergone continuous produced by several Japanese manufac- delity sound along with video signals has
growth and development. The less turers. been demonstrated by JVC for VHS vid-
viable products have been weeded out by Today's cassette performance is far su- eocassette recorders. This system records
marketplace pressures, and replaced by perior to what was available only a few the audio signals underneath the video
newer products. Among the losers in this years ago. This reflects the on -going im- signals, and both are scanned by rotating
competition were the 8 -track format, provements in recorders themselves and heads. Expected to be on the market in
which once dominated the car -stereo in tape formulations. For many people, 1984, VHS Hi-Fi appears to achieve
scene and has been replaced by cassette the cassette medium is virtually equal to quality similar to that of Beta Hi-Fi, and
decks, and the Elcaset, a short-lived at- open -reel in quality (they aren't truly is also compatible with existing VCRs.
tempt to bridge the gap between the cas- equal, but for any except the most critical Tapes themselves have been largely re-
sette and open -reel formats. applications, most people would have dif- sponsible for the emergence of the cas-
For many years, the principal record- ficulty distinguishing between the two sette as a true high-fidelity medium. Im-
ing formats for home -entertainment sys- formats solely on the basis of sound). proved ferric -oxide formulations contin-
tems have been the open -reel and cassette Even the smaller variants of the cassette ue to appear, as well as high -bias
(the latter should be called by its full format, such as the microcassette, are be- "chrome -equivalent" tapes that have
name, "Compact Cassette" to distinguish ginning to appear in miniaturized stereo nearly displaced true chromium -dioxide
it from the newer varieties, but we'll use components designed for home use. (Cr02) tapes in the market. Metal tape,
"cassette" to mean the same thing). For a At the top end of the quality (and following the fanfare of its introduction a
time, it appeared that open -reel was be- price) scale are digital recorders. At least few years ago, is now available from most
coming obsolete for home use, since few a couple, based on videocassette technol- major tape manufacturers, and its price
new machines appeared and existing ogy and transport mechanisms, have al- has dropped somewhat. Most reasonably
models were gradually dropped from ready been introduced in this country; no good cassette decks are now "metal com-
production. It now appears that rumors doubt more will follow. Some manufac- patible," although sometimes (as in the
of its demise were somewhat premature, turers are marketing digital recording case of car -stereo players) the claim is re -
-401Now-
AIWA AMERICA INC., 35 Oxford Drive, Moonachie, New Jersey 07074. In Canada, Shrirn (Canada) Ltd.
CIRCLE NO. 12 ON READER SERVICE CARD
of the widespread availability of record- priced machines and light -touch buttons tapes recorded on other decks. However,
ers able to make use of it. that operate solenoids in more expensive when physically separate record and
decks. The latter offers no performance playback heads are used, it's vital that
Cassette Deck Features. Except at the advantage, but is easier to operate and their gaps be set parallel to each other ev-
lowest prices, modern cassette decks have may be adaptable to remote control with ery time a tape is inserted into the deck
at least Dolby B noise -reduction systems optional accessories available for some for a recording. This capability is provid-
and switchable bias and equalization for decks. Most solenoid -operated tape ed on only a few of the most expensive
ferric -oxide (normal) and chromium -di- transports also have some form of inter- cassette decks.
oxide (Cr02) or chrome -equivalent tapes. nal logic that makes it possible to switch The usual argument against combining
Most also offer the high bias required for from one transport mode to another two heads in a single housing is that it's
recording on metal -alloy tapes. Almost (playback, record, fast forward, and re- not possible to set their azimuths with
all current cassette decks are front -load- wind) as rapidly as one wishes, without sufficient precision. In practice, however,
ing types, with a hinged door or panel having to wait for tape motion to stop. better decks of this type have proven to
that opens to receive the cassette. On At prices in the $300 to $600 range, be excellent performers. To some extent,
some decks, the front -panel cassette cassette decks are likely to have a num- this may be because the close spacing be-
opening isn't covered by a door, but the ber of convenience features that may or tween record and playback heads elimi-
basic mode of operation is similar. The may not be important to a particular nates the problem of tape skewing that
earliest cassette decks were top loaders; user. Typical among these features are necessitates user adjustment when the
there's no functional difference between memory rewind, which stops the tape in heads are farther apart.
the two, but front -loading decks are more the rewind mode at a point where the A most ingenious solution to this and
likely to blend in with the styling of other tape counter indicates 000, and timer op- related problems has been incorporated
stereo components with which they're eration in which switching on power via in Nakamichi's Dragon cassette deck and
used. an external clock timer automatically in their deluxe car cassette receiver. A
Low -to -medium-priced cassette decks puts the deck into record or playback, as special playback head compares the sig-
employ two heads: a combination re- one desires, for unattended operation. In nal phase at two points across the width
cord/play head and an erase head. This this price range, it's also becoming com- of a tape track, driving a servomotor to
arrangement doesn't permit monitoring monplace to find both Dolby B and C continously adjust the playback head azi-
from the tape while recording; to be able noise reduction available. A few decks of- muth for a phase match (an indication of
to do this, separate record and playback fer dbx noise reduction in addition to one correct adjustment) while the tape is
heads and electronics are required. The or both of the Dolby systems. On some playing. This system, though effective, is
chief drawback of two -head decks is the decks, user -adjustable recording bias costly.
use of a single compromise head gap (sometimes with the help of an internal Many of the best cassette decks use
width for both recording and playback. test signal) makes it possible to optimize three motors: one for the capstan and one
The usual result of this arrangement is a the deck for any given tape. for each of the two tape hubs. These are
more limited frequency response when At the upper end of this price range, often direct -drive motors, miniature
recording. In spite of this, the level of one begins to find three -head decks with equivalents of the ones used in many
performance available with a well -de- separate heads optimized for the record phonograph turntables. This eliminates
signed two -head deck is surprisingly and playback functions. These heads all belts and clutches that are a source of
high, high enough in fact to satisfy the have their own separate record and play- potential trouble in a tape deck and make
majority of users. back electronics, including noise -reduc- it possible to have a very low flutter level.
A second characteristic of inexpensive tion systems. Consequently, one can lis- Some three -motor machines also feature
cassette decks is the number of motors ten to playback of the tape in its final very fast rewind and fast forward, which
used to drive the tape. Single -motor ma- form during recording. This is an excel- can be a convenience when using longer -
chines generally use a dc servo -controlled lent way to be sure that operating levels play C90 cassettes.
motor to drive the capstan and, through are set correctly and that the tape is mov- A number of top cassette decks from
a system of belts and clutches, the two ing properly. most major manufacturers feature auto-
tape hubs. A well -designed and well -con- The improved high -frequency response matic internal adjustments to match
structed machine of this type can give and greater headroom of a well -designed them to the requirements of the tape be-
satisfactory results, though usually with three -head deck are its principal ing used. This is made possible by the
somewhat greater flutter than is typical strengths. The best examples of this type availability of inexpensive microproces-
of more advanced transport mechanisms. of deck offer serious competition to many sors, which are used to control a number
A better arrangement employs two open -reel tape decks. Most three -head of complex internal adjustments, includ-
motors, one to drive the capstan and the cassette decks employ what appears to be ing measuring tape performance to estab-
other to handle the tape hubs. Although a single record/playback head. But ap- lish optimum settings of bias, recording
this doesn't necessarily yield better per- pearances can be deceiving because, in re- equalization, and level, and storing these
formance than does a single -motor trans- ality, there are two separate heads in a settings in an internal computer memory
port, it frequently does exhibit lower flut- single housing. In addition to its econom- for recall at a later time.
ter and faster high-speed operation, ic advantages, if the head is assembled This automatic adjustment process is
moving a cassette's tape from end to end with sufficient precision, the two gaps essentially what every recorder under-
in less time in fast forward and rewind. will be inherently and permanently paral- goes in the final stages of its testing at the
One effective method of reducing wow lel within very tight tolerances. This point of manufacture. It's far too com-
and flutter, used in a few cassette decks, eliminates the need for costly mecha- plex for the lay user to perform, since it
is a double -capstan drive system. This nisms for user adjustment of the record- requires use of laboratory test instru-
technique maintains the tape under uni- ing head azimuth (to align its gap at ex- ments. If one uses a recorder with the
form tension as it moves, greatly reduc- act right angles to the direction of tape specific tape formulation used for its ini-
ing the effects on tape motion of mechan- motion and parallel to the playback -head tial setup, there's no need to repeat the
ical imperfections in the cassette itself. gap). Playback head azimuth is normally procedure. However, no two tape types
Operating controls on tape transports factory aligned to match a standard are identical, which, in the absence of
are likely to be "piano keys" in lowest - alignment tape for compatibility with this self -calibration facility, effectively
8
TAPE RECORDING & BUYING GUIDE
locks one into using one particular tape tions are built into a single unit no larger disadvantage in respect to noise, distor-
(not always identified correctly in the than an ordinary cassette deck with a tion, and frequency response.
deck's user's manual). cost considerably less than that of two Some top -of -the -line VCRs have stereo
The first cassette decks to have inter- separate decks of comparable quality. Po- capability and Dolby B noise reduction.
nal self -calibration required about 15 to tential performance of this type of ma- Of course, this is usable only where the
30 seconds to complete the setup process, chine is high since the record and play- original tape has been recorded in stereo
accompanied by flashing lights to inform back heads are separate and designed with Dolby B encoding, and the end re-
the user of what was happening. Today, specifically to fulfill their own special sult still does not meet high-fidelity stan-
the process is much faster (typically 4 to functions. One of the drawbacks of this dards. If one of the PCM (pulse code
8 seconds) as well as less spectacular, but design approach, as compared to conven- modulation) adapters now available is
it seems to be equally effective. Although tional three -head deck designs, is the in- used with a VCR, it becomes a digital au-
decks with this self -calibration capability ability to listen to a tape while it's being dio recorder of superb quality (though
are much less expensive than they used to recorded. In fact, one must physically re- much more expensive than even a good
be, they're still costly, generally $500 and move the tape from one transport and home open -reel analog recorder).
up. However, it's a genuinely useful fea- load it into the other transport before it
ture and well worthwhile for any serious can be heard in playback. Open -Reel Tape Decks. There are few fun-
user of a cassette recorder. Some deck damental design differences between
manufacturers claim that no automatic Car Stereo. Partly due to variable radio open -reel and cassette decks, since their
tape -optimizing system can be as effec- reception in mobile operation, a cassette basic requirements are virtually the same.
tive as a properly performed calibration deck is a key component of most car ste- Most current open -reel decks have three
by a human user, and to this end they reo systems. Compared to most home heads and three motors and offer either
provide all the necessary adjustments tape decks, it is likely to have a rather ba- two- or three -speed operation. The pre-
which require the active involvement of sic transport mechanism, driven by a sin- ferred speeds are 31/4 and 71/2 ips; the
the user. They are probably correct in gle dc motor and having only a single third is either 1% or 15 ips.
their views (from the standpoint of a pur- playback head. The mechanism starts Although most home recording is done
ist), but an imperfect tape -optimization when a cassette is inserted, and ejects the using 7" tape reels, many home machines
adjustment is better than none at all. cassette when it is shut off. However, de- are capable of accommodating 101/2"
For many years, cassette decks were spite this apparent simplicity, the car cas- reels as well, doubling their uninterrupt-
limited to a single 17/2-ips speed by the li- sette deck must be mechanically rugged, ed record/play time. Logic -controlled so-
censing requirements of the inventor of must perform properly under a wide lenoid -operated transports are the rule.
the Compact Cassette, N.V. Philips of range of environmental conditions, and Most decks designed for home use em-
the Netherlands. A few years ago, with must withstand severe shock and vibra- ploy the standard 1/4 -track stereo format,
expiration of the earliest patents on the tion. with two stereo tracks in each direction
cassette, several companies announced The electronic sophistication of some of tape movement (as is the case with cas-
availability of two -speed cassette decks. car cassette players is on a par with that settes). However, many open -reel decks
In some cases, the second speed was a of the better home units. Above the low- can be purchased with two -track stereo
faster 31/4 ips to improve high -frequency est -price category, one usually finds heads for improved S/N performance.
recording headroom. Since metal tapes Dolby B noise reduction, and, in an in- Professional features, such as low -imped-
that were beginning to appear at the time creasing number of units, it is accompa- ance inputs for balanced microphones,
claimed to provide superior high -fre- nied by Dolby C. A few even include dbx are offered on some of the more expen-
quency characteristics, the faster speed noise reduction as well as both Dolby sive models.
was touted as giving the performance of systems, and some have automatic "pro- Prices for open -reel decks cover a
metal tape with ordinary ferric -oxide gram seeking" that accesses specific pro- range as wide as for cassette decks. There
tapes at only half the price of metal tape. grams on a tape by counting the silent in- are a few open -reel decks priced competi-
Of course, since a cassette operated at tervals between them in fast forward or tively with medium-priced cassette decks,
double speed has only half its 17/2-ips ca- rewind. All provide both 120 and 70 /1sec but those with professional performance
pacity, there's no economic advantage to playback equalization (the latter usually and features are likely to cost between
using the faster speed. called "metal" although it is more likely $1,000 and $3,000, like some of the best
The other option was a half -speed to be used for Cr02 or high -bias ferric - cassette decks.
mode, moving tape at only '5/i6 ips. Most oxide tapes). As mentioned earlier, the In general, noise reduction isn't built
cassette manufacturers chose not to take Nakamichi 1200 even has the automatic into open -reel decks, nor is it likely to be
this route, because of the difficulty in azimuth optimizing system first intro- needed, except in the most demanding
achieving the desired performance, even duced in their Dragon cassette deck. applications. External noise -reduction ac-
with metal tape (almost a necessity at cessories are available from several man-
this very slow speed). Lacking any real Video Audio. Except for Beta Hi-Fi and ufacturers for this purpose. The wider
economic or performance advantages, the VHS equivalent (described earlier), tape tracks and faster speed of open -reel
two -speed cassette decks have virtually the audio performance of videocassettes decks give this medium an inherently
disappered from today's marketplace. and VCRs falls far short of meeting mini- greater dynamic range than is possible
During the past year, several manufac- mum hi-fi standards. Disregarding the with cassette decks, especially at high fre-
turers have announced dual -transport (or limitations of the original program's quencies, where there's much less tenden-
"dubbing") cassette decks. Containing sound track, the very slow tape speed cy toward tape saturation at high signal
two separate cassette mechanisms with (usually much slower than that of a stan- levels.
internal connection paths and switching, dard audio cassette) makes it nearly im- Barring those cases where the higher
these products are designed to simplify possible to achieve a frequency response inherent quality of an open -reel deck is
copying, or dubbing, tapes. One trans- beyond a few thousand Hertz from the needed to handle the program content,
port and head configuration are designed narrow longitudinal mono sound track the chief advantage of this format is the
for recording only, the other set for play- along the edge of the tape. Furthermore, ease with which the tape can be edited.
back only. The equivalent of two separate the tape formulation is optimized for vid- For serious recording, an editing capabil-
cassette decks plus the required connec- eo, placing the sound at an even greater ity is vital.
1984 EDITION 9
Home Taping: Sin,
Crime, or Right? For collection in a private home video-
tape library, Griffiths copied television
documentaries, news broadcasts, sporting
events and political programs such as a
rerun of the Nixon/Kennedy debates. A
friend of Griffiths copied Walt Disney's
"The Mickey Mouse Club."
In 1976, at the request of a legal friend,
William Griffiths consented to be a
defendent in a lawsuit that would chal-
lenge the very legality of taping off the
public airwaves for private use. The case,
filed in United States District Court,
Central District of California, before
Judge Warren J. Ferguson, pitted two
Hollywood studios, Universal City Stu-
dios and Walt Disney Productions
against Sony Corporation and its ladder
of distribution, including its American
sales subsidiary, its several California re-
tailers (including Henry's Camera), its
California advertising agency and one
consumer, the home taper everyman,
William Griffiths.
Back in 1976, when the video revolu-
tion was barely beginning, Universal, an
MCA company, and Walt Disney fore-
saw that their property, copyrighted pro-
grams, would be one day be copied at
home by millions of consumers. Such
By Carl Kaplan copying, they claimed in their suit, was
unlawful. Only the owner of a creative
Do you have a right to tape? Since legal issues, the home taping debate has work has the right-a copyright-to
the invention of recorders for au- at its nub the story of a single human be- make a duplicate. The plaintiffs-MCA
dio and video, people have been ing. In the "Betamax Case" his name is and Disney-asked Judge Ferguson to
taping live concerts, making home mov- William Griffiths. declare that home videotaping consti-
ies, and making copies of records and Beginning in 1973 or 1974, William tutes copyright infringement, a kind of
television shows. When copyrighted ma- Griffiths of California started recording property theft. They also asked the court
terial is duplicated without permission in television programs off the air using a in- to prohibit the future manufacture and
mass quantities and the copies are sold, it dustrial -model videotape recorder made sale of videotape recorders and to access
is called piracy and is illegal. by Sony. A little later, after learning monetary damages against Sony, its dis-
But is home taping like piracy? And if about the existence of the "Betamax" tributors, retailers, advertising agencies
taping a record or videotaping a televi- home video recorder while visiting Japan, and Betamax consumers.
sion show is infringement of copyright, Griffiths instructed his sons to buy him The issue, tagged "The Betamax Case"
what should be done? one in the United States at the first op- by the press, turned out to be a tricky
These questions are at the root of the portunity. They purchased a VCR, mod- one. Although the concept of copyright is
"Right To Tape" controversy, a contro- el 7200, at Henry's Camera store. included in the Constitution (Congress is
versy that has reached the Supreme Shortly after he acquired his Betamax, empowered "to promote the progress of
Court, and one likely to be decided by Griffiths copied about 20 minutes of a science and useful arts, by securing for
the United States Congress. It concerns Universal movie broadcast over the air limited times to authors and inventors
the conflict between the basic rights of an called Never Give An Inch and two epi- the exclusive right to their respective
individual to his or her creations and the sodes from the Universal TV series Baa writings and discoveries"), placed into
basic rights of individuals to have access Baa Black Sheep and Holmes and Yo Yo. law by the Copyright Act of 1909, The
to information. He also copied but later erased Universal Sound Recordings Amendment of 1971
Like many other maddeningly abstract films Alpha Caper and Emelia Earhart. and The (revised) Copyright Act of 1976,
If your old favorites don't sound as good as they used to, the problem
could be your recording tape.
Some tapes show their age more than others. And when a tape ages
prematurely, the music on it does too.
What can happen is, the oxide particles that are bound onto tape
loosen and fall off, taking some of your music with them.
At Maxell, we've developed a binding process that helps to prevent
this. When oxide particles are bound onto our tape, they stay put. And
so does your music.
So even after a Maxell recording is 500 plays maxell
old, you'll swear it's not a play over five.
111. maxell
1E1111111111 1111111111111
11111111111111'
© 1983 MoxetI Corporatmn of America, 60 Oxford Drive, Moonoche, N J. 07074 IT'S WORTH IT.
CIRCLE NO. 13 ON READER SERVICE CARD
there had never been a single case before On October 2, 1979, Judge Ferguson Court suggested that the lower court,
in the history of U.S. law that had tested handed down his opinion. Home video- rather than order the permanent stop-
the legality of home copying for private taping of public airwaves for private use page of VCR imports into the U.S., con-
noncommercial use. is a right implicit in the legislative history sider "a continuing royalty" as a means
The Copyright Act of 1976, of course, of the Copyright Act, he declared, as is to compensate MCA and Disney for the
does not mention by name videocassette the right to make private -use audio re- use of their property.
recorders, or audio cassettes for that mat- cordings. Furthermore home videotaping At this point in story we have to shift
ter. The law is a tool, a blunt one at that, is a "fair use" of copyright, he said. Last- the focus from the courts to Congress.
for balancing copyright protection with ly, even if home videotaping was copy- Goosed by the Appeals decision, and the
the right of society for access to informa- right infringment, Sony, its retailers, dis- public's sudden paranoia that "Copyright
tion. In its first section, the law broadly tributors and ad agencies are not Police" would enter their homes, several
and clearly grants copyright holders a "contributory infringers" nor are they li- legislators, most notably Senator Dennis
limited monopoly over all reproductions able for damages. DeConcini (D -AZ), immediately intro-
of their works. In latter sections, the law The videotape industry officials heaved duced bills that would amend the copy-
qualifies that monopoly: in certain cir- a sigh of relief at the favorable outcome right law so as to declare home videotap-
cumstances, a consumer is granted the and went about their business. MCA and ing noninfringement. Consumers, Sena-
privilege of using copyrighted material Disney, now involved in the prerecorded tor DeConcini said, need to know that
without the consent of the copyright videotape market themselves, routinely they are not breaking the law when they
holder. This "fair use" of copyrighted appealed the decision without fanfare. videotape off public television channels.
material, for the betterment of society, is Many consumsers continued to tape at Senator DeConcini's bill, S. 175, is still
granted to scholars, news reporters, li- home, confident that their right to tape pending before the. Senate Judiciary
brarians and others that courts may de- had been vindicated. Committee.
cide in individual cases. Nearly two years after the Ferguson A second series of bills were also intro-
The "fair use" doctine of copyright decision, the earth moved for the video duced to the Senate and the House, but
law is muddy water indeed. There is no industry. Consumers were shaken out of they differed from DeConcini's measure.
rigid definition of what constitutes fair their slumbers. On October 19, 1981, the Senator Charles Mathias' (R-Md) bill
use; the Copyright Act provides four United States Court of Appeals, Ninth this term, S. 31, is more of a compromise
scales that might be employed to weigh Circuit, reversed the district court on all between consumers and copyright hold-
fair use in a case, but those scales can be points in the matter of MCA and Disney ers. That bill, which has identical sec-
applied differently by different judges. vs. Sony et. al. Writing for the three - tions for video and audio, declares that
The defendants in the case, Sony et. al, judge panel, Justice Kilkenny threw out while home taping is infringement, con-
made two arguments in their behalf: the Sony argument that there was an im- sumers should be excused from copyright
First, they said that home videotaping, plied exemption from home video taping liability. But, the bill goes on to say,
while not specified in the Copyright Act built into the Copyright Act of 1976 due copyright holders deserve to be compen-
of 1976 as a noninfringing activity, is to the legislative history of the bill. "The sated. Royalties (amount to be arbitrat-
nevertheless implicitly legal. As proof, statutory framework [of the Copyright ed) on videotape recorders, audio cassette
Sony pointed out that in 1971 Congress Act] is unambiguous," said the panel, decks, and blank audio and video tape
passed a law, the Sound Recording Act, there is no need to delve into a legislative should be collected from importers and
whose purpose was to amend the 1909 history for guidance. And even if the leg- manufacturers, who, in turn, will pass on
Act so as to combat record pirates. The islative history of the 1971 Sound Re- their added costs to consumers.
House report that accompanied that cording Amendment were relevant, "be- Since 1979, the home taping battle in
piece of legislation specified that home yond question the [home audio recording Congress has been set between the De-
audio recording was legal. (" . . It is not
. exemption in the 1971 amendment] was Concini move for a clear green light on
the intention of the Committee to re- not intended to apply equally to home videotaping against the Mathias move for
strain the home recording from broad- videorecording." yellow light on video and audio taping
casts or from tapes or records, or record- Having struck down Ferguson's first with royalties for the record companies
ed performances, where the home record- point, the Appeals Court went on to and hollywood studios. High-priced lob-
ing is for private use and with no purpose scotch his second: New technology, byists for coalitions of video recorder
of reproducing or otherwise capitalizing which makes possible the mass reproduc-
commercially on it.") Since Congress in- tion of copyrighted material (effectively
corporated the 1971 act into the general taking control of access from the author),
revision of copyright law in 1976, it is places a strain upon the fair use doctrine
reasonable to assume that Congress in ". .It is our conviction that the fair use
1976 intended to exempt private non- doctrine does not sanction home video -
commercial home audio recording from recording." Kilkenney's main reason for
copyright infringment, said Sony. And nixing the fair use defense was that he
since audio and video home taping are in viewed home taping as not having "a
principle the same, then the present law productive use." When a medical scien-
grants William Griffiths and everyone tist copies a copyrighted biology book to
else a right to tape. further his research, for example, that's
Sony's second argument was that even "fair use" because the doctor is using one
if a home videotaping right is not implicit creative work to produce a second. But
in the law, then it falls under the "fair the home taper, implied Kilkenney, tapes
use" doctrine. Home videotaping is fair merely for his own entertainment, and
use because it is for private use and not entertainment is not fair use of someone
for profit. The activity does not harm the else's property.
business prospects or programmers like Finally, in returning the case back to
MCA and Disney who receive payment the district level for the consideration of "...T416 I C.Ap7AEJ )114(ZAXGAND- THREW CUT THAT
VIDEO TAPE R<inoKR AND Azz THOSE PIRATED.
to broadcast their movies. damages against Sony et. al, the Appeals OFF THE -AIR VIDEO TAPES f "
1984 EDITION 13
How to Choose a
Cassette Deck during playback, however, amplifies tape
hiss along with the attenuated high -fre-
quency signals.
