Adventures in cassette recording 2
Nakamichi ZX 7 & ZX 9. Among the best Nak's ever!
(This is the second article of the 3 part series "Adventures in Cassette Recording")
In the first part of these series, we talked a little bit about the audio cassette history. There's more to it and I'll also include part of this history's important milestones from my own personal perspective.
For me, and in my humble opinion, other less known facts are also very important. Since the invention of the first magnetic recording devise invented by "the Grate Dane" Valdemar Poulsen in 1898, many events has taken place. The open reel recorder and tape were the predecessors of the audio cassette. During the 50's Sam Phillips of Sun Records, started professionally recording young artists like Elvis Presley, Johnny Cash etc. At the same time the folks of Ampex came out with their model 350. Immediately, rock & roll and magnetic recording were revolutionized! During the 60's brands such as Knight, Ampex, Lafayette, Viking, Geloso & Webster were among the most advertised. Sony, Tandberg, Studer and Crown still in business today, but unfortunately not in the magnetic tape business. Roberts was another brand well remembered, but most of these machines were heavy and bulky. By the 70's the audio cassette was already making inroads in the audio hobby but the field was completely dominated by their open reel cousin. By that time the Revox A 77, Crown SX 800, Tandberg 6000X, Sony TC 770,etc. were among the favorite decks.
This domination met its nemesis when Advent came out with the first cassette deck for high fidelity purposes: the Advent 201. Some people say that this is the machine that changed the world! Ha! I'm not sure about the "changing the world" statement but at least from then on audio would never be the same and the begining of the end for the open reel domestic use were established! The machine came with dolby B and chrome tape capability. Not bad, ah? Well, the sound wasn't that good but at least it was something. This event takes us to one of the most important moments in cassette tape early history: the introduction of the Nakamichi 1000. For the very first time the world recognized the cassette as a serious audio contender and the fact it wouldn't go anywhere soon! Unfortunately, the price was out of reach for John Q Public,so, they came out with the 700's...also not so cheap either!
We also have to mention that the development of new tape formulations made possible better sounding machines. From 1975 up to the 1990 when the "super metals" were introduced, many brands were frantically competing for the market dominance and a plehtora of new tape formulations became available. Sony Ferrichrome in 1975, Scotch Metal tape in 1978, the IEC tape type classification (I,II,III & IV), notches for automatic tape recognition in 1979 and the era of the super metals already mentioned. Brands such as BASF, Maxell, TDK, Memorex, THATS, Fuji and Sony were among the best.
Many people usually forget that one of the main events which took the audio cassette to new heights were the introduction of the Walkman by Sony in 1979. It's beign said that the Walkman was a concept conceived by the top Sony's gents: founders Masaru Ibuka and Akio Morita. Masaru requested Sony's general manager of tape recording business, Kozo Ohsone, begin work on a stereo version of the Pressman, the small, monaural tape recorder that Sony had launched in 1977.
On June 22, 1979, the Sony Walkman was launched in Tokyo. Journalists were treated to an unusal press conference. They were taken to Yoyogi (a major park in Tokyo) and given a Walkman to wear. According to Sony, "The journalists listened to an explanation of the Walkman in stereo, while Sony staff members carried out various demonstrations of the product. The tape the journalists were listening to asked them to look at certain demonstrations, including a young man and woman listening to a Walkman while riding on a tandem bicycle". By 1995, total production of Walkman units reached 150 million and over 300 different Walkman models have been produced to date. So, top quality recorders were needed to make mix tapes for those 150 million units, don't you think so? If you add the car stereos with cassette players, there you have the figures.