On the other hand, if your interest in
high -frequency response doesn't go much
over 15 kHz-the limit for stereo FM
broadcasts-the playback loss from the
1.3-µm head will be a more easily man-
aged 3.4 dB, and some of the manufac-
turing savings from using a single
record/playback head can be used in
making an electronically quieter play-
back amplifier. Besides, in a three -head
deck even the slightest discrepancy in az-
imuth alignment (the perpendicularity of
the head gap to the tape edge) between
the record and playback heads can very
easily cause a 3 -dB loss at 15 kHz (and
much more at 20 kHz). This can even
happen when separate record and play-
back heads are placed together in the
same physical case, for as the deck ages
the case itself can slip out of alignment.
Thus, unless extremely high -quality
heads are used, meticulous care is taken
to align them (and keep them aligned),
and very wide frequency response is
demanded-all of which translates into
much higher cost-even the theoretical
advantages of a three -head design may
By Craig Stark not be realized. Here, however, another,
more personal consideration enters in.
THREE heads or two? Dolby or tern and turn it into an electrical signal How important is it to you to be able to
dbx? What about Dolby C? Or during playback, are probably the most compare the signal going into your tape
Dolby HX? How useful are bias - critical recorder components. Basically, a deck with a near-instanteneous playback
optimization controls? Whether you're head is an electromagnet with a micro- of the recorded result? Only a three -head
seeking better performance than your old scopically small gap between its pole design permits such "monitoring off the
deck can provide or looking into cassette pieces at the point where the head con- tape," which is ultimate quality control
recording for the first time, answering tacts the tape. The exact width of the for tape recording. To me, this feature is
these and similar questions before you head gap is extemely crucial. For rela- a necessity, but, since the great majority
start shopping will help you find the deck tively loss -free playback of a recorded of cassette decks sold are of the two -head
whose combination of features best meets frequency as high as 20,000 Hz at the variety, my priorities must not be the
your individual requirements. cassette's normal 1/s -ips tape speed, the same as most people's.
The extent to which individual require- gap width should be less than one Whether you pick a two- or a three -
ments genuinely differ is important, for micrometer (µm), or 39.37 millionths of head model, head design is of paramount
as the cassette medium has matured even an inch. For recording, however, a gap importance, yet only a few manufacturers
some of the most "obvious" answers of width of three to five times as great is provide enough information about their
the past have become considerably less generally required to ensure the best sig- decks' heads to give the consumer a rea-
certain. The oldest controversy of them nal-to-noise ratio. A deck that uses the sonable basis for choice. In terms of ma-
all, between two -head and three -head re- same head for recording and playback terials, it's generally agreed that heads
corders, will illustrate the point. must compromise-a gap of 1.3 1.,,m is made of sendust alloys or ferrites are
typical in today's better two -head ma- three to five times as wear -resistant as
Tape Heads chines. That means a playback loss at 20 permalloy-based heads. It's easy to un-
Tape heads, which induce a varying kHz of about 6.5 dB, which must be derstand how tape can wear down a
magnetic signal pattern on the tape dur- made up by a corresponding treble boost head-it acts like a very finegrain
ing recording and which detect that pat- in the playback electronics. Treble boost sandpaper-but except with very inex-
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14)
Taking Care of
Your Tape Deck ly, even those C -90's made by reputable companies? If
you answered yes to any of these questions, then your
deck probably needs to be cleaned and demagnetized,
the two most basic and necessary procedures for keep-
ing a tape machine in good condition. Cleaning a deck
removes oxide particles that tapes inevitably shed. In
addition to accumulating between heads and tape,
thereby reducing high -frequency response, these parti-
cles also build up on capstans, pinch -rollers, and tape
guides, creating uncontrolled and varying amounts of
friction that can lead to uneven tape movement. De-
magnetization simply means removing any residual
magnetic fields from the magnetizable parts that con-
tact the tape. This residual magnetism can, in extreme
cases, partially erase tape recordings. Both cleaning
and demagnetization are simple and inexpensive, and
they should be done at least every 8 to 10 hours of
deck use (certainly before any critical recording ses-
sion). The pictures that follow demonstrate an effective
By David Ranada way to perform these procedures on a cassette deck,
but there's no reason you can't use the techniques on
Do your cassette tapes sound noisier than they used
to? Has your deck's wow and flutter apparently in- pocket cassette players, "boom boxes," and open -reel
creased? Are the high frequencies of your tapes attenu- decks as well. There are also specialized products you
ated? Has your cassette deck been "eating" tapes late- can buy to clean and demagnetize tape recorders.
1984 EDITION 17
To demagnetize your tape recorder, first turn it off.
Remove any recorded tapes from the vicinity (they
should be at least a foot away from the path of the
demagnetizer). While the demagnetizer is at least one foot
away from the deck, turn the demagnetizer on. Bring it slowly
and steadily-one foot every three to five seconds-up to
If you do not have specially designed products (and the heads. Pass the tip over the heads very slowly. The tip
needn't touch the heads, but it should come within a sixteenth
1 if your instruction manual says nothing to the contrary),
you can still clean your tape deck. I use inexpensive
"generic" cotton swabs and concentrated isopropyl alcohol
of an inch of the entire tape -touching surfaces of all of them.
Do not turn off the demagnetizer yet.
(a 91 per cent "bathing compound") available from a drug
store. Other liquids suitable for recorder cleaning are denatured
alcohol (from hardware or paint stores) and special varieties
of Freon (sold as a recorder -cleaning fluid or aerosol). Do
not use commonly available "rubbing alcohol" since, in addition
to being more diluted, such mixtures contain compounds that
might damage recorder pinch -rollers. The demagnetizer I use
is an old probe type suitable for reaching all the parts of
interest in the cassette well. The tip is covered with a rubber
compound to prevent scratches to the heads. It also has a
convenient line -cord switch so that it can be turned on and
off easily. Look for these features in any demagnetizer you
buy. There are a few battery -powered, electronically controlled
head demagnetizers available that are quite convenient for
use in on -location, live -recording situations.
tit 14117"
PINCH -ROLLERS
5
tape deck with separate record, playback, and erase heads. Clean the heads with a swab lightly moistened in
Some three -head machines are constructed so that the record alcohol. The swab need not be dripping to do the
and play heads make contact with the tape through separate job. Rub it across the entire surface of all tape heads.
openings in the cassette shell. Personal -portable units usually If one head is particularly dirty, change swabs before cleaning
have only one capstan and no erase or record heads. They the next one. Don't leave any fibers from the swab stuck to
also usually have unremovable cassette -well doors. the heads or their attached tape guides.
18
TAPE RECORDING & BUYING GUIDE
The Discwasher philosophy states that separate
problems require separate solutions, no matter
what the all -in -one claims tell you. And Discwasher
solutions are unparalleled.
COS Sorts Hostel Ctoar,v The Discwasher Perfect Path,. Cassette Head
Cleaner is a nonabrasive dry system designed to
thoroughly clean tape heads and along the tape
path. an area often untouched by other cleaners.
Used regularly, the Perfect Path will help preserve
the fidelity and longevity of your home, car and
portable tape equipment.
The Discwasher C.P.R.- Capstan -Pinch Roller
Cleaner is the first cassette cleaner specifically
engineered to clean the critical drive system of
your cassette deck. C.P.R. uses an advanceable
fabric matrix and a scientifically safe cleaning fluid
to scrub away stickiness and contamination, pre-
venting "eaten" tapes.
The Discwasher D'MAG- Cassette Deck Demag-
netizer is capable of neutralizing magnetic fields
from not only tape heads but from capstans,
guides and other steel portions of a cassette deck
as well. By utilizing permanent high energy
samarium cobalt magnets. D'IVIAG requires no
batteries or power cords.
To learn more, write Discwasher for your free copy
of "Guide to Tape Care".
Use a new swab to clean the pinch -roller. You can Sign of a job well done: dirt on the swab. Do not
either dab at the roller with your moistened swab reuse a dirty swab. A good test for your cleaning
or put the deck into play mode and hold the swab technique is to do it all over again. Each part should
up to the rotating roller. Place the swab to the right of the leave no oxide traces on the swab if the initial cleaning was
that the swab fibers are not caught by the capstan. sufficient. Wipe away any fluid residue with a dry swab.
The Basics of
Live Recording
,.
By David Ranada
Anyone can make a live recording.
Just throw a cheap portable cas-
sette recorder with a self-con-
tained microphone near the performers
and let it loose. The results from such an
exercise will generally be quite poor,
however, especially compared to what
can be done with even a minimal invest-
ment in microphones and connecting
cables.
The greatest challenge for any record-
ist is a live recording session. You get to
choose everything that determines the ul-
timate sound quality: the recorder, tape,
and microphones and their placement.
And that ultimate sound quality can be
superb-better than nearly everything
Stereo Review's
This unique four -disc album is interesting, easy to OVER 200 MUSICAL EXAMPLES which have been
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What you need to know onstrations were specially recorded for this album.
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by David Randolph, Music Director of the Master- BOOKLET ENCLOSED. The accompanying booklet
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In the GUIDE TO UNDERSTANDING MUSIC, David standing of his many years of experience in bringing
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1984 EDITION 23
mon use include hypercardioid, shotgun new musical sounds and dazzling sonic the mics than others, the microphones
(named for the shape of the mic), and fig- effects through innovative mic placement might have to be raised on stands to re-
ure -8 or bidirectional configurations. All and the use of various signal -processing duce the differences in distance. Raising
of them feature directions in which devices like delay lines and vocoders. the mics has the beneficial effect of re-
sounds are preferentially attenuated. These effects, often musically effective, ducing sound coloration caused by reflec-
Those microphones with rear lobes are generally out of the range of most tions from a nearby floor.
(hypercardioid and figure -8) invert the amateur home recordists. Duplicating If you have no idea where to put the
phase of the sounds arriving from the the "sound" of today's top selling pop al- microphones, try a location 6 to 10 feet
rear. bums would require a substantial number back from the performers and 6 to 10 feet
Both omnidirectional and directional of microphones, a multi -channel mixer, above them, and "adjust to taste." Too
microphones are available in two com- and a multi -track tape recorder. close a placement can sound unnaturally
mon technologies: dynamic and "con- For this article the sonic alternative analytical, too distant can sound too
denser" or electrostatic. Like their loud- will be examined: making a high-fidelity "washed out" and reverberant. Too low
speaker namesakes, dynamic recording, one which attempts to recreate can overemphasize the nearer instru-
microphones use a coil moving in a mag- accurately the sonic effect of the original ments, too high can remove all sense of
netic field. Generally, the coil is attached performance. This is relatively easy to do ensemble depth in addition to sounding
to the microphone diaphragm and the with only two or three microphones and too echoey.
magnet to the body of the mic. As the di- a conventional stereo tape recorder. There are several "canonical," tried-
aphragm vibrates, the coil moves in the (Note that "high-fidelity" makes no judg- and-true methods of deploying micro-
magnetic field, generating a voltage. Con- ment as to how "good" the recording phones for a stereo recording. They are
denser microphones are much like elec- sounds, only as to its ability to give an il- usually called "minimal -microphone" or
trostatic speakers or headphones in re- lusion of the original.) "purist" techniques. On playback, each
verse. Both the microphone diaphragm The first consideration in mic place- of these positionings is claimed to pro-
and a fixed nearby metal plate are given ment is distance from the performers. In vide an accurate and stable stereo image
high electrostatic charges (in an "elec- general, microphones must be placed of the original performing forces. In
tret" microphone these charges have much closer to the performers than a truth, each distorts sonic reality a little
been fixed in place so a source of polariz- "live" listener for the same sonic effect bit, some techniques altering different as-
ing voltage is not required). As the dia- upon playback as the "live" listener re- pects of the image than others.
phragm vibrates in the sound field, its ceived. Also, mic distance should vary The simplest and perhaps least trou-
distance from the fixed plate changes. with the size of the auditorium (at least blesome minimalist technique was devel-
This is sensed by the mic's internal cir- for nonamplified instruments); the larger oped by the French broadcasting system
cuitry as a change in capacitance between the auditorium the more distant can be and takes its name from the initials of
the plate and the diaphragm. An output the microphones. that organization: ORTF (Figure 2). The
voltage is then generated proportional to If the performing ensemble is deep, ORTF system of two cardioid micro-
the vibration of the diaphragm. with some musicians much farther from phones with their diaphragms 17 centi-
Condenser mics are generally preferred meters apart (around 61/4 inches) and an-
by professionals for their extended high - gled apart by 110° has survived listening
frequency response and low distortion. tests as the best compromise of image
Dynamic microphones are preferred placement accuracy, directionality, and
where extremely high sound levels are to sense of hall ambience. An ORTF pair,
be recorded, where great ruggedness is placed as outlined above is a good start-
required, where extremes of environmen- ing point for experimentation.
tal conditions are expected, and where X- Y Some theorists and audiophiles prefer
cost is an important consideration. "coincident" microphone techniques.
0/12D101,0
The best microphones are expen- AW/CROPHONES These place two directional microphones
sive-a professional engineer can expect (pointing in different directions) with the
to pay several hundred dollars for a high - diaphragms as close together as possible.
quality condenser mic. But an amateur Among the variations of this technique
can obtain extraordinarily good results are "X -Y;" (two cardioid mics, tips to-
with much less expensive equipment. Af-S gether, 90° angle); "M -S" (a figure -8 plus
Some electret condenser mics of high an omni or cardioid feeding a special
sound quality are available at reasonable CARD/O/D f matrixing circuit), and "Blumlein" (two
rtoutES
cost as accessories. What you generally figure -8 mics, 90° angle).
give up with these less -expensive models Aside from any theoretical advantages,
is flatness of frequency response, low self - coincident techniques have (they are very
noise levels, lowest distortion, and deluxe amenable to mathematical modeling),
packaging. What matters most with mi- their primary real -world advantage is ex-
crophones of reasonable quality (and ceptionally good campatibility with
there are many of those) is not how good monophonic broadcasting and stereo -disc
they are, but how they are used. cutting. This is because coincident
placement effectively eliminates any
gzumtEim phase differences between the two stereo
Microphone Placement. This is the core
of the recording engineer's art. Even with 2 risueE PS channels, the only differences being those
mediocre equipment, proper microphone in signal intensity. Beware, however, of
placement can result in a stunningly life- claims that coincident techniques, partic-
like recording. This, of course, assumes ularly the Blumlein system, are the be-all
that you want to make a lifelike record- and end-all of stereo mic techniques.
ing. Many record producers nowadays, They are just tools, like the ORTF tech-
especially in pop and jazz, try to create Figure 2. Microphoning techniques. nique, and require equal amounts of ex -
1984 EDITION 25
sary connection between them. The fact Most consumer -type audio connec- prong XLR-type jack on one end and a
is that condenser or dynamic mics can tions are "unbalanced," meaning there standard '/4 -inch phone jack on the oth-
have either high or low -impedance out- are only two wires leading to each con- er. Many of these transformers also con-
puts, and those outputs can be either bal- nection: a "hot" or signal -carrying lead, vert a low -impedance mic output into a
anced or unbalanced. and a ground or "shield" lead. Most pro- high -impedance one. While this is not es-
Let's tackle the less complicated of the fessional -type audio connections are sential for many of today's mic inputs,
two aspects of mic outputs first: imped- "balanced." In this case there are three the bonus is that it increases the output
ance. A microphone's impedance is theo- conductors: two hot leads carrying one voltage of the microphone by a substan-
retically the output impedance (not the audio signal in anti -phase (when one tial amount and thereby lessens the noise
input impedance of the amplifier to lead's voltage rises, the other's falls by requirements of the microphone amplifi-
which it is connected). A mic's output the exact same amount), and a ground ers. Such impedance -matching trans-
impedance is what you would encounter lead. The purpose of this arrangement is formers should be kept as close as possi-
if you were to try to feed a signal into the -to reduce the effects of long cable runs. ble to the tape recorder. Some electret
microphone. However, according to An interfering signal is likely to be and most condenser mics require a power
common usage, a microphone's imped- picked up in phase by the two signal -car- supply for proper operation; connect the
ance means the impedance the mic can be rying leads so that the interfering voltage power supply between the microphone
assumed to have while designing a circuit rises and falls in the same direction, and output and the adapter transformer.
to amplify it, not necessarily the actual with the same level in each hot lead. To sum up then, there are three com-
microphone output impedance. Low -im- When the noise signals reach the micro- mon combinations of mic impedance and
pedance microphones are desired in criti- phone inputs, the signals on the two hot output configuration in general use:
cal recording work because, while their leads are subtracted, the result is the in- 1. low -impedance, balanced output
output levels are generally lower than terference gets cancelled. If you want to (professional equipment)
those of high -impedance microphones, a use professional microphones, you'll have 2. low -impedance, unbalanced output
cable hooked up to a low -impedance mic to convert their balanced outputs to un- (semi-professional and much consumer
is far less likely to pick up electrical inter- balanced ones, and you'll also have to use equipment).
ference. In addition, long lengths of cable three -conductor cable and 3 -pronged 3. high -impedance, unbalanced output
attached to high -impedance microphones XLR-type connectors. (low gride consumer equipment).
roll of high -frequency response. Most mi- The least expensive way to get the bal- The best bet are low -impedance, bal-
crophone inputs in consumer tape decks anced output of a professional mic into anced -output microphones used in com-
will accept and amplify the outputs of the unbalanced mic input of a consumer bination with the necessary multi -con-
most common high- or low -impedance tape recorder is to use an adapting trans- ductor cables, connectors, and matching
microphones. When in doubt, try it out. former. They can be purchased with a 3 - transformers.
1984 EDITION 27
and machine. Write down the highest al- and setting the record -level controls on specific components, such as those pub-
lowable meter reading. Very short, very the recorder so that the meters indicate lished in STEREO REVIEW. The best solu-
high peaks may sometimes go "into the peaks at your experimentally determined tion is to experiment.
red" with no ill effects on machine or maximum recording level. Discs. Setting levels with stylus -in -a -
tape. Print -through problems, however, Many stations broadcasting classical groove recordings is simple once you
are exacerbated with very high recording music hit peak modulation levels only learn how to tell loud portions of a disc
levels. rarely. Many rock stations, however, hit from soft protions. The texture of the
Try not to change recording levels maximum legal levels quite often by us- surface of a stereo disc is rougher during
while making a dub; it's just bad form ing heavy compression of the musc. Even loud passages. These passages also spar-
unless absolutely necessary. Party tapes if you tape only classical music, use a kle more when held up to a light. Soft
of dance music assembled from different heavily compressed rock broadcast to de- signals on a disc appear smoother and
LPs, for instance, may require some level termine where to set recording levels, darker under a light (see photo below).
adjustment between selections. Not only then tune to the classical stations with Play the loud portions and set your levels
do dancers not like widely varying play- your levels preset. accordingly.
back levels, but every disc -cutting engi- Although it is considered bad practice, Unless the only loud portions of a
neer has his own idea about what consti- many FM stations broadcast monopho- record are at the start of the sides, try to
tutes a good disc -cutting level. If you nic recordings without switching off the find loud passages about halfway into the
must change too -low levels drastically, stereo pilot signal that activates a receiv- disc. This keeps beginning -of -the -disc in-
boost them during a pause in the music er's or tuner's stereo decoding circuit and frasonic rumble from influencing the
(between cuts or movements). If the lev- front -panel stereo -FM light. If you are readings on the meters. By the time a sty-
els are slightly too high, it's okay to res- dubbing a mono recording being broad- lus reaches the innermost grooves of a
cue the recording by slowly turning down cast in "stereo," switch your receiver or disc, the cutting process has already
the record levels. However, the best solu- tuner into mono. You can gain more slightly rolled off the high frequencies
tion for grossly inappropriate recording than 20 dB in signal-to-noise ratio. Play- and possibly slightly compressed the sig-
levels is to start over. ing the tape back in mono will also re- nal. Unless the loudest portions of the
There are a few tricks you can use that duce the apparent noise levels by several disc are known to be in the inner grooves,
will enable you to set levels more quickly. decibels. This also applies to mono disc try not to use them as level -setting
They vary according to the medium you dubs. guides. (Infrasonic rumble, by the way,
are dubbing from. If you know for sure that your tuner can cause extraordinarily high levels of
has good suppression of the 19 -kHz ste- infrasonic signals to be fed into a tape
FM broadcasts. The maximum output reo multiplex pilot signal, you can safely deck. If you are getting distortion in your
level for a tuner or FM section of a re- turn off the multiplex filter in your tape dubs that seems to be synchronized with
ceiver is fixed. Any station broadcasting deck (if possible) when recording FM the passage of a small warp under the
a 100% modulated signal will produce broadcasts. The two multiplex filters stylus, you might need to install an infra-
the same output level from a tuner's or working in series could reduce the deck's sonic filter between the amplifer and the
receiver's output jacks. This being the record -playback response at 15 kHz by tape deck.)
case, you can set and forget levels for re- several decibels. Unfortunately, a reliable When disc -cutting engineers cut discs,
cording FM broadcasts simply by finding information on stereo -pilot rejection is they usually try to set a constant overall
a station broadcasting high peak levels usually available only in test reports on level between disc sides and between
discs in multiple -record sets. This obvi-
ates changing the playback volume at ev-
ery side change. It also means that there
is only one optimum recording level for
the two sides of a disc or for all sides of a
multidisc album. To avoid what could be
annoying changes of level, try to find the
single loudest passage and use it to set
the recording level for the entire tape.
Prerecorded tapes. Because tapes have
definite overload (saturation) limits, the
comments about FM recording above
generally also apply to the copying of
prerecorded tapes. High -speed -duplicat-
ed cassettes tend to be recorded at too -
high levels, so you might want to reduce
the recording level on any dubs you make
of them.
Live music. Recording live music is
simple if you can record a rehearsal or
run-through. Even one loud chord can be
enough. If not, then as a first try (with
classical music, and with microphones
placed 3 to 15 feet from the performers)
set the level of applause that greets the
musicians at 5 to 10 dB below the maxi-
mum acceptable recording level. For
rock music, the first few notes will gener-
Showing not the rings of Saturn but the surface of a stereo LP, this photograph indicates how the ally tell you whether your levels are set
varying loudness of the music changes the appearance of the disc surface. correctly. (See the previous article.)
001-411, re,.
- r, 11111MISMI
w-
AKAI flies in the face "tape tuning" analysis record- cancel that virtu-
of convention. that makes sure the ally guarantee professional
Again. This time with GX-F91 gets the maxi- quality recordings.
the incomparable GX-F91. mum from any tape. In short, it's the proud
A bold new design that For superior fre- flagship of our entire
looks-and performs-like quency response and 10 -deck AKAI family. A
no other cassette deck dynamic range, the family that now includes
in the world. GX-F91 is also endowed three outstanding auto -
It is literally the face of with a 3 -head design, reversing record/play-
the future. No knobs. No back designs.
keys. And no clutter. So audition
Instead, a polite
presentation of just
' the new
GX-F91 at
the basics. your AKAI
But press the dealer's
"door" button and, soon.
almost by magic, the face- And come
plate automatically lowers face -to -face-to-
to reveal the main control AKAI face with the future.
panel. Super GX 'TM Dolby Labs. Inc.
32
TAPE RECORDING & BUYING GUIDE
Cobalt doped-Tape utilizing a combina- Dolby C-Similar to two Dolby B cir- layer of chromium -dioxide particles. Ben-
tion of "standard" gamma ferric oxide cuits in a row, Dolby C can reduce noise efits claimed for this tape include in-
and cobalt as the magnetically active por- by up to 20 dB at 1 kHz and above. creased low- and high -frequency head-
tion of the coating in order to improve Dolby C's noise reduction begins at 100 room over standard chromium -dioxide
maximum output level at low and high Hz, compared to 500 Hz for Dolby B. formulations.
frequencies.
Drop-out-A momentary drop in signal Ferrite-A family of nonmetallic, ceram-
Coercivity-The magnetic field, mea- level caused by a loss of the required ic -like materials usually made from ferric
sured in oersteds (Oe), required to reduce close tape -to -head contact. Drop -out oxide in combination with other oxides.
the magnetization of a saturated material problems can be minimized by choosing The magnetic properties of ferrites and
to zero. Coercivity is proportional to the a high -quality tape, cleaning the recorder their exceptional hardness make them
high -frequency capabilities of a tape as regularly, and protecting the tape and re- suitable for magnetic heads.
well as of the recording, bias, and erase corder from mishandling, dust, dirt, and
levels that it requires. fingerprints. Flutter-Rapid, periodic variations in
tape speed causing rapid changes in pitch
Compander-A type of noise -reduction Dual capstan-A tape -drive system in and volume. Flutter and wow are some-
system that compresses all or part of a which the tape is pulled by two times specified in mutually uncom-
signal during recording and expands it in capstan/pinch-roller combinations, one parable ways by different manufacturers.
a complementary way during playback. on either side of the head assembly. This Differences in wow and flutter measure-
In general, such companders as ANRS, form of tape drive isolates the movement ment methods (peak versus rms versus
dbx, and Dolby B must be used during and tension of the tape over the heads average) and frequency weighting should
both recording and playback, otherwise from any motion irregularities at the feed be noted. In its test reports, Hirsch -
the signal may be unlistenable or at least or take-up reels. Houck Labs uses both a weighted-rms
have boosted highs. Anomalies in the method popular in Japan and a DIN
record -playback process (involving fre- Dynamic range-In a recording system, peak-weighted method.
quency -response irregularities or level the range in decibels (dB) between the
changes) will cause some sort of mis- maximum undistorted output level and Frequency response-An indication of a
tracking between the input and the out- the noise level. Just how distorted the recorder's ability to reproduce all the au-
put halves of the companding process. "undistorted output level" is depends on dio frequencies supplied to it without al-
The effects of this may or may not be whose spec sheet is being read, and the tering the original balance among them.
audible. interpretation of "maximum" output can A perfect frequency response would ex-
range from maximum operating level to tend at least from 20 to 20,000 Hz (the
dbx-Refers either to a series of dynam- saturation. Dynamic range varies with traditional and numerically convenient
ic -range enhancement devices, or to a frequency. The dynamic range of a pro- limits of human hearing) with a +0 -dB
complementary compander system, de- gram is the range through which its vol- deviation. the record -playback frequen-
veloped by dbx Inc. The companding ume changes. See noise, weighting, cy response of a tape recorder varies with
syste translates every 2 -dB change in the decibel. the recording level: as the overall record-
overall input signal level to a 1 -dB ing level increases, high -frequency re-
change fed to the recorder. During play- Equalization (EQ)-The process of se- sponse decreases. When you are compar-
back, the reverse process takes place: ev- lective amplification or attenuation of ing record -play specifications, make sure
ery 1 -dB change is retranslated to a 2 -dB certain frequencies or frequency bands in that the recording and playback levels
change at the dbx output. The dbx sys- a recording system so as to give a flat are equal.
tem can provide up to 30 -dB of noise re- overall frequency response, minimize
duction over the entire audio band. noise, or create a special effect. Equaliza- Harmonic distortion-Distortion in
tion is performed in tape recorders for which spurious harmonics (arithmetic
Decibel (dB)-A ratio of quantities ex- the first two reasons. The better cassette multiples) of the original input frequen-
pressed in logarithmic terms. The num- recorders provide a choice of equaliza- cies appear at the output. Usually ex-
ber of decibels between voltage A and tion in order to obtain the best perfor- pressed as a percentage of the output sig-
voltage B is twenty times the logarithm mance from various tape formualtions. nal and abbreviated HD or THD (total
of A divided by B. Cassette playback equalizations (70 -mi- harmonic distortion). Harmonic distor-
crosecond "chrome" and 120 -microsec- tion in tape recorders varies with bias
DIN (Deutsche Industrie Normenau- ond "ferric"), along with open -reel play- and overall recording levels.
sschus)-A set of standards and specifi- back EQs (NAB, CCIR), have been
cations promulgated by German manu- standardized to assure intermachine Head-A generally broken -ring -shaped
facturers and covering such audio -related compability of recordings. electromagnet over which the tape is
matters as connectors, frequency weight- drawn. A head can: (a) erase a previous
ing, measurement techniques, and speci- Feed reel-The reel (or cassette hub) recording by producing a large, rapidly
fications. Similar to the ASA (American from which tape is drawn during record- alternating magnetic field; (b) make a re-
Standards Association). ing or playback. Also known as the sup- cording by converting an electrical signal
ply reel. to a varying magnetic field which is
Dolby B-A complementary noise -reduc- picked up and retained by the tape; or (c)
tion system designed to reduce tape (and Ferric-The original tape formulation, play back a recording by sensing the
FM) hiss. A Dolby -B circuit boosts low- available today in many variations, based varying magnetic patterns on a tape and
level high -frequency signals during re- on magnetic particles of gamma ferric converting them to electrical signals. The
cording and reduces them, along with the oxide (Fe2O3). Also see cobalt doped, break in the "ring" of a head is called the
tape's added noise, in a complementary chromium dioxide. gap-the length and width of which
fashion during playback. Noise can be re- helps determine the frequency response
duced up to 10 dB above 5 kHz with the Ferrichrome-A tape formulation with a and noise of the playback system being
Dolby -B system. layer of "ferric" particles beneath a thin used.
1984 EDITION 33
Headroom-The range between a refer- record on metal tape. Most current decks ed material. DNR is an example of a sin-
ence recording level and the maximum are metal compatible. gle -ended system.
output level available at a specific fre-
quency or band of frequencies. See noise, Multiplex (MPX) filter- filter designed Pressure pad-A small, felt -like pad de-
weighting, dynamic range, signal-to-noise to reduce or remove the 19 -kHz stereo signed to press the tape into intimate
ratio. pilot tone present in all stereo FM broad- contact with a head. Although few mod-
casts. This pilot tone, usually filtered out ern open -reel machines have them, a
Hiss-The most noticeable form of tape by tuners and receivers, must be removed pressure pad is built into every tape cas-
noise. The human ear is most sensitive to when using a Dolby B circuit to record a sette, where it helps maintain high -fre-
noise in the 2,000- to 8,000 -Hz range- stereo FM broadcast, for the Dolby cir- quency response. Pressure pads in open -
which is heard as hiss. In fact, it is this cuit will otherwise mistake the tone for a reel machines should be kept clean and
region of frequencies that gives wideband high -frequency audio signal, leading to should be replaced when worn.
"white" noise (which contains all audible improper performance. Most good tuners
frequencies) its "hissy" quality. and receivers have adequate 19 -kHz fil- Print-through-The undesired transfer of
tering built in. For those that don't, the recorded signals from one layer of tape to
Light -emitting diode (LED)-An elec- use of the MPX filter on the cassette adjacent layers. At worst, print -through
tronic device which converts a current di- deck is necessary for successful taping off will cause distinct pre- and post -echoes.
rectly and instantaneously into light. the air. Print -through depends on a tape's thick-
This property makes the LED suitable ness and its magnetic prperties, on the re-
for peak -reading or peak -indicating audio Noise-Unwanted signals of mathemati- cording level, and on tape -storage condi-
displays. At present only red, yellow, and cally random nature. There are many tions. To minimize print -through, use as
green lights are commercially available. types of noise in tape recording, most of thick a tape as possible, be conservative
which sound like hiss. Noise is added to a with recording levels, and store the re-
Liquid -crystal display (LCD)-An al- tape when it passes through the bias and cording in a played, "tails -in" condition
phanumeric display that uses liquid crys- erase fields of the recorder and by the sig- under stable temperature and humidity
tals which interact with an external nal itself during the recording process conditions.
source of polarized light. Originally used (modulation noise). Tape noise can be
in watches, they are now found in calcu- minimized by the choice of tape, careful Retentivity-The maximum possible
lators and various hi-fi readouts. LCDs setting of bias and recording levels, regu- magnetization that will remain after satu-
require very little power, but the earlier lar cleaning and demagnetizing, and use ration of a magnetic material. Maximum
types had very slow response and were of a noise -reduction system. low -frequency output level directly pro-
temperature sensitive. portional to retentivity. Measured in
Noise -reduction system-An electronic gauss (Gs).
Logic controlled-A tape transport with circuit that attempts to achieve a reduc-
its functions switched by digital -logic cir- tion of noise level without changes in mu- rms (root-mean-square)-A method of
cuitry activated by front -panel switches sical content. There are two basic types mathematically averaging an ac signal
or a remote control. Logic control theo- of noise -reduction systems: companders such as audio. As used in wow, flutter,
retically does not permit an improper or (complementary record -playback sys- noise, and amplifier power measure-
potentially damaging series of commands tems) and single -ended (playback only) ments, rms relates to the energy of the
to be executed by a tape deck, and it is system. A compander is used for noise re- signal. An rms-reading meter will re-
likely to be found only in solenoid -operat- duction during the record -playback cy- spond to a transient faster than an aver-
ed machines. cle, while a single -ended system is used age -reading meter but slower than a
for removing noise from already -record- peak -reading meter.
Maximum operating level or maximum
recording level (MRL)-The magnetiza-
tion level of a tape which results in a
specified level of distortion. The MRL
varies with applied bias level and fre-
quency: as the MRL at 1,000 Hz rises,
the MRL at 10,000 Hz falls.
1984 EDITION 35
DIRECTORY OF MANUFACTURERS
ACE AUDIO CO. DUAL, div. Adcom MAXELL CORP. OF AMERICA
532 5th St., East Northport, NY 11731 120 S. Columbus Ave., Mt. Vernon, NY 10553 60 Oxford Dr., Moonachie, NJ 07074
ADS, ANALOG & DIGITAL SYSTEMS, INC. ELECTRO-VOICE, INC. MEMOREX CORP.
One Progress Way, Wilmington, MA 01877 600 Cecil St., Buchanan, MI 49107 1600 Memorex Dr., Santa Clara, CA 95052
AKAI AMERICA LTD. ERCONA CORP. MITSUBISHI ELECTRIC SALES AMERICA, INC.
800 W. Artesia Blvd, P.O. Box 6010, Compton, CA 90220 2492 Merrick Rd., Bellmore, NY 11710 7045 N. Ridgeway Ave., Lincolnwood, 11 60645
3030 E. Victoria St., Compton, CA 90221
AKG ACOUSTICS INC. EVENTIDE CLOCKWORKS INC.
77 Selleck St., Stamford, CT 06902 265 W. 54th St., New York, NY 10019 MURA CORPORATION
177 Cantiague Rd., Westbury, NY 11590
ALARON, INC. EVG, INC.
185 Park St., Box 550, Troy, Ml 48099 186 Buffalo Ave., Freeport, NY 11520 MXR INNOVATIONS, INC.
740 Driving Park Ave., Rochester, NY 12613
ALLISON ACOUSTICS INC. FISHER CORP.
7 Tech Circle, Natick, MA 01760 21314 Lassen St., Chatsworth, CA 91311 NAD (USA), INC.
675 Canton St., Norwood, MA 02062
ALLSOP, INC. FUJI PHOTO FILM U.S.A. INC.
P.O. Box 23, Bellingham, WA 98227 Magnetic Products Div., 350 Fifth Ave., New York, NAKAMICHI U.S.A CORPORATION
NY 10118 1101 Colorado Ave., Santa Monica, CA 90401
ALPINE ELECTRONICS OF AMERICA, INC.
3102 Kashiwa St., Torrance, CA 90505 FUJITSU TEN CORP NEUMANN, Gotham Audio Corp
19281 Pacific Gateway Dr., Torrance, CA 90502 741 Washington St., New York, NY 10014
R.B. ANNIS COMPANY
1101 N. Delaware St., Indianapolis, IN 46202 FULTRON, Arthur Fulmer, Inc. NIKKO AUDIO
P.O. Box 177, 122 Gayoso at 2nd., 320 Oser Ave., Hauppauge, NY 11788
ASC BY HAMMOND INDUSTRIES Memphis, TN 38101
8000 Madison Pike, Madison, AL 35758 NORTRONICS CO. INC.
FURMAN SOUND 8101 Tenth Ave. North, Minneapolis, MN 55427
AUDIO CONTROL CORP. 616 Canal St., San Rafael, CA 94901
6520 212 St., S.W., Lynnwood, WA 98036 NUMARK ELECTRONICS
GC ELECTRONICS, div. Household Intl. 503 Raritan Center, Edison, NJ 08817
AUDIONICS OF OREGON 400 South Wyman St., Rockford, IL 61101
P.O. Box 969, University Ste., Portland, OR 97207 ONKYO U.S.A. CORPORATION
GENERAL ELECTRIC CO. 200 Williams Dr., Ramsey, NJ 07446
AUDIOSOURCE Television Div., Portsmouth, VA 23705
1185 Chester Dr., Foster City, CA 94404 PANASONIC CONSUMER ELECTRONIC GROUP
GU INTEGRATED SOUND SYSTEMS, INC. One Panasonic Way, Secaucus, NJ 07094
AUDIO-TECHNICA U.S., INC. 1227 Walt Whitman Rd., Melville, NY 11747
1221 Commerce Dr., Stow, OH 44224 PDMAGNETICS
DAVID HAFLER CO. P.O. Box 4499, Wilmington, DE 19807
AUDIOVOX CORPORATION 5910 Crescent Blvd., Pennsauken, NJ 08109
150 Marcus Blvd., Hauppauge, NY 11787 PHILCO, NAP Consumer Electronics Corp.
HARMAN/KARDON Interstate 40 & Straw Plains Pike, Box 6950, Knoxville, TN 37914
AUTOTEK CORPORATION 240 Crossways Dr. W., Woodbury, NY 11797
1447 N. Carolan Ave., Burlingame, CA 94010 PHILIPS
HEATH COMPANY 77 Selleck St., Stamford, CT 06902
BANG & OLUFSEN OF AMERICA, INC. Benton Harbor, MI 49022
515 Busse Rd., Elk Grove Village, IL 60007 PHILIPS AUTO AUDIO
HITACHI SALES CORP. OF AMERICA 230 Duffy Ave., Hicksville, NY 11802
BASF SYSTEMS CORP. 401 W. Artesia Blvd., Compton, CA 90220
10 Crosby Dr., Bedford, MA 01730 PICKERING & CO., INC.
INFINITY SYSTEMS, INC. 101 Sunnyside Blvd., Plainview, NY 11803
BENJAMIN ELECTROPRODUCTS, INC. 7930 Deering Ave., Canoga Park, CA 91304
180 Miller Pl., Hicksville, NY 11801 PIONEER ELECTRONICS (USA) INC.
INTEGREX, INC. 5000 Airport Plaza Drive, Long Beach, CA 90815
BEYER/DYNAMIC INC. P.O. Box 747, Havertown, PA 19083
5-05 Burns Ave., Hicksville, NY 11801 PROTON CORP.
IRISH MAGNETIC RECORDING TAPE 19600 Magellan Dr., Torrance, CA 90502
BIAMP SYSTEMS, INC. 270-78 Newton Rd., Plainview, NY 11803
9600 SW Barnes Rd., Portland, OR 97225 QUASAR COMPANY
JENSEN SOUND LABORATORIES 9401 W. Grand Ave., Franklin Park, IL 60131
BIB 4136 N. United Pkwy., Schiller Park, IL 60176
1751 Jay Ell Dr., Richardson, TX 75081 RCA
J.I.L. CORP. OF AMERICA 600 N. Sherman Dr., Indianapolis, IN 46201
BLAUPUNKT 737 W. Artesia Blvd., Compton, CA 90220
2800 S. 25 Ave., Broadview, IL 60153 REALISTIC, div. Tandy Corp.
JVC CORPORATION 1300 One Tandy Center, Fort Worth, TX 76102
BOSE CORPORATION 41 Slater Dr., Elmwood Park, NJ 07407
The Mountain Rd., Framingham, MA 01701 RECORDER CARE, div. Nortronics Co., Inc.
KEN WOOD ELECTRONICS, INC. 8101 Tenth Ave. N., Minneapolis, MN 55427
BOZAK, INC. 1315 E. Watsoncenter Rd., Carson, CA 90745
68 Holmes Road, Newington, CT 06111 RECOTON CORP.
KLH, div. of Kyocera International 4623 Crane St., Long Island City, NY 11101
CERTRON 7 Powder Horn Dr., Warren, NJ 07060
1701 S. State College Blvd., Anaheim, CA 92806 REVOX, div. Studer/Revox
KRACO ENTERPRISES INC. 1425 Elm Hill Pike, Nashville, TN 37210
CERWIN-VEGAI 505 E. Euclid Ave., Compton, CA 90224
12250 Montague St., Arleta, CA 91331 RG DYNAMICS
KOSS CORP. 6440 N. Ridgeway Ave., Lincolnwood, IL 60645
CLARION CORP. OF AMERICA 4129 N. Port Washington Ave., Milwaukee, WI 53212
5500 Rosecrans Ave., Lawndale, CA 90260 RKO TAPE CORP.
KYOCERA INTERNATIONAL 3 Fairfiled Crescent, W. Caldwell, NJ 07006
CONCORD ELECTRONICS 7 Powder Horn Dr., Warren, NJ 07060
6025 Yolanda Ave., Tarzana, CA 91356 ROBINS, My. Benjamin Electroprducts
LORANGER ENTERTAINMENT 75 Austin Blvd., Commack, NY 11725
CRAIG CORP. 10-48 Clark St., Warren, PA 16365
291 W. Artesia Blvd., Compton, CA 90220 RUSSOUND/FMP, INC.
LT SOUND P.O. Box 2369, Woburn, MA 01888
CROWN INTERNATIONAL INC. P.O. Box 338, Stone Mountain, GA 30086
1718 W. Mishawaka Rd., Elkhart, IN 46514 SAE (Scientific Audio Electronics)
LUXMAN AUDIO OF AMERICA LTD. 701 E. Macy St., Los Angeles, CA 90012
DAHLQUIST, INC. Div. Alpine Electronics of America, 3102 Kashiwa St.,
601 Old Willets Path, Hauppauge, NY 11788 Torrance, CA 90505 SANSUI ELECTRONICS CORP.
1250 Valley Brook Ave., Lyndhurst, NJ 07071
dbx, INC. MAGNETIC TAPE INTL.
71 Chapel St., Newton, MA 02195 14600 S. Broadway, Gardena, CA 90248 SANYO ELECTRIC INC.
1200 W. Artesia Blvd., P.O. Box 5177, Compton, CA 5177
DENON AMERICA, INC MARANTZ, subsidiary of Superscope, Inc.
27 Law Drive, Fairfield, NJ 07006 20525 Nordhoff St., Chatsworth, CA 91311 SCHOEPS by POSTHORN RECORDINGS
142 W. 26 St., New York, NY 10001
DISC WASHER, thy. International Jensen MARK LEVINSON AUDIO SYSTEMS
1407 N. Providence Rd., P.O. Box 6021, Columbia, MO 65201 P.O. Box 6183, Hamden, CT 06517 (Continued on page 53)
1984 EDITION 37
+5
ferred to the 3% distortion point,
unweighted signal-to-noise ratios without 0 -
Dolby B processing measured 49.8 dB
(ferric), 53 dB (Cr02-equivalent), and 56 HARMAN KARDON CD91 ..%\\ECORD-PLAYBACK
T
R RESPONSE
dB (metal). Adding Dolby B and 03-10 I I i
EN NA
INIONVIN
DO+
puts. Although the RE530's rear outputs
need not be used if an external power am-
I LILt LI plifier is added to the system, using both
makes possible a relatively inexpensive
,ALIT
biamplification setup with four satellite
5194 SCAN/HOW A PUSH MEMORY
speakers and a mono or stereo sub -
SCAN/HOLD woofer. (For our road tests, we used only
the RE530's built-in amplifier connected
to four 4 -ohm speakers.)
The cassette player features an Auto-
Jensen RE530 Cassette Radio matic Tape Search (ATS) function that
seeks the next recorded selection on a
tape when either of the two fast -wind
ensen's in -dash RE530 cassette radio can be connected to its pair of phono- buttons and the ATS button between
comprises an AM/FM tuner, an auto- plug preamplifier outputs. them are pushed simultaneously. A tape -
matic -reverse cassette player, a digital The RE530's front -panel fader control equalization selector sets the player for
clock, a preamplifier, and a power ampli- is connected to a rear -panel FLEX FADER either normal -bias or chrome/metal
fier that can handle both front and rear switch. When the FLEX FADER is tapes. There are two noise -reduction sys-
speaker pairs. The unit can also be used switched in, the fader control varies the tems, usable either separately or together.
together with any high -impedance, low- balance between the front speakers and a Dolby B is for tapes only, while DNR
level -input external power amplifier that combination of the rear speakers and works on all three program sources: tape,
1984 EDITION 39
Navy Yard, failed to elicit more than a the way of listening to music. Manual ed the APC, though, its operation was to-
very tiny chirp of disruption at 30 mph. and preset station changes were accom- tally seamless. When DNR and/or APC
Steel divider plates on the Kosciuszko panied by a soft fadeup that was easy on removed some highs, a small treble boost
Bridge approaches got virtually no reac- the ears. I did not hear a single FM restored a degree of sparkle to the music
tion from the RE530 at either 40 or 60 crossmodulation, which can occur when at the expense of a bit more noise. The
mph. a signal appears elsewhere on the dial in loudness button appeared to cover the
The ATS tape program -search system addition to its allotted frequency. Despite bass and lower midrange, leaving the
works only for constant -volume music continuing improvement throughout the more delicate upper frequencies alone. I
with at least 4 -second pauses between se- industry, not everybody has licked this should stress that none of the filters was
lections. This obviously rules out much problem, so it was a pleasure to hear ab- unsubtle in its effect, nor was the high
folk, most jazz, and almost all classical solutely no crossmodulation, even in the blend obtrusive as it compensated for bad
music, but with popular music it worked treacherous masonry -and -steel canyon of signal conditions by eliminating the ste-
every time I tried it. Both auto -reverse West 35th Street. reo effect for treble frequencies. A live
and manual reverse functioned quietly Given good loudspeaker placement, chamber -music broadcast prominently
and instantaneously. The Dolby B and the main tonal changes in a car stereo's featuring clarinet and viola retained its
DNR circuits worked as they should, performance should be caused only by demanding tonal balance with little no-
and I found myself using DNR on most the tone controls and noise -reduction ticeable shift of color as I wove through
music I played. The slight treble attenua- system(s). I used DNR as well as Dolby downtown Brooklyn. The imaging was
tion in the quietest passages was not a less defined, but the high blend was taste-
problem, even with solo vocal music. I I began to realize that one word ful and "soft -edged." Even at fairly high
played ferric, chrome, and metal tapes characterizes the Jensen RE530's listening levels, the tonal balance tended
with good results, and I was pleased to operation: smoothness. . . ." to remain good, and the unit's integral
find that a very "hot" TDK metal tape I amplifier remained open and musical up
recorded live did not overload the play- to the loudest levels I could tolerate.
back electronics. with most tapes (metal excepted) and Once again, smoothness is the RE530's
The tuner section gave me even more DNR most of the time for both FM and most noticeable trait. From the very gen-
to rave about. On the notorious Brook- AM. I used the APC feature only in ar- tle cassette -loading cycle to the softened
lyn -Queens Expressway, multipath inter- eas with poor FM reception (most of the tuning -in of each station, this is a careful-
ference from numerous light standards, route in town), since I prefer small ly designed unit that has many useful fea-
metal -sheathed structures, and bridges amounts of hiss together with realistic - tures in an elegant package.
never succeeded in causing serious FM sounding upper harmonics to the slightly -Christopher Greenleaf
hash or other racket. The multipath in- less pleasing effect of a high filter and
terference was there, but it seldom got in narrower stereo separation. When I need- Circle 2 on Reader Service Card
1984 EDITION 41
+5
Maxell UDXL-II, BASF Professional II,
and Sony UCXS (Cr02-equivalents); and
TDK MA, Sony Metallic, Fuji AR Met-
0
1
H R (0 DB)
al, and the new Scotch XSM IV (metal).
Playback frequency response was
CO
J
(1) -10
5 NAKAMICHI DRAGON
RECORD -PLAYBACK RESPONSE "1'..N t
IT,
A
checked with our IEC standard ferric 0
- --
1
1984 EDITION 43
mV) was required to obtain a 0 -dB read- +5
I I I
5
t---"..,==.........=.
I
ONKYO TA -2035
.... .
RECORD -PLAYBACK RESPONSE %
ceeded 26 mV, which is typical for cas-
sette -deck microphone preamplifiers. 0
-10
METAL (MAXELL MXI
I I I II
Cr02-TYPE (MAXELL UDXL IC)
a 15 - - -FERRIC (MAXELL UDXL 21
-25
---r;;' -20 DB ...
I DB)
without damage to tape or mechanism. 0 .......I. .... ....., ...ii
\
RECORD -PLAYBACK RESPONSE 4..
.' '..,
taneously, but "flying start" recordings U
/
can be made while in play by pressing 0
10
----cMETAL i I I
DB:......
---1-'4.14
1046. P4 f )I
00
expected when recording, but it is inoper- 20 30 50 100 200 500 1K 2K 5K 10K 20K
ative during playback. The stop control
can be used instead during playback,
+5
0
I,i -70µS CHROME/MET-u....1-
120 AS (FERRIC)
6314
even for temporary interruptions, since PLAYBACK RESPONSE
the tape transport starts almost instantly -5
FREQUENCY IN HZ (CYCLES PER SECOND)
and without an audible transient.