Anyway, Nakamichi is widely recognized as one of the first companies to create decks that rivaled reel-to-reel decks with frequency response from the full 20-20,000 Hz range, low noise, and very low wow and flutter. The 3-head closed-loop dual capstan Nakamichi 1000 (1973) is one early example. Unlike typical cassette decks that use a single head for both record and playback plus a second head for erasing, the Nakamichi 1000, like the better reel-to-reel recorders, used three separate heads to optimize these functions. Some fanatics argue that Nakamichi violated the tape recording standards to achieve the highest dynamics possible, producing non-compatible cassettes for playback on other machines, the reasons for this are more complex than what you may think. Different interpretations of the cassette standard resulted in a 4 dB ambiguity at 16 kHz. Technically, Nakamichi is not error-prone. Decreasing noise at 16 kHz also decreases the maximum signal level at 16 kHz, the HighFrequency-Dynamics stay almost constant. This is a total misconception of people repeating the same shit over and over again until converting it into a myth. On my personal situation, I have never experienced this malaise among all my decks and when I find some discrepancy is simply because the machine has not beign properly aligned and is out of azymuth. Discrepancies in IEC standards do exist but it seems to me that all my decks has beign aligned using the same parameters,so, no problem!
Another fabled name in the cassette realm is the Studer-Revox of Switzerland. After much hesitation about whether to accept cassettes as a medium capable for meeting their strict standards from reel-to-reel recorders at all, they produced their B710MK I (Dolby B) and MK II (Dolby B&C) machines. Both cassette units possessed double capstan drives, but with two independent, electronically controlled capstan motors and two separate reel motors. The head assembly moved by actuating a damped solenoid movement, eliminating all belt drives and other wearable parts. These machines rivaled the Nakamichi in frequency and dynamic range. During the 80's the B 215 replaced the older sister and new standards in tape handling and transport were established. Until today, no other cassette deck has even come close to Revox in that department. Some experts has modified these machines to produce standard calibration tapes for other machines!
Revox B 710 MK II
A well known technician from the South West told me once that Revox transport was "overkilled" and that was one of its weaknesses . Well, I don't think so but, who cares? The machine has established itself as one of the very best ever made. The real weakness is in the heads: they were not in house produced by Revox as their other open reel products. Canon made these heads for them and unfortunately, it's very well known that the design of such heads impose a limitation on the B 215 sound quality. Some authorities suggest to replace those heads with Sony's. Just imagine a Revox B 215 with Nakamichi heads! Too bad there's not too much space available to retrofit a Nak head...otherwise poor Naks!
Tandberg Dyneq/Actilinear and Bang & Olufsen HX PRO plays also an important role in the high quality sound of the cassette decks. The Danish Bang & Olufsen improved the Dolby HX "head room extension" system for reliably reducing tape saturation effects at short wavelength (high frequencies) despite higher bias level. This advanced method was called Dolby HX Pro in full and patented. HX Pro was adopted by many other high-end manufacturers, except Nakamichi because it really didn't need it! Dyneq is an anti-saturation circuit, whereas ActiLinear is a headroom extension circuit, according to Tandberg technical staff.With HX PRO, the hf content is monitored & bias adjusted dynamically in accordance, inversely related. When large level hf signals are present, less bias is needed since the hf signal acts as bias for the lf/mf signals.
In ActiLinear, this process takes place in the previous amp stage. The transconductance amp driving the record head outputs a current to the head, as opposed to traditional record amps which output a voltage. The bias is mixed with the audio signal ahead of the record amp. In other words, the current drive to the record head which includes bias & signal, is optimized as hf content varies, extending headroom. Actilinear is the HX counterpart, whereas Dyneq simply limits the hf boost during record. Maybe I'm wrong but that's how I understand it. Be sure to look for more information and corroborate it.
Tandberg 3014. Usually known as "the Dragon slayer". Why everybody wants to kill the Dragon? Are they afraid? Ha! Didn't like mine too much and sold it to a fellow in Russia!
The NAD 6300 was the first and perhaps the only cassette deck to combine HX PRO and Dyneq in one unit. Both are supposed to deal with high frequency materials, allowing better tape saturation and dynamic range with transients and keeping out distortion as far as possible. Both do this during recording process but HX Pro does by varying bias and Dyneq by dynamic changes in recording equalization circuit. Because of this combination, the NAD 6300 is a very surprisng contender against the "heavies" costing almost twice! I have made a comparison shootout between the Revox B 215 S, the Nakamichi ZX 9, Teac Z 5000 and the NAD 6300 and let me tell you; this "ugly" little bastard run circles around the others in the soundstage department! It's so obvious that even an untrained ear can hear it. I'm serious!