Similar buttons to the left of the nu-
merical display are marked MODE, The upper curves indicate overall record -playback response at the manufacturer's indicated 0 -dB re-
RUNUP, and ZERO. The MODE button cording level using the tapes designated on the graph. In the center are the same measurements record-
switches between clock and index dis- ed at -20 dB relative to the upper curves, a level conventionally used for tape -deck frequency response
measurements. Bottom curves show playback response from calibrated test tapes and indicate perfor-
plays, ZERO resets the index reading to
mance with prerecorded tapes.
0000, and RUNUP is used when setting in-
dex readings for repetitive playback or
for changing the clock or timer settings.
Toggle switches along the lower part of tape. Three are marked for IEC Type I less important feature for a top -of -the -
the panel control power, tape or source (standard ferric oxide), Type II (chromi- line cassette deck now than it was only a
monitor, and Dolby noise reduction. One um dioxide or chrome equivalent), and couple of years ago.
switch turns on the noise reduction, and Type IV (metal) tapes, respectively. The We selected BASF Professional I Su-
another selects either the Dolby B or fourth button (AUTO) can be used with per as our Type I (ferric) tape, since it
Dolby C system. most recent cassettes having notches on appeared to be closest to the IEC Type I
On the right side of the panel, opposite the top edge for automatic setting of the in its response. For Type II (chrome) we
the time/index display, are the level "me- bias and equalization. Manual selection chose TDK SA -X. The B710 is not de-
ters." They consist of two parallel twen- must be used with older cassettes that signed to use Type III (ferrichrome) tape.
ty -four -element rows of red LEDs corre- lack these notches. A slide switch inserts For a Type IV (metal) tape we chose
sponding to program levels from -30 to a 19 -kHz filter in the signal path for re- TDK MA, which we understand is essen-
+8 dB (0 dB being at the Dolby refer- cording from FM tuners with inadequate tially the standard IEC Type IV tape.
ence level of 200 nWb/m). The LEDs re- suppression of the pilot carrier signal The playback response of the machine
spond virtually instantaneously to level (which could interfere with the operation was measured (for both 70- and 120 -mi-
increases, but the response decays over a of the Dolby circuits). crosecond characteristics) with the ap-
period of about two seconds. Their read- On the rear apron of the Revox B710 propriate BASF IEC standard test tapes.
ings do not include the effect of recording MkII are phono jacks for the line inputs Both tapes gave similar results, with a re-
equalization. and outputs, with screwdriver adjust- sponse flat within +1 dB from 80 to
Two sets of concentric knobs below the ments for setting the playback output lev- 12,000 Hz, rising to +3 or +4 dB at
meters (for left and right channels) adjust els (normally used at maximum settings). 18,000 Hz and to +2 dB at 31.5 Hz.
recording levels for the line and micro- When the B710 is used with a Revox The 0 -VU marking on the deck's front
phone inputs (which can be mixed). Stan- B739 or B780 receiver, the two can be panel corresponded to the Dolby refer-
dard 7/4 -inch phone jacks below the connected via DIN sockets on the re- ence level as claimed. The overall record -
knobs are used for the left and right mi- corder, permitting remote switching of playback response was essentially the
crophone inputs (plugging a microphone one by the other. The Revox B710 MkII same with all of the selected test tapes at
into the left jack feeds its signal to both is about 177/8 inches wide, 137/8 inches a - 20 -dB recording level. It was typical-
channels for mono recording) and for a deep, and 6 inches high. It weighs 23 ly flat within approximately ±1 dB from
pair of stereo headphones. The head- pounds. Price: $1,995. 35 to 20,000 Hz, rolling off to about -5
phone output is designed for driving me- dB at 20 Hz. The "head bumps" in the
dium -impedance (200- to 600 -ohm) Laboratory Measurements. We mea- low -frequency playback response were
phones, and a small knob next to the jack sured the record -playback frequency re- very small. At a 0 -dB recording level, the
adjusts the headphone volume level. sponse of the Revox B710 MkII with a playback output was -6 dB at 11,800
A brushed -aluminum strip across the number of different types of tape (includ- Hz with BASF Professional I, 15,500 Hz
top of the panel hinges down to reveal a ing samples of the IEC Type -I and Type - with TDK SA -X (Type II), and 18,000
number of infrequently used controls. II reference standards) to determine if Hz with TDK MA tape.
Four small buttons marked SET, START, any were particularly suitable or unsuit- The "tracking" of the Dolby encode
STOP, and CLEAR are used to set the in- able for use with this machine. For the and decode circuits was measured at re-
dex points for automatic start and stop most part, the response curves were so cording levels from 0 to -40 dB (using
operation of the machine and to enter the nearly alike that we would consider all Type II tape, which was marginally flat-
clock time. A three -position timer -mode the tapes equally compatible with the ter in its response than the others). For
slide switch sets the machine for unat- B710. The similarity of the curves also the Dolby B system, the change in overall
tended playback or recording under the suggests to us that most current tapes response when the system was switched
control of its own clock. Four small but- conform so closely to IEC standards that on did not exceed 1 dB at any level over
tons at the right of the group set up the user -adjustable tape bias or equalization, the full frequency range except between
equalization and bias for various types of either manual or automatic, is a much 15,000 and 20,000 Hz, where there was a
1984 EDITION 45
1.5- to 2 dB change at -30 dB. With without noise reduction was approxi- interstation FM tuner hiss recorded at
Dolby C, the tracking errror was about mately 55.5 dB for all three tapes. With levels close to 0 dB, we could hear (bare-
the same up to 10,000 Hz, with a change Dolby B and CCIR/ARM weighting, the ly) a minute change in the spectral bal-
of 1.5 dB between 10,000 and 20,000 Hz S/N readings improved to 64.8, 67, and ance when the playback was compared
at most levels. All these response changes 66.3 dB. With Dolby C, they were 75.2, with the incoming signal. Not a very seri-
are inaudible in normal use with music as 74.5, and 74.8 dB, respectively. ous flaw, to be sure. Dubbing some wide -
program material. The microphone input's sensitivity was dynamic -range CX-decoded records, we
However, a striking benefit of Dolby C 0.3 mV, and it overloaded at 37 mV. The found (as expected) that Dolby B noise
could be seen in the 0 -dB record -play- noise level through the microphone input reduction left an audible residue of hiss
back response curve made with the noise increased by 17.5 dB over the line -input on the tape during quiet passages. How-
reduction on. The high -frequency satura- noise level at maximum microphone ever, the quiet background with Dolby C
tion, above 10,000 Hz, was virtually gain, but only by 3 dB with a center set- was very nearly the equal of the CX re-
eliminated, resulting in the astonishing 0 - ting of the mic-gain control. Although sidual noise level, and the tape hiss could
dB response of + 1, -1.5 dB from 32 to we did not measure the headphone out- be heard only on a critical source/tape
20,000 Hz. This is a relatively unpubli- put, its adequacy can be inferred from comparison at a very high volume level.
cized feature of Dolby C, which employs the fact that the acoustic output of 600 - The mechanical operation of this ma-
a "spectral skewing" circuit to attenuate ohm phones could be heard throughout chine was a joy to experience. Instead of
frequencies in the 10,000- to 20,000 -Hz the room even at partial volume settings. the usual "clunk" of solenoid operation,
octave during recording and boost them The tape speed was 0.3% fast. Flutter pressing any of the control buttons pro-
in playback. The process greatly reduces was ±0.065% weighted peak (DIN) and duced only a subdued and muffled click
high -frequency tape -saturation effects at 0.043% weighted rms (JIS). The predom- that never became obtrusive. The record-
the expense of about 12 dB of noise re- inant flutter rates were 8 and 35 Hz. In er is actually easy to use after one has
duction in that octave. Since Dolby Labs fast -forward and rewind modes, the B710 carefully studied the manual (a well -writ-
has determined that the ear is relatively MkII handled a C-60 cassette in only 47 ten, trilingual, spiral -bound book with
insensitive to low-level noise in the up- seconds. In spite of this exceptionally fast numerous illustrations and a complete
permost octave, the trade-off of noise re- tape handling (or, more likely, because of functional block diagram of the record-
duction for headroom is highly it), the tape was stopped with unusual er). A little practice may be needed to
beneficial. gentleness, slowing down perceptibly in master the techniques of setting the clock
The required input signal for a refer- the final seconds of the process to avoid and using the programmed or timed -re-
ence -level recording (at 400 Hz) was 62 undue stress on either tape or leader. The peat modes, but for normal use the ma-
millivolts (mV) for the ferric and chrom- meters were accurate and as readable as chine is as simple as any we have seen.
equivalent tapes and 70 mV for metal their calibration intervals allowed. The Revox B710 MkII is a superlative
tape. In each case, the maximum play- machine by any standard that can be
back output from a 0 -dB recording level Comment. The statement that we used to judge a cassette deck. The only
was 0.81 volt. The third -harmonic play- could find no significant flaw in the nit we can pick about its design is the ab-
back distortion from the reference signal Revox B710 MkII should not be inter- sence of a switched ac outlet. The accu-
was 0.5% for ferric and 1% for chrome - preted as meaning that it is perfect, but rate and convenient built-in clock/timer
equivalent and metal tapes. At 10 dB be- merely that it is so surpassingly well de- worked well, but it cannot switch on an
low reference level, the respective play- signed and constructed that even an oc- associated tuner or receiver for unattend-
back distortions were 0.13, 0.1, and casional operating idiosyncrasy was easy ed recording. As it is now designed only
0.2%. To obtain a playback distortion of to ignore. It should hardly be necessary the fortunate owner of a Revox receiver
3%, the recording level for the tapes was to point out that this machine can record can fully utilize this capability of the
+5 dB for ferric, +4 dB for chrome - almost any program likely to be connect- recorder.-Julian D. Hirsch
equivalent, and + 5.5 dB for metal. The ed to its inputs with absolutely no audible
A -weighted signal-to-noise (S/N) ratio degradation of signal quality. True, with Circle 5 on Reader Service Card
0 DB
the front panel; it is illuminated, and its 0
door hinges are mildly air -damped. Cas- apt
settes are mounted, tape openings down- (D -5 SHERWOOO S-6000CP
ward, into the customary slides behind RECORD-PLAYBACK RESPONSE 11%
TDK SA (CrO2=EQUIVALENT)
I
\
ing and playback levels, and they are cali- TOK AD (FERRIC)
-20 DB
-*.-_. I
a ,a,
brated from -20 to +8 dB, with 0 dB 20
I
corresponding to the Dolby level. The -25 1 a.
FAST FORWARD, REWIND, RECORD, 20 30 50 100 200 500 1K 2K 5K 10K 20K
PLAY, and PAUSE buttons have built in +5 70AS (CHROME/METALI
12011.S (FERRIC)
LED indicators and operate with a light
touch slightly below their centers. Small
0 0
-5
11
PLAYBACK RESPONSE
vs".
pushbuttons select between tape and FREQUENCY IN HZ (CYCLES PER SECOND)
source monitoring, set bias and equaliza-
tion for three tape types (ferric, Cr02, or The upper curves indicate overall record -playback response at the manufacturer's indicated 0 -dB re-
metal), and control an FM =multiplex cording level using the tapes designated on the graph. In the center are the same measurements record-
filter recommended for dubbing stereo ed at -20 dB relative to the upper curves, a level conventionally used for tape -deck frequency response
measurements. Bottom curves show playback response from calibrated test tapes and indicate perfor-
broadcasts. Three similar pushbuttons
mance with prerecorded tapes.
are used to select either no noise reduc-
tion or the Dolby B or Dolby C systems;
LED indicators are provided for the lat-
ter two. Vertical slider controls set the re-
cording level, but there is no separate flat with the metal tape; response at 20 6,800 ohms), and the overload point of
playback -level control. A three -position kHz was down by less than 2 dB. The the microphone circuitry measured 200
slide switch, in conjunction with the high -frequency -3 -dB points for the mV, which represents a healthy margin.
three -digit mechanical counter, provides Cr02-type and the ferric -oxide formula- Fast -forward and rewind times for a C-
for optional memory rewind and replay tions were 18 kHz and a little over 17 60 cassette were somewhat slow, averag-
functions. A FINE BIAS control is provid- kHz, respectively. All tapes reached -3 ing 108 seconds.
ed, and the manual indicates recom- dB at approximately 27 Hz on the bass
mended settings for a number of popular end. At a 0 -dB recording level, response Comment. Direct source -vs. -tape
cassettes. For unlisted tapes, the proce- was down by 10 dB at 10 kHz with TDK comparison produced virtually no audi-
dure for using interstation FM hiss for AD (ferric) and TDK SA (Cr02-equiva- ble degradation in copies of most pro-
fine -bias adjustment is also described. A lent); it did not drop off by this amount gram material, though music with ex-
front -panel jack is provided for a pair of until a little over 15 kHz with the metal tremely demanding high -frequency con-
stereo Headphones. TDK MA. tent did require the use of metal tape to
The rear panel of the S-6000CP con- Third -harmonic distortion of a 400 -Hz preserve the treble range fully. When we
tains the microphone jacks and the usual tone at 0 dB (200 nWb/meter, the Dolby compared the S-6000CP with our refer-
line -level input and output connectors. level) was very low: 0.38, 0.64, and ence deck, using top-quality In Sync,
There is no provision for remote control 0.68% with TDK AD, SA, and MA, re- Mobile Fidelity, and JVC prerecorded
or timer activation. Overall, the deck spectively. To reach the 3% distortion cassettes, our listening tests confirmed
measures 171/2 inches wide, 14 inches point used for signal-to-noise measure- that our sample of the Sherwood unit was
deep, and 5 inches high, and it weighs ments required increasing the input levels a close competitor when playing material
about 15 pounds. Price: $399.95. by 6.9, 6, and 6.4 dB for the ferric, meant for 70 -microsecond equalization,
chrome equivalent, and metal tapes. On though the extreme highs suffered some-
Laboratory Measurements. Sherwood an unweighted basis, with no noise re- what with demanding material requiring
supplied the actual cassettes-TDK MA duction, signal-to-noise ratios were be- 120 -microsecond equalization. During
(metal), TDK SA (Cro2-equivalent), and tween 55 and 56 dB for all three tapes. our record -playback test, Dolby B pro-
TDK AD (ferric)-that were used for With Dolby B and CCIR/ARM weight- vided adequate noise reduction for most
factory setup and checkout of our sample ing, signal-to-noise ratios ranged from 68 musical selections, though the improve-
of the S-6000CP, so we used these for our to 69 dB, and with Dolby C (CCIR/ ment made by Dolby C was distinctly au-
own measurements. However, the FINE ARM -weighted) they increased to 77 dB dible during the quietest passages of mu-
BIAS control had a range more than ade- (metal), 77.2 dB (chrome type), and 77.7 sic having a very wide dynamic range.
quate to achieve comparable results using dB (ferric). Mechanically, the deck was extremely
Maxell, Sony, Fuji, and BASF formu- Wow -and -flutter, measured with a quiet in operation. Any criticism we
lations of all types. Playback equalization Teac MTT-111 test tape, was 0.04% might have would probably concern the
was checked using our IEC standard wrms and 0.06 per cent with DIN peak - closely spaced pushbuttons, which occa-
BASF calibration tapes. In the chrome weighting. The Dolby calibration was ex- sionally invited pressing the wrong one,
position (70 -microsecond), tape -replay act, and Dolby tracking was within 1 dB but except for lab -testing purposes these
accuracy was within +0, -1.6 dB over thoughout the frequency range, using ei- would not often be pushed during normal
the entire 31.5 Hz to 18 kHz test -tape ther the Dolby B or the Dolby C system, recording and playback. All in all, the
range. With the ferric (120 -microsecond) at recorded levels of -20, -30, and Sherwood S-6000CP cassette deck repre-
tape, the playback response curve was -40 dB. At the line inputs a signal level sents a highly attractive value for the au-
virtually identical up to 10 kHz, above of 64 millivolts (0.064 volt) was required diophile in terms of both appearance and
which it gradually declined to -4.5 dB for a 0 -dB indication, which produced an performance.-Craig Stark
at our 18 -kHz limit. Overall record -play- output level of 0.46 volt. Microphone
back frequency response, measured at the sensitivity was -0.36 mV with a 600 -ohm Circle 6 on Reader Service Card
customary -20 -dB level, was extremely input (recommended input is 600 to
1984 EDITION 47
in stereo or to record one of the two au-
dio channels on both tracks, an on/off
pushbutton for the Beta Hi-Fi circuits
(with adjacent signal light), and an AUTO
REC LEVEL button with signal light. Be-
low the panel area are the less often used
controls, such as those for tape speed
(Beta II and Beta III for recording and
playback, Beta I for playback only) and
tracking (matching the exact tape path to
that of the machine that made the re-
cording), a video input for use with a TV
camera or another VCR, a stereo head-
phone output (for a stereo mini -phone
plug), and two standard phono jacks for
auxiliary audio inputs selected by a
pushbutton. The front panel also con-
Sony SL -5200 Beta Hi-Fi VCR tains a sensor for the supplied infrared
remote control, which activates only the
tape -transport function. In addition to
the usual antenna inputs and outputs, the
Even though the frequency response usually have no pretensions to high-fidel- rear of the SL -5200 contains a video out-
of a home videocassette recorder ity status, the average user of a VCR is put jack (presumably for an external
(VCR) has to extend to several not disturbed by its audio limitations. A monitor) and two line -level audio output
megahertz in order to store video infor- few deluxe VCRs are equipped for re- jacks. There is also an MPX jack for a
mation, its audio frequency response (like cording and playing back stereo audio stereo -TV adaptor once stereo broadcasts
its other audio properties) usually falls programs (in the conventional longitudi- begin.
far short of meeting even minimal hi-fi nal record -playback mode), which re- Normally, a Beta Hi-Fi recording will
standards. This anomaly exists because of quires two extremely narrow adjacent be made in stereo from an external
the different techniques used to record tracks in the space formerly used for a source (such as the audio portion of a
video and audio signals. single mono audio channel. This pro- TV/FM simulcast). A recording of a TV
In order to store several hours of video duces relatively low channel separation broadcast will normally be in mono, with
programming on a single cassette, a VCR and degrades the signal-to-noise ratio the Beta Hi-Fi system activated at the us-
operates at a very slow tape speed. De- (S/N). Even with Dolby B noise reduc- er's option. At all times, the audio signal
pending on the system (Beta or VHS) tion, the S/N of such a system is unlikely is also recorded longitudinally in mono,
and the optional speeds available, the to exceed 46 dB. as on any ordinary VCR. During play-
tape speed may range from about 0.5 to Now Sony has introduced a radically back of a tape, the presence or absence of
1.3 inches per second, considerably slow- different system, called "Beta Hi-Fi," for the Beta Hi-Fi carriers automatically
er than the 1.875-ips speed of an audio recording true high-fidelity stereo audio switches the SL -5200 to the correct play-
cassette. The high relative speed between on a VCR. The audio channels are re- back mode.
the tape and the magnetic head necessary corded through the rotating video heads The key performance specifications re-
for storing and playing back the high vid- in the form of frequency -modulated leased by Sony for the Beta Hi-Fi system
eo frequencies is obtained by wrappng subcarriers located between the chromi- are most impressive. The rated frequency
the video tape halfway around a cylindri- nance (color) and luminance (brightness) response is 20 to 20,000 Hz with harmon-
cal rotating "head drum." The rotating components of the video signal. (The ic distortion of less than 0.3% at 400 Hz,
drum contains two heads that sweep subcarriers and their sidebands lie within channel separation of more than 60 dB, a
across the tape at an angle to the direc- the range of approximately 1 to 2 MHz.) dynamic range of 80 dB, and wow -and -
tion of tape motion. This puts the picture Simultaneously, a mono signal formed flutter of less than 0.005% (wrms)-an
information on adjacent diagonal tracks from the mixed -down stereo channels is incredible figure. These specifications ap-
on the tapes. Because of the rapid rota- recorded on the normal longitudinal ply to both the Beta II and Beta III re-
tion of the head drum (1,800 rpm), the track of the tape, making a Beta Hi-Fi cording speeds. The Sony SL -5200 is 18
effective rate of tape movement past the tape compatible in playback with any inches wide, 151/4 inches deep, and 6'/2
rotating heads' gaps is far higher than standard Beta -format VCR. inches high. It weighs approximately 32
that of any audio recorder (almost 23 feet The first Sony VCR to feature Beta Hi- pounds. Price: "under $1,000."
per second), and the necessary record - Fi is the SL -5200, which will be generally
playback bandwidth for video signals is introduced in the U.S. in May. External- Laboratory Measurements. Our mea-
obtained. ly it looks much like other current Sony surements on a very early production
In a typical VCR, however, the audio VCR's, although closer examination re- sample of the Sony SL -5200 were made
is recorded on a narrow track along one veals parallel lines of LED audio -level in- through the AUX inputs and line outputs
edge of the tape by a conventional fixed dicators and two horizontal slider con- by recording signals on a Sony L-500HG
head as in an audio cassette deck. The trols for setting recording levels. Most videocassette at Beta II speed. In general,
bandwidth of the audio portion of a video VCRs have only automatic record -level we followed the procedures applicable to
recording may thus reach 7 kHz or high- controls. The tape is loaded through a testing any audio -only tape recorder (no
er, especially at the higher tape speeds, slot at the upper right of the panel, and a measurements were made on the video
but in no case has it approached the per- row of TV -channel selector buttons occu- portion of the unit).
formance of even a low-priced audio cas- pies the upper left. The front -panel con- The record -playback frequency re-
sette deck. Since the audio tracks accom- trols peculiar to the Beta Hi-Fi system sponse at a 0 -dB recording level (based
panying most TV broadcasts, movies, or are an AUDIO MONITOR slide switch, on the LED level indicator) was flat
commercially recorded videocassettes which sets the machine either to record within +0, -1.5 dB from 20 to 20,000
48
TAPE RECORDING & BUYING GUIDE
Hz (and down only 0.5 dB at 35 and +1 5
(+10 Del
15,000 Hz). The response change at low-
er levels (down to -20 dB) was negligi-
SONY SL -5200 BETA HI-FI VCR
ble. At + 10 dB (above the range of the 5'...\
RECORD -PLAYBACK RESPONSE
indicators, which extended from -20 to
+8 dB) the response was flat to 7,000 (1)
r....1r.
J
(0 DB)
lwm--N-.....,
1984 EDITION 49
boost during recording in order to
achieve flat frequency response overall.
This boost, or "record pre -emphasis,"
can lead to high -frequency tape satura-
tion, however, if the treble content in the
original signal is itself high in level. Satu-
ration produces distortion and limits the
tape's high -frequency response.
The Dyneq system varies the amount
of treble pre -emphasis during recording
to take account not only of the frequen-
cies in the incoming signal, but of their
amplitude as well. If a given treble fre-
quency would be driven into saturation
with normal, fixed record equalization,
the Dyneq circuit automatically lowers
the amount of equalization supplied by
just enough to enable the tape to hold as
much high -frequency information as it
can.
Tandberg's SE circuit addresses anoth-
er fundamental open -reel problem. De-
cades ago, when playback -equalization
curves (which are usually stated in terms
of microseconds for engineering conve-
nience) were standardized for the various
tape speeds, the very best available tapes
of the time had severe treble losses, well
beyond what any reasonable amount of
record pre -emphasis could supply. The
only place to insert the additional
amount of treble boost required was in
the playback section, where a 6 -dB -per -
octave treble boost was an inherent part
of the playback head's own operation (a
6 -dB -per -octave rising characteristic
means that the output from the head
doubles each time the frequency dou-
The Tandberg TD 20A -SE is a two - splice points. A conventional mechanical bles). While using this boost certainly
speed open -reel tape deck de- four -digit counter indicates tape position, helps compensate for treble losses on the
signed for the advanced amateur and an optical sensor stops the deck tape, it unfortunately also increases any
or semi-professional recordist. It is avail- when the tape runs out. tape hiss.
able with quarter -track heads for Light -touch pushbuttons with LED in- Today's improved tapes do not need
71/281/4- or 15/71/2-ips operation (I tested dicators control all transport modes nearly the amount of playback treble as-
the former, which is the usual home -ste- through a logic circuit that automatically sistance that is built into the old stan-
reo format). There is also a 15/7'/2-ips prevents any possibly tape -damaging se- dards, and now Tandberg has decided to
half-track version more suitable for pro- quence of operations. Simultaneously run the commercial risk of providing an
fessional applications. All three models pressing and releasing the STOP and alternative set of playback -equalization
accept either 7- or 101/2 -inch reel sizes. WIND buttons places the deck in a "free" settings. In brief, the "special equaliza-
The transport of the TD 20A -SE is vir- mode so that the reels can be manually tion" of the TD 20A -SE uses time
tually identical to that of the TD 20A rocked back and forth for editing or constants of 50 microseconds (treble
(STEREO REVIEW, December 1979). A threading. If desired, the CUE switch will boost beginning at 3,150 Hz) for the 33/4-
synchronous ac motor powers the belt - cause the tape to be held against the ips speed; the current standard is 90 mi-
driven capstan, and there are separate heads even during fast winding, though croseconds (boost beginning at 1,800
motors for each of the reel hubs. A the playback level must be turned down Hz). At 7'/2 ips the SE is 25 microsec-
fourth motor replaces the usual solenoids to avoid the possibility of burning out a onds (6,300 Hz) instead of the old 50-
for smooth, quiet operation of the tape tweeter. After threading, pressing the 1.1.sec (3,150 -Hz) standard. And at 15 ips
gate, capstan pinchroller, and brake STOP button momentarily energizes the Tandberg proposes 10 microseconds
mechanisms. Spring -loaded tension arms reel motors in order to take up any slack (15,900 Hz) in place of the thoroughly
on either side of the head assembly com- in the tape. obsolete 50 -microsecond boost now man-
pensate for any unevenness in tape wind- The TD 20A -SE incorporates two dated. A rather similar approach seems
ing, and a precision "scrape flutter" highly original electronic features: the to underlie the "EE" ("extra efficiency")
roller damps out the tendency of tape to Dyneq Actilinear recording system and system recently promulgated by Teac,
vibrate along its length. Separate ferrite the "special equalization" (SE) from Akai, Maxell, and TDK, except that EE
heads of Tandberg's own design and con- which the deck gets its suffix. The Dyneq requries a special high -bias (and rather
struction are used for erasing, recording, (dynamic -equalization) system frequently high-priced) tape, while Tandberg's SE is
and playback. A shield on the playback encountered in slow -speed recording. designed for high -quality regular open -
head lowers hum pickup but also makes Normal treble losses at slow tape speeds reel tapes.
it somewhat awkward to mark editing require a considerable high -frequency As is almost a hallmark with
TANDBERG TD 20A-SE
11
...:""....
\
i
peaks, but reflect the record treble pre - (0 6
I RECORD-PLAYBACK RESPONSE
emphasis as well. This facilitates using
the meters for their intended purpose,
hi
a)
0
10
7 1/2 IPS,NORMAL EQ
----7 1/2 IPS, SPECIAL EQ
I
.\\ .\
N..
\*.
\\ I.
namely recording at as high a level as
possible without encountering distortion.
0-15
-20
- 3 3/4 IPS, NORMAL EQ
-3 3/4 IPS, SPECIAL EQ
_ \ .\
a.
decks, separate record -ready switches are FREQUENCY IN HZ (CYCLES PER SECOND)
used, and "flying start" recording is pos-
sible. Toggle switches also control the se- The upper curves indicate overall record -playback response at the manufacturer's indicated 0 -dB re-
lection of standard or special equaliza- cording level using the tapes designated on the graph. In the center are the same measurements record-
tion, source/tape monitoring, edit/cue ed at -20 dB relative to the upper curves, a level conventionally used for tape -deck frequency response
functions, and a SYNC facility that en- measurements. Bottom curves show playback response from calibrated test tapes and indicate perfor-
ables a recording made on ne channel to mance with prerecorded tapes.
be synchronized with a second recording
made on the other. Separate left- and
right -channel playback controls are pro- reduce the level. Incidentally, the tape copies of a wide variety of listening mate-
vided, and a switch permits routing ei- overloaded before Tandberg's recording rial (including a first generation dub
ther channel to both headphones or regu- amplifier did. from a live digital master) with virtually
lar stereo listening. Pushbuttons are used Third -harmonic distortion of a 1,000 - no degradation.
to select either high or low speed and to Hz tone recorded at an indicated 0 -dB The special equalization does produce
set the proper tape tensions for large or level measured between 1.1 and 1.2%, a definitely quieter tape, with far less in-
small reels. and the 3% distortion point was reached dication of treble overload than the 0 -dB
The rear panel of the TD 20A -SE con- at a level of +3.5 dB, just above the test curves would imply. At the same
tains the normal input and output jacks, highest calibration on the meter scale. time, getting the rest of the industry to
which are recessed to permit either verti- While this does not appear to provide the accept a proposed new standard will not
cal or horizontal operation. Hub adap- usual "leeway," it is again an intentional be easy, so at least for now tapes made
tors for NAB -type 101/2 -inch reels are part of the Tandberg design for its meter with the new process will be primarily for
provided, and a remote -control accessory operation. A large differential between an playback on one's own machine rather
is available. The TD 20A -SE measures indicated 0 -dB and the onset of serious than for exchange with others. Overall,
171/4 inches wide, 171/2 inches high, and distortion is requried only when the me- we would rate the Tandberg TD 20A -SE
6 inches deep, and it weighs 371/2 ter does not really indicate the exact sig- as well worth its price, an excellent deck
pounds. Price: $1,595. nal level. With reference to the 3% dis- that should give its owner many years of
tortion point we measured unweighted trouble -free musical satisfaction and fine
Laboratory Measurements. Tandberg signal-to-noise ratios ratios at 71/2 ips of performance in semi -pro mastering
indicated that our sample of the TD 20A - 59.8 and 60.8 dB with the normal and the work.-Craig Stark
SE had been factory adjusted using special equalization, respectively, and
Maxell UD-XL tape, so we used it for the IEC A -weighting increased the readings Circle 8 on Reader Service Card
tests. We also tried top -line tapes from to 67.4 and 70.8 dB. At the 33/4-ips speed
TDK, Scotch, and Memorex with almost the comparable unweighted figures were
equivalent results. The TD 20A -SE has 56.4 and 58.8 dB, improving to 63.7 and
front -panel access to a pair of bias -trim 67.4 dB with A -weighting.
controls that can flatten out the response Wow -and -flutter, using the stringent
of nearly any tape, but the user must sup- DIN peak -weighted standard, measured
ply his own test equipment to take ad- 0.08 per cent at the higher speed and
vantage of this feature. 0.12% at the lower speed. High-speed
Playback response (using the "nor- winding time for a 3,600 -foot (101/2 -inch
mal" equalization, as there are no cali- reel) tape was 115 seconds in each direc-
brated tapes available for Tandberg's tion. An 1,800 -foot (7 -inch reel) tape
"special" equalization) was checked us- could be shuttled from one end to the
ing both Ampex and MRL test tapes. other in 83 seconds. A 38 -mV (0.038 -
Overall record -playback frequency re- volt) signal was required at the line -1 in-
sponse at a level of -20 dB showed very puts for a 0 -dB indication, with an out-
close tracking between the normal and put level of 1.4 volts. The microphone
special equalizations, though at a 0 -dB input required only 0.18 mV and began
level high -frequency response fell off to show signs of overload with an input
more sharply when using the SE, which of 25 mV.
subjects the tape to increased record "I am Cyrus Bleyer, attorney, representing the estate
equalization. At 0 -dB, the equalized Comment. As a top grade, inno- of the late Ludwig Van Beethoven. You have unlawfully
peak -reading meters deflected far off vatively designed recorder the TD 20A - taped the following compositions from frequency mod-
scale on higher -frequency test tones. In SE left little to be desired. Its tape han- ulation broadcasts. To wit: 'The Ruins of Athens', So-
practical use, this would warn a user to dling was excellent, and it could make nata No. 21 in C, Opus 53 'Waldstein', 1982...."
1984 EDITION 51
LOCK button, pressed in conjunction with
C-90, sets the counter to read in untimed
units.
Dolby B and Dolby C noise reduction
are switch -selectable, and the VCX-800
adds two more Dolby functions
found on cassette decks today. One is a
Dolby FM switch that automatically pro-
vides proper decoding either for record-
ing or for listening to Dolbyized broad-
casts. (Rear -panel adjustments are pro-
vided for calibrating the Dolby system
for such broadcasts, since the normal
record -level controls are bypassed in. this
mode.) Further, the Dolby HX head-
room -extension system, which extends
tape treble capacity by modifying record-
ing bias and equalization simultaneously
The Vector Research VCX-800 is a features: a properly equipped test genera- in the presence of high-level signals, is
three -head, dual -capstan cassette tor for making fine bias and tape -sensitiv- also switch selectable. Each of the Dolby
deck with both Dolby B and Dolby ity adjustments. When the TEST button is functions has its own LED indicator.
C noise reduction, the Dolby HX head- pressed, a 400 -Hz Dolby -level tone in the A three -position switch sets the proper
room -extension system, and a program- left channel is used, with a RECORD CALI- bias and equalization for ferric, Cr02-
mable tape counter whose digital display BRATION control, to compensate for dif- type, or metal cassettes; no provision is
reads out directly in remaining minutes fering tape sensitivities, ensuring mini- made for ferrichrome. The output con-
and seconds per side. It also includes a mum Dolby tracking error. At the same trol affects both the level at the rear jacks
number of highly unusual features. time a 400- to 15,000 -Hz swept tone, and at the front -panel stereo headphone
The record and playback heads are shown on the right -channel indicator, is jack, and a dual -concentric input control
separate sendust units contained in the used for setting the BIAS ADJUST control sets the recording level. Both these con-
same physical casing. This permits opti- to flatten the frequency response of dif- trols are multiply detented. Plugging one
mizing both head -gap widths for their ferent tapes of the same overall type. or two microphones into the front -panel
different tasks, and it also allows the user (The swept tone is, of course, recorded at jacks disconnects the line -level inputs
to make an instantaneous comparison be- a low level to prevent high -frequency automatically. A three -position switch is
tween the input and the recorded signals. tape overload, but compensating addi- included for external timer activation,
A phrase -locked -loop (PLL) d.c. servo- tional amplification is switched into the and a pushbutton inserts an FM stereo -
motor drives the two capstans in a right -channel display when the test pro- multiplex filter.
closed -loop configuration, and a second cedure is used.) Pressing the TEST MONI- The rear panel of the Vector Research
d.c. motor is used to turn the reels. Cas- TOR switch permits the tones to be heard. VCX-800 contains the normal line -level
settes are mounted, tape openings down- While most memory rewind/repeat input and output jacks, Dolby -FM ad-
ward, into slides on the rear of the cas- features use a 0000 tape -counter reading justments, a socket for plugging in an ac-
sette -well door. When the door is closed as their reference point, the micro- cessory remote -control device, and an in-
the reels are driven momentarily, taking processor that controls the digital terconnect jack for operation under the
up any tape slack. The cassette well is il- counter of the VCX-800 permits two sep- control of the matching VRX-9500 re-
luminated, and the cover is easily remov- arate locations to be stored in its memo- ceiver. Rack -mounting adaptors are op-
able for head cleaning and ry. The SAVE 1 and SAVE 2 buttons can tional. Overall, the VCX-800 measures
demagnetizing. be used to store currently shown remain- 175/i6 inches wide, 55/s inches high, and
The transport of the VCX-800 is sole- ing times from the realtime counter dis- 14% inches deep, and it weighs a little
noid controlled, and the buttons for play, or they may be independently pro- under 211/2 pounds. Price: $1,000.
record, rewind, play, fast forward, and grammed using ten numerical push-
pause functions have LED indicators. buttons (0 to 9). In either case the Laboratory Measurements. Vector Re-
Pressing the record pushbutton automat- location(s) stored can be checked by search supplied the actual cassettes used
ically activates the pause function as pressing MEMORY READ or cleared with in its factory setup of our sample of the
well; recording actually begins when the SAVE CLEAR. Pressing the SEARCH but- VCX-800, and we used them for our pri-
pause button is pressed. A record -mute ton moves the tape rapidly to the SAVE 1 mary measurements. These were: TDK
pushbutton, with LED indicator, inserts location, and pressing AUTO REWIND AD (ferric), TDK SA (Cr02-type), and
a four -second silent space between selec- finds the SAVE 2 point. In addition to us- TDK MA (metal). At the same time,
tions; the silence can be extended by ing the ends of the tape for automatic however, by using the bias and calibra-
holding the button down. rewind/replay, therefore, the user can se- tion procedure (which takes only a few
A twenty -segment peak -reading fluo- lect a specific section of a cassette side for seconds), we obtained virtually identical
rescent display, calibrated from +8 to comparable treatment. A little practice in results with some well-known premium
below -30 dB (the two lowest segments thinking backwards is necessary when tapes from Maxell, Fuji, Sony, BASF,
are not marked) is used to show record- programming the display, since its read- 3M, and Memorex.
ing and playback levels. Dolby level is set ings constantly decrease to correspond to Playback frequency response, checked
at 0 dB. A pair of associated pushbuttons the remaining time, but this difficulty is with our BASF New IEC Standard test
determine whether the peak level is to be quickly overcome. The SEARCH, AUTO tapes, was extremely smooth, within
held and, if so, whether the length of the REWIND, AUTO PLAY, and SAVE buttons +1.5, -1 dB throughout the 31.5- to
hold will be indefinite or for only a few all have LED indicators, as do the C-45, 18,000 -Hz range. The response with fer-
seconds. Also associated with the display C-60, and C-90 buttons that calibrate the ric tape was so similar to the Cr02-type
is one of the VCX-800's more unusual counter. For nonstandard tape lengths a response that it is barely possible to sepa-
xl
0-10
5
VECTOR RESEARCH VCX-800
RECORD -PLAYBACK RESPONSE % \
lent), and slightly beyond our 20 -kHz 0 METAL )TDK MAI \
C(02 -TYPE ITDK SA)
measurement limit using TDK MA (met-
al). Low -frequency response began to fall
1.0
0 -15
--
----FERRIC ITDK AD)
FERRIC WITH DOLBY HX
i;
DIRECTORY OF SOUNDAIDS
Deer Hill Lane, Briarcliff Manor, NY 10510
TECHNICS (Panasonic Co.)
One Panasonic Way, Secaucus, NJ 07094
SHERWOOD, div. Inkel Corp. TANDBERG OF AMERICA, INC. VIDAIRE ELECTRONICS MFG. CORP.
17107 Kingsview Ave., Carson, CA 90746 Labriola Court, P.O. Box 58, Armonk, NY 10504 150 Buffalo Ave., Freeport, NY 11520
SIGNET DIVISION, A.T.U.S., INC. TDK ELECTRONICS CORP. YAMAHA INTERNATIONAL CORPORATION USA
4701 Hudson Dr., Stow, OH 44224 12 Harbor Dr., Port Washington, NY 11050 6660 Orangethorpe Ave.. Buena Park, CA 90620
SONY CORPORATION OF AMERICA TEAC CORP. OF AMERICA ZiMAG (MAGNETIC TAPE INTL.)
Sony Dr., Park Ridge, NJ 07656 7733 Telegraph Rd., Montebello, CA 90640 14600 S. Broadway. Gardena, CA 90248
1984 EDITION 53
Cassette Decks
ADS AD-WX110 Dubbing Cassette Deck twin field head; Intro Scan; digital tape counter; in-
Stereo cassette deck with two cassette transports for stant program location system; record cancel; re-
Atelier C2 Cassette Deck one -touch synchro dubbing. Features 4 -channel dub mote -control jack; auto mute; auto tape selector; met-
Stereo cassette deck with Dolby B and C noise reduc- bing to cut time to V, that of conventional decks; con al -tape compatibility. Frequency response 20-19,000
tion. Features full -logic transport mechanism; one - Hz ±3 dB (metal); wow and flutter 0.04% wrms; S/N
button selection for bias and equalization; digital ratio 60 dB; distortion 0.7% $400
counter with memory control; fast -response vertical
LED meter; 2 motors with single capstan; memory, re- HX-R5 Auto -Reverse Cassette Deck
peat, and auto -stop functions; laminated sendust alloy Auto -reverse stereo cassette deck with Bidirection
record/play head; dual -gap ferrite erase head. Fre- Symmetrical Precision. Features feather -touch con-
quency response at -20 VU 20-18,000 Hz ±2 dB trols; Dolby B and C; metal -tape compatibility; instant
program location system; high -density permalloy
head; electronic record -level control; reverse selector;
auto mute; auto tape selector; remote -control jack;
digital tape counter; auto timer/start. Frequency re-
sponse 20-17,000 Hz ±3 dB; wow and flutter
0.04% wrms; S/N ratio 58 dB; distortion 0.7% $350
tinuous playback; Dolby B and C noise reduction; LH
bias fine adjust; auto tape selector; timer standby; HX-3 Dolby C Cassette Deck
music sensor; auto replay; LED peak level meters. Computer -controlled stereo cassette deck with Dolby
Wow and flutter 0.045% wrms $395 B and C. Features HD head; metal capability; auto
tape selector; auto mute; memory auto play; auto tim-
AD -3500U 3 -Head Cassette Deck er; digital counter; 12 -part FL bar meters; remote -
with normal or chrome tape, 20-20,000 Hz ±2 dB Stereo cassette deck with 3 heads, soft -touch -con- control jack. Frequency response 20-17,000 Hz ±3
with ferrichrome or metal tape; S/N ratio (ref. to level trolled transport with cue and review, Dolby B and C dB (metal); wow and flutter 0.05% wrms; S/N ratio
producing 3% THD at 315 Hz) > 74 dBA with Dolby noise -reduction circuits. Features automatic demag- 56 dB; distortion 0.7% $250
C, > 66 dBA with Dolby B, > 58 dBA without Dolby; netizing system; new -style control panel display of
wow and flutter <0.06% DIN peak weighted; speed function, mode settings; 3 -color, 12 -LED signal dis- HX-2 Feather -Touch Cassette Deck
accuracy ±1%; fast -wind time for C-60 <80 sec; plays with peak hold; LH-bias fine adjust control. Wow Computer -controlled stereo cassette deck with HD
channel separation > 35 dB (at 1 kHz), > 30 dB and flutter 0.038% wrms $295 head. Features Dolby noise reduction; metal -tape
(500-6,300 Hz). Power consumption 30 W. compatibility; auto tape selector; digital tape counter;
17.52"W x 2.76"H x 14.84"D. 18.3 lbs .. $549 AD -F330 Dolby C Cassette Deck feather -touch controls; 12 -part FL bar meters; timer
Two -motor stereo cassette deck with Dolby B and C start function. Frequency response 30-17,000 Hz
AIWA noise reduction. Features keyboard control panel; IC ±3 dB (metal); wow and flutter 0.05% wrms; S/N ra-
logic controls; fine bias adjust; auto rec mute; auto tio 56 dB; distortion 0.7% $200
AD -F770 Dolby HX Pro Cassette Deck tape select; timer standby; oil -damped eject. Wow and
Stereo cassette deck with Dolby HX Professional cir- flutter 0.035% wrms $225 HX-1 Feather -Touch Cassette Deck
cuitry and digital automatic tape adaptation system. Computer-controled stereo cassette deck with HD
Features flat keyboard control design; Dolby B and C; AKAI head. Features Dolby; metal -tape compatibility; feath-
feather -touch IC logic controls; remaining -time dis- er -touch logic controls; 12 -part bar meters. Frequen-
play in all modes; fluorescent multifunction display; GX-7 Dolby C Cassette Deck cy response 30-18,000 Hz ±3 dB (metal); wow and
Intro -play; memory rewind and repeat; micro -grain Stereo cassette deck with Super GX combo heads and flutter 0.04% wrms; S/N ratio 58 dB; distortion
dual -capstan system; auto demagnetizing system; DC recording and playback amplifier. Features Dolby 0.8% $180
auto tape selector; auto rec mute; wireless remote - C noise reduction; feather -touch controls; electronic
control capability; stereo mic terminals. Wow and flut- record -level control; direct -drive capstan; direct lead- GT-F95 Stereo Cassette Deck
ter 0.25% wrms; S/N ratio 80 dB above 5 khz with in/power eject; Intro Scan; instant program location Stereo cassette deck with concealed cassette well,
Dolby C $495 Dolby B noise -reduction system, 4 -digit tape counter,
Super GX combination record/play tape head. Fea-
AD -F660 Dolby HX Pro Cassette Deck tures tape/source monitoring; computerized Bias
Stereo cassette deck with Dolby HX Professional cir- Equalization and Sensitivity Tuning (B.E.S.T.) system
cuitry and flat keyboard control design. Features for all tape formulations; built-in memory; full -logic
Dolby B and C; feather -touch IC logic controls; multi- feather -touch transport controls; 24 -segment 2 -color
color peak level indicator; Intro -play; memory rewind fluorescent switchable peak/VU meters with peak
and repeat; micro -grain dual -capstan system; auto de- hold; electronic tape/real-time counter; standby blink-
magnetizing system; auto tape selector; auto rec er. Wow and flutter 0.025% wrms; frequency re-
mute; wireless remote -control capability; stereo mic sponse 20-21,000 Hz ±3 dB with metal tape; S/N
terminals. Wow and flutter 0.28% wrms; S/N ratio ratio > 72 dB A weighted with Dolby on, metal tape;
80 dB above 5 khz with Dolby C $395 system; record cancel; optional remote control; distortion <0.6% at 1 kHz, 0 VU with metal tape;
switchable multiplex filter; digital tape counter. Fre- 17.3"W x 14.2"D x 6.4"H; 28.7 lb $795
AD -R6000 Auto -Reverse Cassette Deck quency response 20-21,000 Hz ±3 dB (metal); wow
Stereo cassette deck with quick auto reverse. Fea- and flutter 0.028% wrms; S/N ratio > 60 dB; distor- GX-F91 Stereo Cassette Deck
tures feather -touch IC logic controls; dual -motor drive tion <0.7% $400 Computer -controlled stereo cassette deck with Dolby
with DC servomotor mode; direction selector; Dolby B B and C noise -reduction systems. Features Super GX
and C; 3 -color 12 -part LED peak display; auto tape GX-R6 Auto -Reverse Cassette Deck record/play heads; 3 -head, 2 -motor full -logic trans-
selector; record sync operation. Wow and flutter Auto -reverse stereo cassette deck with Dolby B and C port system; quartz -locked direct -drive, double -cap-
0.035% wrms; S/N ratio 65 dB $395 noise reduction. Features quick reverse; Super GX stan closed -loop system; Quiet and Quick mechanism;
sponse 20-23,000 Hz with metal tape; wow and flut- puts. Wow and flutter 0.04% wrms; frequency re- mV/10k ohms microphone, 70 mV/35k ohms line;
ter 0.027% wrms; S/N ratio 73 dB (with Dolby C, at sponse ±3 dB 40-14,000 Hz normal, to 15 kHz output-level/impedance 700 mV/2.2 kohms line;
3% THD); power consumption 22 W. 17.4"W x Cr0,, and metal tapes; S/N ratio 62 dB with Dolby on; fast -wind time 100 seconds with C60 cassette; power
4.6"H x 11.5"D. 13.2 lbs. $600 THD 1.5% at 0 VU; fast -wind time 90 seconds with consumption 8 W; 17%^W x 10%'D x 4'/4"H; 11
C60 cassette; 17WW x 10WD x 4"H; 131b$300 lb $200
DR -M3 Stereo Cassette Deck CR356. Similar to CR127 but adds electronic sole-
Direct -drive 3 -head cassette deck with computer ser- CR155 Double Stereo Cassette Deck noid controls; switchable FM/MPX filter; timer stand-
vo motor. All functions microprocessor controlled, in- Stereo cassette deck designed for high -quality tape by. Wow and flutter 0.05% wrms; S/N ratio 54 dB no
cluding tape -tension servo for reliable tape -to -head duplication. Features auto search function on play- Dolby, 62 dB Dolby B, 68 dB Dolby C; THD 1.4% at 0
contact. Digital counter displays index and remaining back -only compartment; Dolby B noise -reduction sys- VU; power consumption 22 W. Fast -wind with C60 90
time in minutes and seconds. Features Dolby B and C; tem; dc governor -controlled motors; metal tape capa- sec. 16 lb $250
auto tape -type selection; infinitely variable auto bias- bility; LED bargraph meters; separate tape selectors
ing; silent flat key transport controls; peak -hold fluo- for each cassette compartment; timer standby func- CR36 Stereo Cassette Deck
rescent meters; dc amplifier construction; indepen- tion; hard permalloy record/playback head; separate Metal -compatible stereo cassette deck with powered
dent power supplies. Grey and silver, with wood drive motors for each compartment; record mute; mechanism, Dolby B noise -reduction system, 7 -LED
high -gloss end panels optional $500 dual -concentric input -level controls. Wow and flutter bargraph meters. Features normal/CrO,/metal tape
0.06% wrms; frequency response ±3 dB 30- selector; dc governor -controlled motor; hard Permal-
14,000 Hz normal, to 15 kHz CrO, and metal tapes; loy record/playback head; record mute switch; slide -
S/N ratio Dolby off/on 52/60 dB; THD 1.5%; input type input -level, balance controls; full automatic stop,
sensitivity/impedance 70 mV/50 ohms line; output- soft -eject cassette door. Wow and flutter 0.06%
level/impedance 500 mV/5k ohms line at 0 VU; wrms; frequency response 30-13,000 Hz ±3 dB
11111141 separation/crosstalk 40/70 dB; fast -wind time with normal, to 14 kHz CrO, "and metal tapes; S/N ratio
C60 cassette 100 sec; power consumption 12 W; Dolby off/on 52/62 dB; THD 1.5% at 0 VU; input-
153/4"W x 8%"D x43/4" H; 10 lb $230 sensitivity/impedance 1.0 mV/10k ohms micro-
phone, 90 mV/10k ohms line; output -level/
CRW40 Double Cassette Deck impedance 5 V/5 kohms line; separation 40 dB;
Double stereo cassette deck designed for high -quality crosstalk 70 dB; fast -wind time 110 seconds with
DR -M2. Similar to DR -M3 except lacks computer -tun- tape duplication. Features sequential play; synchro- C60 cassette; power consumption 13W; 15%'W x 8
ing auto -bias feature $400 nized one -touch dubbing; Dolby B; soft -touch power - %ND x 4WH; 7 lb $130
assisted transporrt controls; LED bar meters; sepa-
FISHER rate tape -type selectors for each transport (metal, CR113 Stereo Cassette Deck
Cr0,, normal); separate left and right record -level Metal -compatible stereo cassette deck with Dolby B
DD450 Stereo Cassette Deck controls; front -panel mic inputs; headphone output. noise -reduction system, 2 -color LED bargraph me-
Direct -drive 3 -head cassette deck with separate tape - Frequency response 30-14,000 Hz ±3 dB with nor- ters. Features 2 -position tape selector; hard permal-
hub motor, dual -process Dolby B noise -reduction sys- mal tape, to 15 kHz with CrO, and metal tape; wow boy record/playback head; dc governor -controlled mo-
tem, full -logic IC solenoid transport controls. Features and flutter 0.06% wrms; S/N ratio 51 dB no Dolby, tor; full automatic stop; separate input -level controls
3 sendust heads; normal/Cr02/FeCr/metal tape 61 dB Dolby on; THD 1.2% at 0 VU; line input sensi- for each channel. Wow and flutter 0.1% wrms; fre-
switching with separate fine bias control; memory/ tivity 100 my; line impedance 50k ohm; output level quency response ±3 dB 40-11,000 Hz normal, to
auto -repeat function; fluorescent peak -level autohold 440 mV at 0 VU; output level impedance 5k ohm at 0 12kHz metal tape; S/N ratio Dolby off/on 48/58 dB;
meters. Wow and flutter 0.04% wrms; frequency re- VU; separation 40 dB; crosstalk 70 dB. C60 fast - THD 1.8% at 0 VU; input sensitivity/impedance 0.2
sponse ±3 dB 30-14,000 Hz normal, to 16 KHz wind time 100 sec; power consumption 13 W. 15%" mV/10k ohms mic, 100 mV/50k ohms line; output-
Cr°, and FeCr, to 18 kHz metal tape; S/N ratio 62 W x 11 'A" D x 4%" H; 9.9 lb $200 level/impedance 1V/5k ohms; separation 40 dB;
dB with Dolby on; THD 1.5% at 0 VU; fast -wind time crosstalk 68 dB; fast -wind time 100 seconds with
90 seconds for C60 cassette; 17"W x 10%"D x C60 cassette; power consumption 11w: 15%^W x
4"H; 15.5 lb $580 9'D x 5'/,"H; 7.9 lb $120
1984 EDITION 57
flutter 0.03%; S/N ratio 75 dB with Dolby C on; 15,000 Cr0,, 30-16,000 metal; S/N ratio (A -weight-
17'/,"W x 11'/°"D x 41'/,,"H; 13 lb 14 oz $520 ed, metal tape, ref. 3% THD) 58 dB Dolby off, 66 dB
Cassette Decks D -W700 Double Stereo Cassette Deck
Dolby B, crosstalk (channel, at 1 kHz) > 30 dB; dis-
tortion 1.0% (1 kHz, 0 VU) 17'4' x 4'/," x 8'/,";
Double stereo cassette deck designed for duplicating 7 lbs $140
programs from one cassette to another. Features
Dolby B and C noise -reduction systems; IC -logic feath JVC
er-touch transport controls; random programming
DD -V9 Auto -Reverse Cassette Deck
record calibration test -tone generator. Wow and flut-
Three -head stereo cassette deck with "Flip Reverse"
ter 0.02% wrms (NAB); frequency response 20-
auto -reverse swivel head. Features Dolby B and C;
22,000 Hz ±3 dB, any tape formulation; 17°/" W
Sen-Alloy recording head; 3 motors; Pulse Servo di-
131/2"D x 4"/,,"H $575 rect -drive capstan motor; auto bias and equalization;
auto sensitivity; index scan; blank search; digital dis-
CD291 Dolby B/C/HX Pro Cassette Deck
play for remaining time, tape used, time elapsed and
Metal -compatible stereo cassette deck with Dolby B
and C noise reduction, switchable MPX filter, 2 heads.
Features Dolby HX Professional Headroom Extension dubbing/playback; repeat play; 2 dc motors; facility
System; ultrawideband frequency response with any for optional remote control; 171/,"W x 11'/,"D x
tape formulation; solenoid -controlled transport; 4"/,,"H; 13 lb $370
sendust record/play head; auto repeat; rec mute; dual
12 -LED peak -indicating meters; bias/EQ selectors; D -E7 Dolby Three -Head Cassette Deck
bias fine trim; mic inputs. Wow and flutter 0.05% Stereo cassette deck with three heads and Dolby B
wrms (NAB); frequency response 20-21,000 Hz ±3 and C noise reduction. Features automatic memory
dB with any tape formulation; 17%" x 13y,"D x rewind; feather -touch controls; compatible with nor-
4"/"H $435 mal, chrome, metal tapes; remote -control capability.
Wow and flutter 0.038%; frequency response (±3 program display; FL meters with peak hold; music
CD191 Dolby B/C Cassette Deck dB) 30-17,000 Hz normal, 30-18,000 Cr0,, 30- scan; auto rec mute; optional remote control . $800
Metal -compatible stereo cassette deck with Dolby B 19,000 metal; S/N ratio (A -weighted, metal tape, ref.
and C noise reduction, switchable MPX filter, 2 heads. 3% THD) 61 dB Dolby off, 69 dB Dolby B, 75 dB DD -V7 Auto -Reverse Cassette Deck
Features ultrawideband frequency response with any Dolby C; crosstalk (channel, at 1 kHz) > 30 dB; dis- Stereo cassette deck with "Flip Reverse" auto -reverse
tape formulation; solenoid -controlled transport; tortion 0.8% (1 kHz, 0 VU). 17'/,"W X x swivel head. Features Dolby B and C; Sen-Alloy re-
sendust record/play head; auto repeat; dual 12 -LED 10"/,*D; 10 lbs $350 cording and play head; multi -function counter; index
peak -indicating meters; bias/EQ selectors; bias fine scan; blank search; block repeat; multi -music scan;
trim; mic inputs; input balance. Wow and flutter D-RV7 Auto -Reverse Cassette Deck 12 -part LED meters with peak hold; auto rec mute;
0.05% wrms (NAB); frequency response 20-21,000 Stereo cassette deck with auto -reverse mechanism auto tape selector; optional remote control ... $500
Hz ± 3 dB, with any tape formulation; 17'/,,," W x that provides independent azimuth alignment for
13'/,"D x 4%."1-1 $345 each side of a cassette. Features Dolby B and C; 3 KD-D55 Stereo Cassette Deck
motors; IC logic control; infrared tape -end sensor; Metal -compatible front -loading stereo cassette deck
CD91 Dolby B Cassette Deck continuous play; playing selections in any order; auto- with Dolby B (ANRS) and Dolby C noise reduction.
Metal -compatible stereo cassette deck with Dolby B matic sampling of each selection; auto bias and EQ; Features 3 heads, electronic digital counter; full -logic
noise reduction, switchable MPX filter, 2 heads. Fea- electronic tape counter; feather -touch controls; re- transport controls; digital multifunction counter that
tures ultrawideband frequency response with any mote -control jack. Wow and flutter 0.04%; frequency counts tape, shows elapsed/remaining tape time, mu-
tape formulation; solenoid -controlled transport; response (±3 dB) 40-14,000 Hz normal, 40- sic scan countdown; multiple music scan system that
sendust record/play head; dual 12 -LED peak -indicat- 15,000 Cr0,, 40-17,000 metal; S/N ratio (A -weight- allows up to 20 selections to be skipped; 7 -LED multi -
ing meters; bias/EQ selectors. Wow and flutter ed, metal tape, ref. 3% THD) 60 dB Dolby off, 68 dB peak meters; record mute; output -volume control;
0.05% wrms (NAB); frequency response 20-20,000 Dolby B, 74 dB Dolby C; crosstalk (channel, at 1 kHz) timer function; gear/oil-damped cassette door. Wow
Hz ± 3dB, any tape formulation; 17%," W x >30 dB; distortion 0.8% (1 kHz, 160 nWb/m). and flutter 0.05% wrms; frequency response ±3 dB
13'/,"D x 423/1," H $265 17'/"W x 4"/,,"H X 10"/,,"D; 10 lbs... $300 30-16,000 Hz metal and Cr0,, to 15 kHz normal
tape, S/N ratio Dolby C off/on 58/78 dB with metal
HITACHI D -E3 Dolby B/C Cassette Deck tape; THD 1.0% with metal tape at 0 VU, 1kHz; input
Stereo cassette deck with Dolby B and C noise reduc- sensitivity/impedance 0.2 mV/600-10k ohms mic,
D -2200M Dolby B/C Cassette Deck tion and feather -touch controls. Features 12 -part LED 80 mV/100k ohms line; output level/impedance 500
Microcomputer -controlled cassette deck with Dolby B meters; auto rec mute; metal compatibility; optional mV/5k ohms line, 0.6 mW/matching impedance 8-1k
and C noise reduction. Features Hitasenrite record remote control (RB100); timer capability; output -lev- ohms; power consumption 20 W; fast -wind time 110
and play head; automatic tape response system; met- el control. Wow and flutter 0.04% wrms; S/N ratio
al compatibility; direct -drive unitorque motor; elec-
seconds with C60 cassette; 171/,"W x 11'D x
72 dB with Dolby C. 17'/,'W x 4'/,,"H x 8'4" D; 8 4%,"H; 12.1 lb $380
tronic digital counter; dual -capstan transport. Wow lbs $200
and flutter 0.019%; frequency response (±3 dB) KD-W5 Double Cassette Deck
30-18,000 Hz normal and FeCr, 30-20,000 CrO, D -E2 Dolby B/C Cassette Deck Stereo cassette deck with two full -logic tape trans-
and metal; S/N ratio (A -weighted, metal tape, ref. 3% Stereo cassette deck with Dolby B and C and soft - ports for dubbing. Features double -speed dubbing;
THD) 61 dB Dolby off, 69 dB Dolby B, 75 dB Dolby C; touch mechanism. Features metal compatibility; re- Synchro Start mechanism; continuous play; tape/mic
crosstalk (channel, at 1 kHz) > 40 dB; distortion wind auto play; 12 -part LED meters; timer capability; and line/mic mixing; music scan; Dolby B (ANRS)
0.8% (1 kHz, 160 nWb/m). 17'/," x 5'/," x output level control. Wow and flutter 0.05% wrms; noise reduction; pitch control on deck A (±10%); 7 -
11'/,"; 16 lbs $750 S/N ratio 72 dB with Dolby C; 17'/,"W x 4'/"H x LED multi -peak meters; auto rec mute $340
8'/,"D; 7 lbs $170
D -E99 Stereo Cassette Deck
KD-V44 Auto -Reverse Cassette Deck
Dual -capstan 2 -motor stereo cassette deck with D -E1 Soft -Touch Cassette Deck Stereo cassette deck with "Flip Reverse auto -reverse
AIRS, 3 heads, Dolby B and C noise -reduction sys- Stereo cassette deck with soft -touch mechanism and swivel head. Features Dolby B (ANRS) and C noise re-
tems. Features IC -logic feather -touch transport con- Dolby B noise reduction. Features metal compatiblity; duction; 2 -motor full -logic tape tranport; Sen-Alloy re-
trols; metal -tape capability; electronic counter with rewind auto play; master rec level control and inde- cording and play head; music scan; 7 -part LED meters
elapsed time; automatic reset memory rewind; 2 -color pendent rec balance control; timer capability; auto with peak hold; auto rec mute
fluorescent meters with peak hold; automatic record $330
stop; mic jacks. Wow and flutter 0.05%; frequency
mute; facility for optional remote control. Wow and response (±3 dB) 30-14,000 Hz normal, 30 - D -M3 Stereo Mjcrocassette Deck
Two -speed (2.4 and 1.2 cm/second) stereo micro -
cassette deck with 2 -motor, full -logic transport. Dolby
B (ANRS) noise reduction, compact cabinet design.
Features 7 -LED multi -peak signal -level displays; mu-
58
TAPE RECORDING & BUYING GUIDE
microcassette; 13WW x 103/46"H x 2%,"H; 8.8 tape; S/N ratio (A -weighted) 68 dB with Dolby B,78 17,000 Hz normal, to 18 kHz Cr0,, to 20 kHz metal
lb $330 dB with Dolby C $590 tape; S/N ratio with metal tape, no NR/Dolby/dbx
58/67/93 dB; overall distortion 0.6% with LH tape
D -E3 Stereo Cassette Deck at 1 kHz, 0 dB; input sensitivity 60 my line, 0.3 mV
Compact stereo cassette deck with motor -driven mic; power consumption 33 W; 18WW x 10Y,"D
drawer cassette compartment. Features full -logic x 51/4"H; 13.2 lb $500
transport; single music scan; 7 -LED multi -peak signal
level meters; Metaperm record/play head; metal -tape
capability; 2%,,"H $300 MARANTZ
KD-V40 Auto -Reverse Cassette Deck SD -530 Dolby B/C Cassette Deck
Stereo cassette deck with "Flip Reverse" auto -reverse Dolby B and C stereo cassette recorder with 2 -motor
swivel head. Features Dolby B (ANRS) and Dolby C feather -touch operation. Features automatic quick -
noise reduction; 2 -color FL spectro-peak meters to wind reverse, record, and play; gold-plated input/
show peak levels at 5 frequency ranges, left and right D-601. Similar to D-801 except no auto search, no output jacks; super -hard metal alloy record/playback
levels, and overall level; logic control mechanism; dual capstan, mechanical tape counter. Wow and flut- heads; 31 -tune quick music sensor; auto song and
soft -touch controls; music scan; SA record/play head; ter 0.035% wrms $450 side repeat; auto tape slack take-up; peak -reading
electronic counter; rec mute $290 LED meters; wireless remote control capability with
Cybernet DD -701 Dubbing Cassette Deck optional RC 430/RMC 12; memory rewind. Wow and
KD-V33 Auto -Reverse Cassette Deck Stereo high-speed copy dubbing cassette deck with flutter 0.05%; frequency response (overall: -20 dB
Stereo cassette deck with "Flip Reverse" auto -reverse mic echo mixer, automatic tape select. Features 2 - below 0 VU) ±3 dB 35-14,000 Hz normal, to 15
swivel head. Features Dolby B (ANRS) and Dolby C speed dubbing capability; adjustable echo effect, full kHz Cr0,, and to 16 kHz metal; S/N ratio 70 dB with
noise reduction; 7 -part LED multi -peak meters; logic automatic stop; Quick Start and Automatic Recording Dolby C, 60 dB with Dolby B, 52 db with Dolby off;
control mechanism; soft -touch controls; music scan; Stop; timer standby with optional timer; automatic output line level/impedance 560 mV/3.5 kilohms; in-
rec mute $220 program jump system; external processing loop put line sensitivity/impedance -27 dBV/50 kilohms;
capablity; rec mute, cue and review; Dolby B noise -re- mic level/impedance -70 dBV/6.5 kilohms; 16%" x
KD-V22 Dolby C Cassette Deck duction system bargraph signal -level meters. Wow 3'%," x 11%2"; 8 lbs $350
Stereo cassette deck with Dolby B (ANRS) and C and flutter 0.04% wrms; frequency range 30-
noise reduction. Features full -logic controls; 20,000 Hz with metal tape; S/N ratio 64 dB with SD -420 Dolby B/C Cassette Deck
Metaperm head; 6 -LED multi -peak indicator; metal - Dolby on $425 Stereo cassette deck with Dolby B and C noise -reduc-
tape compatibility $180 tion systems. Features soft -touch transport controls;
LUXMAN gold-plated input and output connectors; multiple
KD-V11 Dolby B Cassette Deck program Compuskip forward and backward; repeat
Stereo cassette deck with Dolby B (ANRS) noise -re- KX-102 Stereo Cassette Deck playback; fine bias control; LED indicators for all
duction. Features full -logic controls; Metaperm head; Computerized ServoFace stereo cassette deck with transport controls and for tape type, Dolby; timer
6 -LED multi -peak indicator $140 dbx noise -reduction system. Features 3 -head design; standby; LED peak signal -level displays; metal/
double dbx circuitry for both tape and disc playback; Cr0,/normal tape selector; record mute; tape
Remote -Control Unit Duo Beta circuitry for minimum negative feedback, counter. Wow and flutter 0.05% wrms; frequency re-
R -70E. For DD -V9 and DD -V7 $50 elimination of transient intermodulation distortion; sponse ±3 dB 40-12,500 Hz normal, to 15 kHz
15% bias control; peak -level flourescent meters; Cr0,, to 16 kHz metal tape; S/N ratio no NR/Dolby
KEN WOOD Dolby B noise -reduction system; computerized tuning B/Dolby C 52/62/72 dB; input sensitivity/
system that selects best bias level for tape used; auto- impedance -24 dBV/50k ohms line, -70 dBV/10k
KX-71R Cassette Deck matic repeat, rewind, play; facility for using wireless ohms mic; output level/impedance 600 mV/5k ohms
Auto -reverse cassette deck with electronic full -logic remote controller. Wow and flutter 0.04% wrms; fre- line,35 mV/240 ohms headphones; 166/,"W x
controls. Features Dolby B and C noise reduction; full quency response ±3 dB 20-22,000 Hz with metal 11'4 " D x3'/,"H $300
repeat and cue music repeat; permalloy head with tape; S/N ratio Dolby B/dbx 68/94 dB; THD 0.7%
sendust guard erase; 7 -LED peak level meters; metal with LH tape at 400 Hz, 0 dB test level $1000 SD -320 Dolby B/C Cassette Deck
tape compatibility. Available in silver or black $320 Stereo cassette deck with Dolby B and C noise -reduc-
KX-101 Stereo Cassette Deck tion systems. Features soft -touch transport controls;
KX-41 Cassette Deck Full -logic, solenoid -controlled stereo cassette deck gold-plated input and output connectors; LED peak -
Stereo cassette deck with soft mechanical logic con- with Dolby B and C noise -reduction systems. Features signal level displays; normal/Cr0,/metal tape selec-
trols. Features Dolby B and C; permalloy head with fluorescent indicators; Duo Beta circuitry; 2 sendust tor; record mute; timer standby; tape counter. Wow
sendust guard erase; 7 -LED peak level meters; metal heads; metal -tape capability; ServoFace design. Wow and flutter 0.07% wrms; frequency response ±3 dB
tape compatibility. Available in silver or black $225 40-12,500 Hz normal, to 14 kHz Cr0,, to 15 kHz
metal tape; S/N ratio no NR/Dolby B/Dolby C
KX-31 Cassette Deck 52/62/72 dB; input sensitivity/impedance -24
Stereo cassette deck with soft mechanical logic con- dBV/50k ohms line, -70 dBV/10k ohms mic; output
trols; Dolby noise reduction; permalloy head with level/impedance 600 mV/5k ohms line, 35 mV/100
ohms headphones; 166/,"W x 7'/,"D x 3%,"H $225
1984 EDITION 59
off/on 60/60 dB; input sensitivity 100 mV line, 0.45 amps with double NF circuitry; left, right, master in-
mV mic; power consumption 10 W; 161/4"W x 71/4"D put levels; output level control; rec mute; high -output
x 41/4"H $150 headphone jack; defeatable subsonic filter; LED
Cassette Decks counter with memory stop and repeat; remote control
MCS 3522 Mid -Size Cassette Deck with optional RM-20. Minimum specs in forward or re-
Stereo cassette deck with soft -touch transport mech- verse: frequency response 20-22,000 Hz ±3 dB
anisms and electronic servo DC motor. Features LED with ZX tape; wow and flutter 0.019% weighted
wrms; S/N ratio 70 dB Dolby B, 72 dB Dolby C at
400 Hz, 3% THD A -weighted with ZX tape, 0 dB; in-
SD -225 Stereo Cassette Deck put sensitivity/impedance 50 mV/50 kohms line; out-
Stereo cassette deck with Dolby B noise -reduction put level/impedance 1 V/2.2k ohms line. 17'/."W x
system. Features soft -touch transport controls; timer 5V,."1-1 x 11"/,."D; 21 lbs $1850
standby; LED peak -signal levet meters; normal/CrO,/
metal tape selector; record mute; tape counter. Wow ZX-9 Stereo Cassette Deck
and flutter 0.08% wrms; frequency response ±3 dB Super -tuned version of ZX-7 deck (below) with
40-12,500 Hz normal, to 14 kHz CrO., to 15 kHz assymetrical capstans driven by a unique super -lin-
metal tape; S/N ratio Dolby off/on 52/62 dB; input ear -torque direct -drive motor to totally eliminate cog-
sensitivity/impedance -24 dBV/50k ohms line, -70 ging. Electronics improved by direct coupling the
dBV/10k ohms mic; line output level/impedance 600 playback as well as the record amp and upgrading the
mV/5k ohms; 16%"W x 71/4"D x 31/4"H ... $179 record -level indicator; Dolby B noise reduction; metal - remaining capacitors. Specs same as for ZX-7 except
tape compatibility; digital tape counter; auto shutoff. for wow and flutter of 0.022% $1550
153/."W x 4'/,"H x 8'/."D $150
MCS by JC PENNEY ZX7 Stereo Cassette Deck
MCS 3531 Soft -Touch Cassette Deck Microprocessor -controlled discrete 3 -head, double -
MCS 3590 dbx Cassette Deck Stereo cassette deck with soft -touch transport control capstan stereo cassette deck with Dolby B and C
Two -motor stereo cassette deck with dbx noise reduc- and Dolby B noise reduction. Features 5 -LED peak noise -reduction systems. Features microprocessor -
tion in addition to Dolby B and C. Features feather - level display meters; automatic program search; met- controlled transport; master fader; diffused -reso-
touch function controls; fluorescent meters; electron- al -tape compatibility; permalloy head. 15'/."W x nance transport; asymmetrical dual capstan; LED
ic tape counter; remaining time signal; program 4*/."1-1 x 8"/"D $130 peak -level meters with -40 to +10 dB range; 4 -digit
search; record mute. 16'/."W x 37."H x LED tape counter; high -quality amplification with spe-
10'/." D $300 NAKAMICHI cial equalizer and double -NF monitor; record mute;
defeatable MPX filter; facility for optional RM-20 re-
MCS 3588 Auto -Reverse Cassette Deck 1000ZXL Computing Cassette Deck mote control; timer record/play capability. Wow and
Auto -reverse stereo cassette deck with Dolby B noise - Front -loading computer -controlled discrete stereo flutter > 0.08% weighted peak, > 0.04% wrms; fre-
reduction system. Features continuous automatic -re- cassette deck with Dolby B noise -reduction system, quency response ±3 dB 20-20,000 Hz SX and EXII,
verse control; quick reverse control; mechanical soft - double -capstan transport, 3 heads. Microcomputer to 21 kHz ZX tape; S/N ratio Dolby B/C on
touch transport controls; timer standby; LED record - automatically calibrates azimuth, bias, level, equaliza- > 66/> 72 dB; THD <1% with SX and EXII tape,
level meters; record mute; metal tape capability. Wow tion of any quality tape; features 4 tape memories for <0.8% with ZX tape; 171/4"W X 11"/,.'D X
and flutter 0.08%; S/N ratio Dolby off/on 51/60 dB; recording conditions obtained by computer; 15 pro- 5%."H; 21 lb $1250
separation/adjacent-track crosstalk 57/57 dB; pow- gram RAMM with 30 command memories via high-
er consumption 11.2 W; 16.5"W X 10.6'D x speed bidirectional search; LED status indicators. Ad- LX -5 Stereo Cassette Deck
4.3"H; 9.5 lb $280 ditional features include 70/120-11sec equalization Discrete 3 -head stereo cassette deck with Dolby B
selector; under/normal/over bias set selector; 400 and C noise -reduction systems. Features micro -pro-
MCS 3566 Double Cassette Deck Hz test -tone oscillator; quartz -controlled bias oscilla- cessor -controlled transport; master fader; diffused -
Two -transport stereo cassette deck with high-speed tor; multiplex and subsonic filter switches; dual fluo- resonance transport; asymmetrical capstans; 50 -dB
dubbing capability. Features soft -touch mechanical rescent recording level bargraph displays with peak LED peak -indicating meters; 4 -digit electronic LED
operation; Dolby B noise reduction; auto program hold, VU/peak switch; 2 -channel mic, line input, and tape counter; bias tune control; defeatable MPX filter;
search; one -touch dubbing control; 2 frequency gen- output -level vertical slide controls; tape/source-moni- record mute; facility for optional RM-20 remote con-
erator servo motors; playback and record logic; toring; LED 4 -digit tape counter with memory troller; timer record/play capability. Wow and flutter
record mute. 17"W x 4'/,"H x 11`/4"D .... $260 stop/play; pitch control; timer record/play with exter- <0.11% weighted peak, <0.06% wrms; frequency
nal audio timer; C-MOS logic function controls response ±3 dB 20-20,000 Hz with ZX, SX, EXII
MCS 3565 Real -Time Cassette Deck powered by motor -driven cam; direct -coupled record- tapes; S/N ratio Dolby B/C on > 64/> 70 dB; THD
Three -motor stereo cassette deck with electronic ing and playback amplifiers, double NF equalizer cir- <0.9% ZX, < 0.1% SX and EXII tape; 17WW x 12
feather -touch transports. Features Dolby B and C cuitry; 3 microphone inputs for tri-mic recording, 1/4."D x 5"/,."H; 18 lb 12 oz $850
noise reduction; fluorescent meters; digital tape mic/line mixing; provision for external noise -reduc- LX -3. Similar to LX -5 except 2 -head design; S/N ratio
counter; program search; record mute; automatic tion system. Wow and flutter 0.04% wrms; frequency Dolby B/C on > 62/ > 68 dB; THD <1.0% ZX,
MPX filter switch. 16'/,.'W x 4'/,"H x response 10-25,000 Hz ±3 dB; EIA rack -mounting; <1.2% SX and EXII tape $595
10'/,"D $250 20%"W x 12'1/4."D x 10%"H $3800
8X-2 Dolby C Cassette Deck
MCS 3556 Solenoid Cassette Deck Dragon Auto -Reverse Cassette Deck Microprocessor -controlled stereo 2 -head cassette
Stereo cassette deck with feather -touch solenoid Microprocessor -controlled auto -reverse 3 -head stereo deck with Dolby B and C noise reduction. Features
transports and both Dolby B and C noise reduction cassette deck with Dolby B and C noise reduction. 10,000 -hr hyperbolic -contour laminated sendust
systems. Features fluorescent meters; digital tape auto azimuth correction system automatically and record/play head; dual -gap erase head; cam transport
counter; program search; metal -tape compatibility. (with 3 motors); double NF circuitry with memory
16.9"W x 4.3"H x 8.2"D $200 play; rec mute; master record -level control; output
control. Available in black or silver. 30 -step alignment
MCS 3544 Stereo Cassette Deck and calibration procedure guarantees minimum
Stereo cassette deck with Dolby B and C noise reduc- specs: frequency response 20-20,000 Hz ±3 dB;
tion. Features soft -touch operation; fluorescent me- WillMG 7", wow and flutter 0.06% wrms; THD <1.0% with ZX
ters; digital tape counter; auto rewind; auto stop; one - SEWS Ea is.
tape; separation/crosstalk 36/60 dB. 16"/,.'W
touch recording; metal -tape compatibility. 16'4,"W 4'/1."1-1 x 97."D $450
x 4s/"H x 9'/,."D $180 ei BX-1. Similar to BX-2 but without Dolby C $299
1984 EDITION 61
PIONEER REALISTIC
CT -90R Auto -Reverse Cassette Deck SCT-42 Stereo Cassette Deck
Cassette Decks Computer -controlled stereo cassette deck with 3 -mo- Logic -controlled cassette deck with auto reverse and
tor direct -drive transport and quick auto -reverse Dolby B and C. Features 3 motors; feather -touch op-
record and play. Features index scan; music search/
repeat; blank search; blank skip; auto bias, level, and
equalization; record mute; LED level meters; Dolby B
and C; digital electronic real-time tape counter (indi-
tional remote control. Wow and flutter 0.045% wrms; cates minutes and seconds even in fast -wind modes).
frequency response ±3 dB 30-14,000 Hz normal, to Frequency response 20-20,000 Hz with metal tape;
16 kHz Cr02, to 17 kHz metal tape; S/N ratio no S/N ratio 78 dB Dolby C, 68 dB Dolby B, 58 dB Dolby
NR/Dolby B/Dolby C 60/70/80 dB; input sensiti-
vity/impedance 0.3 mV/5k ohms mic, 50 mV/50k
ohms line; output-level/impedance 350 mV/ > 50k
ohms line; headphone output impedance 8-200
ohms; power consumption 20 W; fast -wind time 90
secs with C60 cassette; 16WW x 10%"D x eration; auto record mute; auto tape selection;
316/'H; 9.9 lb $300 multirepeat. Can be preprogrammed to play selec-
tions in any order $300
TA -2033 Dolby B/C Cassette Deck
Stereo cassette deck with Dolby B and C noise reduc- SCT-28 Stereo Dubbing Deck
tion. Features auto music control system; auto tape High-speed dubbing dual stereo cassette deck with
selector; full logic -control mechanism; hard permalloy Dolby B noise -reduction system. Features automatic
head; 7 -part LED meters; timer stand-by; DC servo music search; soft -touch transport controls; deck 1
motor; compatible with normal, Cr02, metal tapes. optimized for playback and has automatic equaliza-
Wow and flutter 0.05% wrms; frequency response off; wow and flutter 0.03% wrms; 16W W X 13%"D tion selection; deck 2 has full record/play facilities
20-14,000 Hz ±3 dB normal, to 15 kHz Cr02, to 16 x 4%"H. 19 lbs $520 with pushbutton selectors for normal/Cr02/metal
kHz metal tape; S/N ratio (no NR) 60 dB with metal CT -70R. Similar to CT -90R except electronic counter; tape; record mute; dual concentric level controls; 2 -
tape, with Dolby B, NR is 10 dB above 5 kHz and 5 no auto bias, level, equalization. Frequency response color, 5 -segment LED peak -level meters; switchable
dB at 1 kHz, with Dolby C, NR is 20 dB at 5 kHz; mini- 25-19,000 Hz with metal tape. 17.6 lbs $420 MPX filter; high/normal-speed selector $270
mum input level 50 mV line; input impedance 50k
ohms line; output-level/impedance 500 mV (0 CT -50R Auto -Reverse Cassette Deck SCT-29 Stereo Cassette Deck
dB)/ > 50k ohms line; power consumption 18 W; fast - Stereo cassette deck with 2 -motor tape transport and Stereo cassette deck with Dolby B and C noise -reduc-
wind time 90 secs with C60 tape. 16%"W x 106/6* D auto -reverse record and play. Features auto space tion, automatic music search. Features 2 -color, 8 -LED
x 43/"H; 10.6 lbs $250 record mute; music search; blank skip; LED level me- peak -level meters; normal/Cr02/metal tape selectors;
TA -2022. Similar to TA -2033 except lacks auto mu- ters; Dolby B and C. Frequence response 25-17,000 switchable MPX filter; soft -touch transport controls;
sic control system and auto tape selector. Also avail- Hz with metal tape; wow and flutter 0.05% wrms. damped cassette door; output -level control. Wow and
able in black $200 161/2"W x 10%"D x 4%"H. 13.9 lbs $310 flutter <0.15% wrms; frequency response ±3 dB
30-14,000 Hz metal, to 12 kHz Cr02/normal tape;
TA -2015 Dolby B/C Cassette Deck CT -1040W Double Cassette Deck S/N ratio 64 dB Dolby on; THD 1.3%; output level
Computer -controlled 3 -motor stereo cassette deck High-speed dubbing stereo cassette deck with one - 0.7 V maximum; 15%"W X 9"D x 4%"H .. $220
with Dolby B and C noise -reduction systems. Features button sychro start. Features relay play (AB); skip
automatic music search system; automatic space but- search (9 cuts forward and reverse; play transport SCT-40 Stereo
ton in record; automatic tape detection system; hard only); music search (play transport only); auto tape Single -capstan 2 -head stereo cassette deck with logic
permalloy record/play head; Accubias fine bias tun- selector; rec mute; LED level meters; Dolby B. Fre- control. Features feather -touch operation; LED re-
ing; timer switch; full automatic stop; 2 -color LED quency response 25-17,000 Hz with metal tape; S/N cord -level meter; MPX filter; Dolby B and C; auto
peak -level meters; feather -touch transport controls; ratio 77 dB Dolby on, 57 dB Dolby off; wow and flut- search music system. Compatible with normal, Cr02,
facility for optional remote control. Wow and flutter ter 0.045% wrms. 16%"W x 11"D x 4"H; 17.9 metal tape. 390mm W x 102mm H x 229mm
0.06%; frequency response ±3 dB 30-14,000 Hz lbs $375 D $180
normal, to 15 kHz Cr02, to 16 kHz metal tape; S/N
ratio no NR/Dolby B/Dolby C 58/68/78 dB; input CT -40 Two -Motor Cassette Deck SCT-41 Stereo Cassette Deck
sensitivity/impedance 0.4 mV/5k ohms mic, 50 Stereo 2 -motor cassette deck with skip search (9 cuts Two -head cassette deck with soft -touch mechanism
mV/50k ohms line; output level/impedance 350 forward and reverse). Features music search; rec and Dolby B and C. Features auto search music sys-
mV/> 50k ohms line; headphone output impedance mute; LED level meters; Dolby B and C; electronic tem; LED record -level meter; output level control;
8-200 ohms; power consumption 18 W; fast -wind tape counter. Frequency response 25-17,000 Hz auto line/mic switching; LED power indicator. Com-
time 90 secs with C60 casssette; 161/2"W x 106/6'D with metal tape; S/N ratio 77 dB Dolby C, 67 dB patible with normal, Cr02, metal tape. 390mm W x
x 423/1."H; 10.1 lb $185 Dolby B, 57 dB Dolby off; wow and flutter 0.04% 110mm H x 210mm D $160
wrms. 16W W x 11'D x 4"H; 10.8 lbs $260
TA -W88 Dubbing Stereo Cassette Deck CT -30. Similar to CT -4 except no skip search, music SCT-24 Cassette Deck
High-speed dubbing stereo cassette deck with Dolby search, rec mute, or electronic tape counter. 11.9 Front -loading metal -compatible stereo cassette deck
B noise -reduction system. Features one -touch record- lbs $220 with Dolby noise -reduction system, switchable multi-
ing; continuous/simultaneous playback modes; micro- CT -20. Similar to CT -30 except lacks Dolby C. 11 plex filter. Features LED peak meters; auto stop; tape
phone mixer; dc servo -controlled motors; hard perm - lbs $175 selector buttons for ferric, Cr02, metal tapes; tape
alloy record/play heads; feather -touch transport CT -10. Similar to CT -20 except has soft -touch opera- counter. Wow and flutter 0.15% wrms; frequency re-
controls; record mute; LED level meters; timer stand- tion and lacks 2 -motor tape transport. Frequency re- sponse ±3 dB 30-12,000 Hz (ferric and Cr02), to
by mode; full automatic stop; facility for remote con- sponse 25-16,000 Hz with metal tape; wow and flut- 14 kHz (metal); S/N ratio 64 dB with metal tape,
trol. Wow and flutter 0.06% wrms; frequency re- ter 0.05% wrms; 16%"W x 9%"D x 46/6"H; 11.5 Dolby on; THD 0.3%, CCIR weighted $120
sponse ±3 dB 30-14,000 Hz normal, to 15 kHz lbs $150
Cr02, to 16 kHz metal tape; S/N ratio 68 dB with REVOX
Dolby on, metal tape; input sensitivity/impedance 0.3 JT-216 Wired Remote Controller
mV/5k ohms mic, 50 mV/50k ohms line; output Wired remote controller for CT -90R, CT -70R comput- B710 MKII Stereo Cassette Deck
level/impedance 350 mV/> 50k ohms line; head- er -controlled cassette decks $50 Microprocessor -controlled stereo cassette deck with
phone output impedance 8-200 ohms; power con- Dolby B and C noise reduction. Features peak -level
sumption 18 W; fast -wind time 90 secs with C60 cas- JT-217 Wired Remote Controller
sette; 161/2"W x 10%"D x 4%"H; 14.3 lb . $380 Wired remote controller unit for CT -50R $50
NOTICE TO READERS
Prices of items described are suggested prices only and are
subject to change without notice. Actual selling prices are de-
termined by the dealer.
1984 EDITION 63
SHERWOOD Dolby B and C noise reduction; independent -suspen-
sion sendust and ferrite record, play/monitor head;
S-6000 CP 3 -Head Cassette Deck
Cassette Decks Stereo cassette deck with 3 heads, Dolby B and C
closed -loop dual -capstan drive system with BSL cap-
stan and dc reel motors; concentrated display that in-
noise reduction. Features sendust tape heads; cludes electronic peak program meters, linear real-
normal/Cr02/metal tape capability; fine bias adjust time tape counter, record -level setting guides; auto
control; switchable MPX filter; microprocessor -con- tape selection system for all types of tape, including
trolled soft -touch transport. Wow and flutter 0.05% metal; auto play; memory play/stop; auto -space
wrms; frequency response 30-21,000 Hz ±3 dB record mute; memory backup system; dc amp, direct -
meters; headphone jack; 2 mic inputs. Frequency re- coupled play head amplifier; facility for optional re-
sponse 40-15,000 Hz; wow and flutter 0.08% wrms; mote control. Wow and flutter 0.04% wrms; frequen-
S/N ratio 54 dB (Dolby off); 11.8"W x 5.2"H x cy response 25-18,000 Hz ±3 dB; S/N ratio 60 dB
7.2"D $70 A -weighted, Dolby off $650
1984 EDITION 65
RX Series Stereo Cassette Decks put 0.25 mV/ -70 dB at 200 ohms or more; output
level/impedance 0.3 V/50k ohms or more; mic out-
3RX Stereo Cassette Deck put impedance 8 ohms; power consumption 30 W;
Cassette Decks Stereo cassette deck with dbx noise -reduction system fast -wind time 90 seconds with C60 cassette; 17"W
and 3 -head, 2 -motor transport. Features double dbx x 103/1"D x 41/4"H; 13 lb 3 oz $420
NR; tape/source monitoring; Dolby B noise -reduction
system; 3 -step independent bias and equalization se- V -70C Stereo Cassette Deck
lectors; timer function; memory play/stop; indepen- Standard Audio Series stereo cassette deck with
dent input level controls; output level control; adjust- Dolby B and C noise -reduction systems, multifunction
172; S/N ratio at 33/. (with CrO, tape, 1 kHz ref., able bias/record calibration; optional rack -mount kit, real-time display tape counter, and fluorescent peak
3% THD) 63 dB A -weighted, at iv, 58 dB A -weight- remote controller, test -tone oscillator. Wow and flut- program meters. Features IC logic transport controls;
ed; separation > 35 dB at 1 kHz. Line input: source ter 0.04% NAB weighted; frequency response ±3 dB 2 -head, 2 -motor transport; record mute; memory
impedance 10k ohms or less, unbalanced; nominal in- 20-20,000 Hz metal, to 19 kHz Cr02 and CO, to 16 stop; normal/Cr02/metal tape selectors; timer
put level -14 dBV (190 mV). Line output: minimum kHz normal tape; S/N ratio no NR/dbx 60/91 dB; record/play; facility for optional remote controller.
load impedance 25k ohms or more, unbalanced; nom- time 80 seconds with C60 cassette;
fast -wind Wow and flutter 0.035% wrms; frequency response
inal output level -10 dBV (0.3 V). 19"W x 5.8"H x 15.7'W x 15.7"D x 5.8"H; 20.9 lb $690 ±3 dB 20-17,000 Hz normal, to 18 kHz Cr02, to 19
13.6"D; 19.8 lbs $725 kHz metal tape; S/N no NR/Dolby B/Dolby C
V-95RX Stereo Cassette Deck 59/69/74 dB; input sensitivity/impedance 60
M-124 Syncaset Stereo Cassette Deck Bidirectional record/play stereo cassette deck with 3 - mV/50k ohms line; input sensitivity 0.25
mic
Front -loading Simul-Sync stereo cassette deck with head, 2 -motor transport and dbx noise -reduction sys- mV/ -72 dB at 200 ohms or greater; output
Dolby B noise -reduction system, FG dc servo -con- tem. Features quick -reverse transport; Computomatic level/impedance 0.3 V/50k ohms; headphone output
trolled motor, and record/play and erase heads. Fea- Program System; block repeat; 4 -digit LED tape impedance 8 ohms; power consumption 30 W; fast -
tures Simul-Sync that permits monitoring on one counter; LED bargraph level meters; electronic -con- wind time 90 seconds with C60 cassette; 17"W x
track while simultaneously recording on another trol output level (up/down, 2 -step, slow/fast); L/R 10%"D x 41/4"H; 13 lb 3 oz $390
through the same head; crossfield switch for Simul- balanced output level control; remote -control capabili-
Sync for slight blending of left and right channels; in- ty (CPS, start/stop memory capability); timer func- V -66C Stereo Cassette Deck
dependent bias and equalization selectors for tion. Optional accessories include remote controller Cobalt -amorphous -head cassette deck with Dolby B
normal/Cr02 tapes; separate left and right record lev- and timer $625 and C noise reduction. Features 12-segement fluores-
el controls; mic/DIN and line input selector; 3 -digit cent bqr display for record/play levels; solenoids for
tape counter with memory rewind; 2 VU meters; fast - V-1RX Stereo Cassette Deck transport functions; DC servomotor for capstan con-
wind time 90 seconds with C60 cassette. Wow and Electroload motorized head loading stereo cassette trol; second DC motor for tape reels. Frequency re-
flutter 0.07% wrms; frequency response 30-16,000 deck with 3 -motor, 3 -head transport and dbx noise - sponse 30-19,000 Hz with metal or chrome tape; to
Hz ±3 dB with Cr02 tape; S/N ratio 55 dB, improved reduction system. Features dynamic -range -expansion 17,000 with normal tape; wow and flutter 0 035%;
5 dB at 1 kHz and 10 dB at 5 kHz with Dolby. Mic system; direct -drive capstan motor; block repeat; ver- S/N ratio 59 dB weighted without noise reduction, 69
input: source impedance 10k ohms or less, unbal- tical peak level meters; timer record/play; output lev- dB above 5 kHz with Dolby B and 74 dB with Dolby
anced; nominal input level -60 dBV (1 mV). Line in- el control; fine bias adjust control; double Dolby B C $280
put: source impedance 10k ohms or less, unbalanced; noise -reduction system; normal/Cr02(Co)/metal tape
nominal input level -10 dBV (0.3 V). Line output: selectors; 4 -digit electronic tape counter; soft -touch V-50 Stereo Cassette Deck
minimum load impedance 25k ohms or higher, unbal- transport controls. Wow and flutter 0.025% wrms; Stereo cassette deck with Dolby B noise -reduction
anced; nominal output level -10 dBV (0.3 V). 162/2'W frequency response ±3 dB 20-18,000 Hz normal, to system, built-in condenser microphone, and metal -
x 11WD x 614"H $450 19 kHz Cr02/Co, to 20 kHz metal tape; S/N ratio no tape capability. Features 3 -step bias/equalization se-
NR/Dolby/dbx 63/73/92 dB; input sensitivity/ lector; LED bargraph signal -level meters; output level
TEAC impedance 60 mV/50k ohms line; microphone input control; input level controls; line/mic/built-in mic se-
0.25 mV/ -72 dB; output level/impedance 0.3 lector; record mute; timer standby record/play. Wow
Z Series Professional Cassette Decks V/50k ohms line; headphone output impedance 8 and flutter 0.06% NAB weighted; frequency response
ohms; power consumption 25 W; fast -wind time 90 ±3 dB 30-17,000 Hz metal and CrO2, to 15 kHz
Z-7000 Stereo Cassette Deck seconds with C60 cassette; 1721/4.'W x 101/4"D x normal tape; S/N ratio Dolby off/on 57/67 dB; dis-
Three -head 3 -motor cassette deck with automatic 47/,."H; 13 lb 4 oz $590 tortion 1.0% at 400 Hz; fast -wind time 110 seconds
bias, level, and equalization. Tape memory function with C60 cassette; 17'W x 10'D 4.3"H; 12
can be programmed with calibration data for three V-95RX Stereo Cassette Deck lb $270
tape types. Features Dolby B and C and dbx noise re- Bidirectional stereo cassette deck with Positouch V-40. Similar to V-50, including microswitch soft -
duction; dbx disc decoding; linear tape counter for transport control, Computomatic Program System, touch transport controls but less built-in microphone
time display; search to zero; search to cue; program- dbx and Dolby noise -reduction systems, and dbx dy- and output level control $240
ming of up to 19 selections; 30 -segment fluorescent namic -range expansion. Features real-time reverse;
peak level meters; search to record; Intro Search; block repeat; 3 -motor transport; touch fader control V -44C Stereo Cassette Deck
system; bipolar power supply; dc circuitry; timer Soft -touch cassette deck with Dolby B and C noise re-
record/play; LED bargraph peak level meters; 4 -digit duction and BRILLIANT switch for boosting treble fre-
LED tape counter; output level control; recording bal- quencies. Features DC servomotor; 12 -segment fluo-
ance control; all -clear button; normal/CrO,(Co)/metal rescent bar meter; record muting switch. S/N ratio
111111.11110 1.1111==I
Aomelm-- tape selectors. Wow and flutter 0.045% wrms; fre- 72 dB with Dolby C; wow and flutter 0.05%; frequen-
quency response ±3 dB 30-16,000 Hz normal, to cy response 30-16,000 Hz with metal or chrome
56 c5
fo.. bow ' 1 18 kHz Cr02/Co, to 19 kHz metal tape; S/N ratio no
NR/Dolby/dbx 59/69/91 dB; input sensitivity/
tape, to 15,000 Hz with normal tape $240
impedance 60 mV/50k ohms line; microphone input V-33 Stereo Cassette Deck
0.25 mV/ - 72 dB; output level/impedance 0.3 Front -loading cassette deck with Dolby B noise reduc-
V/50k ohms line; headphone output impedance 8 tion and BRILLIANT switch for increasing high -frequency
ohms; power consumption 25 W; fast -wind time 80 response. Features 12 -segment LED bar level indica-
sendust record head; ferrite playback head; pitch con- seconds with C60 cassette; 1713/2'W X 11'342'D x tor; record muting switch; metal tape compatiblity.
trol; motorized head loading system; power eject; 4'42'H; 13'4 lb $695 Frequency response 30-16,000 Hz with metal or
automatic fade-in/fade-out; memory stop/playback/ V -90R. Same as V-95RX except no Computomatic chrome tape, to 15,000 Hz with normal tape; S/N 57
repeat; headphone amp with adjustable volume; MOL Program System; weight 132/2 lb $490 dB without noise reduction, 67 dB above 5,000 Hz
balance controls. Wow and flutter 0.018% wrms; S/N with Dolby B; wow and flutter 0.05% weighted $210
ratio with dbx on 100 dB with metal tape; frequency V Series Cassette Decks
response 20-24,000 Hz ±2 dB with metal tape; V-30 Stereo Cassette Deck
432mm W x 160mm H x 432mm D; 16kg $1,800 V-80 Stereo Cassette Deck Stereo cassette deck with Dolby B noise -reduction
Professional Series stereo cassette deck with Posi- system. Features BRILLIANT switch for improving fre-
Z-6000 Stereo Cassette Deck touch controlled 3 -head, 2 -motor transport and TRT- quency response; LED bargraph signal level meters;
Similar to Z-7000 above except wow and flutter mode tape counter. Features color -coded fluorescent 3 -step bias/equalization selectors; timer record/play.
0.019% wrms; frequency response 20-22,000 Hz peak level meters; double Dolby B noise -reduction Wow and flutter 0.06% wrms; frequency response
±2 dB. Heads are directly coupled to the playback system; multifunction tape counter with real-time dis- ±3 dB 30-17,000 Hz metal and Cr02, to 15 kHz
amplifier's FET input stage $1,400 play; memory stop; record mute; timer record/play normal tape; S/N ratio Dolby off/on 57/67 dB; dis-
capability; source/tape monitor switch; separate left tortion 1.0% at 400 Hz; 17"W x 10'D x 4.3"H; 12
Z-5000 Stereo Cassette Deck and right record level controls and single output level lb $210
Similar to Z-6000 except wow and flutter 0.025% control; normal/Cr02/metal bias selectors. Wow and
wrms, permalloy record and playback heads, 15 -seg- flutter 0.035% wrms; frequency response ±3 dB Simul-Sync System Cassette Deck
ment flourescent peak level meters; frequency re- 20-17,000 Hz normal, to 19 kHz CrO, and metal
sponse 20-20,000 Hz ±2 dB with metal tape; S/N ratio Dolby off/on 59/69 dB; input M-124 Syncaset Stereo Cassette Deck
tape $1,000 sensitivity/impedance 60 mV/50k ohms line; mic in- Front -loading Simul-Sync stereo cassette deck with
1984 EDITION 67
control; remote control accessory; clock timer opera- -40 to +18 dB); direct drive; auto bias; monitor
tion; separate or tandem (mechanical coupling) erase; time counter; auto return to point recording be-
record level controls; twin peak -reading level meters gan; pitch control (±15%); full -logic, light -touch con-
Cassette Decks for record and playback with meter illumination and 3 trols; full repeat; memory rewind; continuous play-
LED function indicators; battery check with quick -ac- back of programmed section. Wow and flutter
tion switch; built-in condenser microphone; linear ste- 0.02%. Available in black only $795
reo power amplifier; stereo headphone jack socket; K -1000B. Similar to K-2000 except has manual bias
joystick control for selection of 3 tape transport func- control, double -laminated sendust heads. Black front
tions. Wow and flutter 0.2% (DIN); frequency range panel $595
30-16,000 Hz; S/N 58 dB Dolby off with FeCr, 66 K -1000S. Same as K -1000B except with silver front
dB Dolby on with Cr°, and FeCr, 65 dB Dolby on with panel $595
normal tape; crosstalk -70 dB at 1 kHz, reverse
track, -45 dB stereo; mic input 0.2 mV at 500 ohms K-700 Auto -Reverse Cassette Deck
11111111111116, source impedance; power ac line, dry cells, recharge- Auto -reverse stereo cassette deck with microcomput-
able, or car battery; 93/4" x 21/4" x 73/4" .. $1389 er -controlled functions and Dolby B and C noise re-
11111.1 CR-240AV. Audio-visual version of CR-240.. $1427 duction. Can be programmed to omit unwanted cuts
mg;;111
0
1
1984 EDITION 69
TANDBERG line inputs and outputs (nominal level -10 dBV or
0.3 V). Wow and flutter 0.06% peak at 15, 0.09%
TD20A SE Open -Reel Deck peak at 71/2 ips; frequency response (Sync ± repro-
Open -Reel Open -reel tape deck with new record equalization duce 3 dB at 0 VU) 40-22,000 Hz at 15 ips, to 16
Tape Decks curves allowing signal-to-noise ratio of up to 80 dB kHz at 7'/, ips; THD (at 1 kHz) 0.08% at 0 VU (250
without noise -reduction system (EQ switchable to nWb/m), 3% at 13 dB above 0 VU (1116 nWb/m);
NAB standard). Features Actilinear II® record system; S/N ratio 68 dB NAB A weighted at 15 ips, 66 dB at
Dyneq® headroom -extension system; active transcon- 7' ips; crosstalk > 50 dB down at 1 kHz, 0 VU);
ductance circuit for lower intermodulation distortion; 17.5"H 16^W x 8.43"D; 44 lb $1,700
15 ips, "/,, and 1'/,, or 1'/, and 3,/, ips) tape record- Model 32. Half-track 1/4" recorder/reproducer oper-
er with 3 motors; 101/2" reel capacity. Features front - ates at 15 and 71/2 ips and features dual concentric
panel vari-speed control (±2 semitones); integrated - input and output -level controls; stereo headphone
drive -logic computer -type push -point function keys; jack with independent level control; 2 illuminated VU
built-in tape cutter; dual VU meters with peak level in- meters; 2 unbalanced high -impedance phono-type
dicators; separate left/right record and input -level line input jacks; 2 unbalanced high -impedance phono-
controls; tape monitor switch; provision for remote type mic input jacks. Nominal line/mic input level
control of all functions and electric timer operation; -10 dBV (0.03 V)/-60 dBV (1 mV); wow and flut-
connectors for remote control of tape transport func- ter at 15 and 7'/, ips 0.06%/0.09% weighted peak;
tions, remote control of variable tape speed, and slide frequency response (sync and repro. 3 dB at 0 VU)
40-22,000 Hz at 15 ips, to 15 kHz at 7'/, ips; THD
(at 1 kHz) 0.08% at 0 VU (250 nWb/m), 3% at 13
dB above 0 VU (1116 nWb/m); S/N ratio 68 dB NAB
A weighted at 15 ips, 66 dB at 71/2 ips; crosstalk
> 50 dB down at 1 kHz, 0 VU; 17.5"H x 16"W x
8.43"D; 44 lb $1,300
22-4 Recorder/Reproducer
Four -channel system with 7" reel capacity and 15 and
71/2 ips record/play capability. Features mixer inter-
Sel Sync 4 -motor solenoidless operation; phase lin- face; function and output select; punch -in recording;
earity network; pushbutton operation with LED indica- removable head housing; logic -controlled transport
tors; FREE position for easy tape editing and threading; functions; headphone monitor selectors; expanded
stand-by position with LED when one or both record scale VU meters; independent level controls; memory
buttons are engaged; electronically governed speed; stop function; ±6% pitch; manual cueing dbx. Type
optional wireless infrared remote control or conven- interface optional. Tape format 1/4"; tape speeds 15
tional cord remote control; 4 line inputs; master con- and 7'/, ips ±0.5%; frequency response 40-22,000
trol for fading in/out; 2 -step front panel; wide -scale Hz at 15 ips, to 16 kHz at 7'/, ips, both ±3 dB at 0
peak -reading meters; bias adjustment on front panel. VU; THD 1.0% at 0 VU, 1 kHz, 185 nWb/m; S/N ra-
projector or crossfade unit. Wow and flutter (DIN Available in three versions: 3/, track, 15 and 7'/, ips; tio 671 dB at 15 ips, 60 dB at 7'/, ips A weighted
45507/IEEE 193-1971) 0.06% at 15 ips, 0.08% at '/, track, 15 and 7'/, ips; and 3/, track, 7'/, and (NAB) (increases to 88 dB in both cases with dbx);
7'/, ips; frequency response +2/-3 dB 30-22,000 33/, ips $1595 record/play amplifier headroom 23 dB above 0 VU;
Hz at 15 ips, to 20 kHz at 3'/, ips, to 16 kHz at 31/4 TD20 A. Similar to TD20A SE except lacks Dyneq® 16%"W Y 16'4"H . 10'/,"D; 40 lb $1,425
ips; S/N ratio on 1/4 -track 63 dB at 15 and 71/2 ips, headroom -extension system and special equalization.
60 dB at 31/4 ips; on 1/2 -track 67 dB at 15 and 71/2, Features Actilinear 1® record system; 2 -step front - 22-2 Half -Track Recorder/Reproducer
64 dB at 33/, ips; mic input level/impedance 0.15 panel switch for mic attenuation of 25 dB. 7'/, and Three-motor/three-head '/," tape recorder/
mV/2.2k ohms (lo position, 50 -to -6000 -ohm mics), 33/, ips, V, track $999 reproducer that accepts 71/2" reels and operates at
2.8 mV/110k ohms (hi, 20k -ohm mics); 16.3"H x 15 or 7'/, ips. Features expanded -scale -2 to +5 dB
17.8"W x 8.14"D $1,799 TASCAM by TEAC VU meters; independent monitor and record ready
B77 Self Sync. Same as B77; available in 31/4 and 7'/, controls for each channel; mic/line mixing; detachable
ips or 71/2 and 15 ips speeds with playback possibility Series 30 Recorder/Reproducers head housing; precision molded reel tables, spring -
from record head $1,749 Feature high -torque slotless dc reel motors; FG dc loaded reel holders. Fully independent electronics per-
B77 Autostart. Same as B77 except with VOX servo capstan motor; pitch control; permalloy record/ mit source or tape monitoring, record for reproduce
control $2,049 sync and repro heads; logic -operated transport con- mode to be selected independently for either track.
B77 Slide Sync. Same as B77 except with additional trols; computer -controlled sensing logic; photo -optical Wow and flutter 0.07% peak DIN/IEC/ANSI weighted
head for slide projector control $1,899 end -of -tape detector; 101/2" reel capacity; full sync at 15 ips, -0.04% rms JIS/NAB weighted at 15 ips
functions; full frequency response in sync reproduce (0.09% and 0.05%, respectively, at 7'/, ips); fre-
PR99 Stereo Tape Deck mode; FET switching in function and output select quency response 40-22,000 Hz ±3 dB at 0 VU, 1
Stereo 15- and 71/2- or 71/2- and 3'/,-ips half-track re- kHz, 185 nWb/m; S/N ratio 66 dB NAB A weighted
corder with direct -drive, servo -controlled capstan, at 15 ips, 64 dB at 7'/, ips; headroom > 26 dB above
electrically -controlled reel motors, 101/2' reel capaci- 0 VU at 1 kHz for record, 38 dB for play amplifiers;
ty. Features balanced (XLR) line-in/out and switched 161/2"W x 121/2"H x 91/2"D; 30.8 lb $775
cal/uncal level settings; high- or low -impedance mi-
crophone input (balanced, XLR option); 2 -way Self - TEAC
Sync with complete tape editing facilities including
tape dump; logic -controlled transport; true VU meters X -1000R Bidirectional Open -Reel Deck
with LED peak indicators; tape/source monitoring; Computer -controlled dual -capstan stereo open -reel
safe/ready record switches; 4 -digit tape counter; deck with bidirectional record/play, dbx decilinear
manual/remote-control/fader-start operation. Wow noise-reduction/dynamic range -expansion system,
and flutter (DIN) 0.06% at 15 ips, 0.08% at 71/2 ips, and EE -tape compatibility. Features 5 -digit LED multi-
0.1% at 3% ips; frequency respone +2/ -3 dB 30- function digital tape counter/timer; dual -capstan
22,000 Hz at 15 ips, to 20 kHz at 71/2 ips, to 16 kHz
at 31/4 ips; S/N ratio 66 dB at 15 and 7'/, ips, 63 dB sections; zero return function; optional full dual -pro-
at 3% ips; case or 19" rack mount;'19"W x 15.7'H cess dbx noise -reduction system; circuit driven 4 -digit
X 7.9"D $2,095 FL index counter; flip -up head cover; Sync head
Console $330 shield; cue lever; dump edit logic; facility for optional
Carrying case $225 remote transport control; optional remote punch-
in/out foot pedal. Can be used vertically or horizontal-
ly or mounted in standard 19" EIA rack with optional
SONY hardware.
Model 38. Eight -track 1/2" recorder/reproducer oper-
TC-399 Open -Reel Deck ates at 15 ips and features precision die-cast head
Quarter -track stereo record/play deck with ferrite - mounting block and plug-in head assembly for field
and -ferrite heads in 3 -head design, head/play amplifi- replacement with minimal or no realignment. Head
er. Features ac induction motor drive system; 71/4, angle can be adjusted while tape is moving Manually
31/4, and 1'/, ips tape speeds; servo back -tension de- retractable shield minimizes noise $2,750
vice; scrape flutter filter; all -mode automatic stop; 7" Model 34. Four -track 1/4" recorder/reproducer oper-
reel capacity. 171/4"H x 161/4"W x 71/2"D; 27 lb 13 ates at 15 and 7'/, ips and features illuminated VU
OZ $520 meters and 4 phono-jack unbalanced high -impedance
1984 EDITION 71
Blank Audio and
Video Tape
BASF L-750. 3-4y, hrs $26.95 DX -3 Series Cassettes
L-750 carded. 3-4V2 hrs $26.95 Double -coated magnetic FeCr-type tape accommo-
Metal IV Cassettes L-750 HG (High grade). 3-4h hrs $29.95. dates all types of cassette decks; normal bias setting;
Metal -particle tape for Type IV/metal settings normal position.
60 min $8.59 VHS Format NC -60. 60 min $3.99
90 min $11.49 BASF chrome formulation. NC -90. 90 min $5.60
120 min $13.99 TC-20. For specially equipped VCRs. 20-60
mins $15.99 DX -11010B Studio Master Tape
Professional I Series Cassettes T-60. 1-2-3 hrs $17.95 Open -reel audio tape with polyester -base film materi-
Ferric -oxide formulation matched for Type I/normal/- T-120. 2-4-6 hrs $26.95 al. Width 6.25mm; base film thickness 21mm; coat-
ferric positions. T-120 HG (High grade). 2-4-6 hrs $29.95 ing thickness 14mm; back coating 2.5mm; total
60 min $3.99 T-160. 22/3-51/3-8 hrs $29.95 thickness 37.5mm; length 1100 meters. Frequency
90 min $5.49 response +1 dB at 10 kHz, +1.5 dB at 12.5 kHz;
MOL 400 kHz +12 dB, at 12.5 kHz +7 dB; S/N ra-
Pro I Super Cassettes CERTRON tio 63 dB; print -through 51 dB; dynamic range 91
Ferric -oxide formulation for Type I/normal bias dB; coervicity 340 oersteds $35.00
position. Ferex I Cassettes DX -551. Same as DX -11-1B except no back coating,
60 min $4.49 Premium tape. total thickness 35mm, and length is 550 meters. $15
90 min $5.99 F-60 FE. 60 min $3.00
F-90 FE. 90 min $3.99 FUJI
Pro II Chrome Cassettes
Pure chromium -dioxide formulation for Type II/ Ferex II Cassettes FR Series Metal Cassettes
chrome/high-bias position. High -bias cassettes Metal coating with tensilized polyester base; designed
60 min $4.69 FED 60 min $3.00 for metal bias, 70 µsec equalization; packaged in
90 min $6.29 FEU 90 min $3.99 hinged plastic box.
FR (C-46). 46 min $7.15
Ferrochrom III Cassettes High Energy Gamma Cassettes FR (C-60). 60 min $7.95
Double -layer formulation of chromium dioxide and Oxide formulation; durable binder system. FR (C-90). 90 min $10.75
ferric oxide; Type III, ferrichrome bias, or Type I bias C-60 HE. 60 min $1.99
and 70 µsec equalization. Recommended for car C-90 HE. 90 min $2.59 FR -II Series Cassettes
stereos. C-120 HE. 120 min $2.99 Chromium -dioxide cassettes with tensilized polyester
60 min $4.49 base; designed for Type II/Cr% bias, 70 µsec equal-
90 min $5.99 DENON ization; packaged in hinged plastic box.
FR -II (C-46). 46 min $4.90
Performance I Cassettes DXM Metal Cassette FR -II (C-60). 60 min $5.45
Normal/Type I/ferric position. Designed exclusively for music; features improved FR -II (C-90). 90 min $7.50
60 min $2.99 MOL in low and medium frequency range and SOL in
90 min $4.19 high frequency range, wide dynamic range at high -fre- FR -I Series Cassettes
120 min $5.19 quency end, and stable and smooth magnetic coating Ferric formulation with tensilized polyester base; de-
with low drop -out; high -precision cassette shells and signed for ferric/normal/Type I bias, 120 µsec equal-
Ferro LH Open -Reel Tape matrix sheets; 70 µsec equalization. ization; packaged in hinged plastic box.
Low-noise/high-output formulation exceeds profes- C60. 60 min $8.60 FR -I (C-46). 46 min $4.90
sional recording studio requirements. Complete with C90. 90 min $12.00 FR -I (C-60). 60 min $5.45
sleeve and dust -proof box. FR -I (C-90). 90 min $7.50
1800 ft, 7" reel $9.99 DX -7 Series Cassettes
2400 ft, 7" reel $11.99 Improved chrome -position double -coated cobalt - ER Series Cassettes
doped tape for music programs; 70 µsec equaliza- Ferric formualtion with tensilized polyester base; de-
Ferro Super LH Open -Reel Tape tion; high saturation output level in high frequencies signed for ferric/normal/Type I bias, 120 µsec equal-
Wide -dynamic -range tape designed for the most de- and wide dynamic range; precision shell half. ization; packaged in hinged plastic box.
manding studio mastering use as well as high -quality C60. 60 min $5.00 ER (C-46). 46 min $3.60
audiophile recordings. C90. 90 min $7.00 ER (C-60). 60 min $4.10
1800 ft, 7" reel $11.99 ER (C-90). 90 min $5.75
3600 ft, 10'/," metal reel $31.99 DX -5 Series Cassettes
Double -coated FeCr-type music tape; broad bias DR Series Cassettes
Chrome EE Open -Reel Tape curve and +8 -dB increase in maximum output DR (C-46). 46 min $2.95
Extra -efficiency chrome tape for recorders with EE level/bias setting of 70 µsec; compatible with variety DR (C-60). 60 min $3.40
bias and EQ position. of cassette decks and program sources; ferrichrome DR (C-90). 90 min $4.75
1800 ft 7" reel $19.99 position. DR (C-120). 120 min $6.60
3600 ft, 10%" metal reel $49.99 FC-60. 60 min $5.00
FC-90. 90 min $7.00 Videocassette Tape
Videocassette Tape
DX -4 Series Cassettes Super HG VHS Format
Beta Format "Ultimate" normal -bias tape with double -oxide coat- Super -fine Beridox. Exclusive Duroback coating; 4 dB
BASF chrome formulation. ing. Improved high -frequency response. Same shell higher color and video S/N ratio.
L-250. h- 1-1 h hrs $12.95 half, friction sheets, and dynamically balanced hubs T-120. 2-6 hr $37.00
L-500. 1-2-3 hrs $17.95 as DX7. 120 µsec equalization. T-100. 1%-5 hr $33.35
L-500 carded. 1-2-3 hrs $17.95 C90. 90 min. $5.99 T-80. 1 V3-4 hr $29.65
L-500 HG (High grade). 1-2-3 hrs $20.95 C60. 60 min. $4.35 T-60. 1-3 hr $27.00
72
TAPE RECORDING & BUYING GUIDE
1-40. 1/2-2 hr
T-30. 1/2-11/2 hr
T-20. 1/2-1 hr
$24.85
$24.10
$23.35
Dynarec Series Audio Cassettes
Especially designed for recording Compact Discs and
other PCM digital source material.
illiaoi, audio
DA7 High -Bias Cassette Tape
VHS Format Tape combines two layers of high-energy cobalt -treat-
Fine-grain Beridox. ed particles.
T-160. 2%-8hr $39.95 C-90 $7.45
1-120. 2-6 hr $29.65 C-60 $5.25
T-90. 11/2-41/2 hr $26.70
T-60. 1-3 hr $21.65 DA3 Normal -Bias Cassette Tape
T-30. /-1% hr $19.45 Normal -bias tape designed for recording music with
two layers of magnetic coating; one with high coerciv-
Super HG Beta Format
Super -fine Beridox formulation with dense, uniform
distribution of particles for improved video S/N ratio,
ity and one with high magnetic flux density. Requires
120p,sec equalization
C-90 $6.95 \' money
SAVE:
color S/N ratio, audio quality. Duroback coating. C-60 $4.75
L-500. 1-2 hr $25.95 time
L-370.'/.-12/. hr $21.70 DA1 Normal -Bias Tape freight
L-250. 1/2-1 hr $18.55 Normal -bias tape with low noise and high output AKAI CASSETTE DECKS
L-125. 1/2-1/2 hr $16.80 made with gamma ferric magnetic particles having a MODEL CS -F 39R AUTO REVERSE DK $244.00
high residual magnetic flux density. MODEL GXF-31 COMPUTER CONTROL 198.00
Beta Format C-90 $5.25 MODEL GXF-71 IN STOCK I
Fine-grain Beridox; high -impact ABS housing. C-60 $3.85 ADC SOUNDSHAPER EQUALIZERS
L-750. 11/2-41/2 hr $26.95 MODEL 55-30 NEW. IN STOCK WRITE
L-500. 1-2 hr $21.60 Fl Cassette Tape MODEL SA -1 ANALYZER 120.00
L-370.3/4-11/2 hr $18.10 Popular series. MODEL SS -3 IC TOP OF THE LINE 227.00
L-250. 1/2-1 hr $15.45 C-90 $3.95 DUAL TURNTABLES - LOW MASS UNITS!
L-125.'/,-'/2 hr $14.00 C-60 $2.95 WRITE OR CALL FOR ALL LOW PRICES!!!
NC ELECTRONICS - DECKS - ETC.
HITACHI Videocassette Tape MODEL SEA -40 EQUALIZER $ 75.00
MODEL KD-D50 SPECIAL 179.00
High -End High -Bias Cassettes Dynarec New HG VHS Videotape MODEL RX-44 NEW RECEIVER WRITE
High bias and chrome equalization. Dynarec videotapes have super -fine magnetic parti- WRITE FOR NEW '82 AND '83 MODELS II!
SXC60. 60 min $5.10 cles for recording at slower speeds, better resolution, KENWOOD DEALS - WRITE FOR OTHER MODELS
SXC90. 90 min $6.95 improved color and sound. MODEL KR -830 DIGITAL RECEIVER $270.00
T-120HG $30.00 MODEL KX-55C CASS. DECK SPECIAL 165.00
High -End Cassettes T-100HG $28.00 MARANTZ SPECIALS III
Normal bias and equalization. T-80HG $25.00 SR -8100 SUPER RECEIVER DEAL SPECIAL
SRC60. 60 min $5.10 T-60HG $23.00 SD -3030 CASS. DECK W/DOLBY MC WRITE!
1984 EDITION 73
XL II -S Epitaxial Cassettes METAL IV C-60. 60 min $4.59
High-level bias; 70-usec equalization. METAL IV C-90. 90 min $6.29
XL II -S 60. 60 min $5.29
Blank Audio and XL II -S 90. 90 min $7.29 HIGH BIAS II Cassettes
Video Tape Exclusive superfine uniform ferrite crystal oxide for-
XL I -S Epitaxial Cassettes mulation for high -bias (Cr%, Type II) setting and 70 -
Normal bias; 120 -µsec equalization. µsec equalization; delivers flat frequency response at
XL I -S 60. 60 min $5.29 preferred recording level (0 dB) and 4 to 5 dB lower
XL I -S 90. 90 min $7.29 noise; unique dustproof Memorex album locks open
bias/equalization controls. or closed, accepts cassettes in either direction.
N-60. 60 min $2.70 UD-XL-I Epitaxial Cassettes HIGH BIAS II C-60. 60 min $3.19
N-90. 90 min $3.45 Normal bias; 120 -µsec equalization. HIGH BIAS II C-90. 90 min $4.79
C-60. 60 min $4.59
KONICA C-90. 90 min $6.39 MRX I Cassettes
Finest Memorex Type I cassette tape, with unique fer-
Metal Cassette Tapes UD-XL II Epitaxial Cassettes ric -oxide formulation for normal bias; 120 -µsec
60 min $5.49 Chrome type; high-level bias; 70 -µsec equalization. equalization settings; improved dynamic range across
90 min $7.49 C-60. 60 min $4.59 full sound spectrum; unique dustproof Memorex al-
C-90. 90 min $6.39 bum locks open or closed, accepts cassettes in either
GM -II High -Bias Cassette Tapes direction.
60 min $3.09 Ultra -Dynamic Cassettes MRX I C-30. 30 min $2.79
90 min $3.99 Normal bias. MRX I C-45. 45 min $2.99
UD-46. 46 min $3.19 MRX I C-60. 60 min $3.19
GM -I Cassette Tapes UD-60. 60 min $3.49 MRX I C-90. 90 min $4.79
60 min $2.49 UD-90. 90 min $5.19 MRX I C-120. 120 min $6.39
90 min $3.59 UD-120. 120 min $6.99
dB Series Cassettes
ML Cassette Tapes Low -Noise Cassettes Cassette tape for general recording of voice or music.
60 min $1.89 Normal bias. Full lifetime warranty.
90 min $2.59 LN-46. 46 min $2.19 C-60. 60 min $2.59
120 min $3.29 LN-60. 60 min $2.39 C-90. 90 min $3.79
LN-90. 90 min $3.59
Videocassette Tape LN-120. 120 min $4.69 Videocassette Tape
MT90A Microcassettes
Angrom tape microcassettes
MT602 Microcassettes
$9.50
COMBIRE PRICES !
60 -minute normal -bias microcassettes in twin Ttoc.hnics Cassette T E AC Cassette
pack $4.95
Deck with Dolby Deck with Dolby C
Videocassette Tape DBX
VHS Format
$189 $139
VC -T60. 1-2-3 hrs $9.95
VC -T120. 2-4-6 hrs $12.95
VC -T160. hrs $24.95
11211111r.
REALISTIC RSM235X V66C
1984 EDITION 75