Zoran Karapandzic, in his Zoki Audio webpage, www.http://zokiaudio.com, describes the 6300 charasteristics very well: " Crystal clear presentation with good soundstage is something you could notice in the moment. NAD 6300 doesn*t add much of it*s own character, it remains pretty natural to the original recording. Micro details reproduction is also very good, with decent level of transparency often seen in this class of HiFi decks...But what makes 6300 different from the crowd is beautiful timing during reproduction of music, and great level of rhythm * NAD 6300 doesn*t sound *just* like a cassette deck, it sounds like a high class audio equipment even if you could find better *detail champions* in it*s price class. Combination of HX Pro and Dyneq works well, with no obvious impact on high frequency details which happens so often on other cassette decks while recording using HX Pro. The general character of sound is pretty on (the) natural side, slightly remaining of B215 but without this level of 3D soundstage and transparency (the) B215 has. Anyway, Revox B215 cost almost twice comparing to (the) NAD 6300." The only detail that I differ from him is when he says that the B 215 3D soundstage is "better". With all honesty, I have found it's the other way around. The 6300 soundstage is ridiculous wide and to my ears it is the forté of this machine, besides the extended highs presentation! Even more; recordings made on the 6300 sounds superb, and sometimes better on other machines. I remember when I started comparing these decks the day I received the 6300 for the first time. I tried tapes recorded on the Naks, Revox and Teac and the sound was completely dull...even with the playtrim feature to the max! Five minutes later, and with the aid of a Teac Azymuth Tape and small screwdriver, the 6300 came back to live and this time with a vengeance. It was completely out of azymuth! Once I started evaluating it again I simply couldn't believe it. This could be the best bang for the money in the used market out there. I'm kidding not!
ADS C-4. An expensive proposition from Braun, Germany.
Now, let's talk about the definitive leader in cassette deck design and sound; Nakamichi. A lot has beign said about which Nakamichi is the best and judging by my equipment list in the first part of these series, I have had over 15 or so Nak models. Specifically what everybody consider to be the best Naks ever! Well, sometimes it's impossible to concur which one is the best because people tends to mention their own decks and perhaps I can understand when somebody points out his/her 680 Z or even a 505...but when the list start going with the BX 300 or the old 1000 and even a 480...pleaaaaseeeee!!! Let's be clear folks: the best Naks ever are the Dragon, ZX 9, CR 7 and 1000 ZXL. Period. I don't want to hurt anybody's feelings but let's be objective. The other Naks are very good indeed, specifically when you compare it to other brands, but in the Nakamichi's realm these 4 rules! As simple as that. From that group the only one missing in my collection is the CR 7, but one of these days you'll see. I need a manual azymuth adj. deck and from the DR 1, Cassette Deck 1 and CR 7...yeah!, you guess which one is the best, no?
The ZX 9 is the "hot rod" edition of the ZX 7 and to be honest, not much difference between the 2 are noticed. Perhaps in the technicalties but not in sound. Incidentally, the ZX 7 aftermarket price remains low when you compare it to other TOL Naks. For some reason it hasn't obtain the respect it deserves. A ZX 9 is very hard to find and the price is always over the $1,200's. The same as with the CR 7: both are more expensive than the Dragon in the used market. But you can find a good ZX 7 for $500.00!
The ZX 9 is perhaps the best of the bunch but go easy boys! This is my opinion and it's not the end of the world, ok? Just a hint: among the Nakamichi's gurus a word has beign said that they alwyas refer to the ZX 9 as their best cassette deck ever. They even used this model for their real time reproduction (32). If it's true or not, who cares? The thing is that it's perhaps the best one out there but it comes at a hefty price, even 30 years after its debut!
The 1000 ZXL is older technology, but the sound quality is very new! This machine has to be mention as one of the best Naks ever. It's simply a tour D' force and even today you could hardly obtain one in pristine condition for less than $2,500 - $3,000 !!! Except me; I found one 10 years ago, new in the box for $600.00 !!! Yeah! A widow who commissioned the sale of his late husband's deck to a friend and I found it by accident on a now defunct website. Well, those were the days when you could buy a nice condition B 215 for $500.00...those days are long gone folks. As long as people continue paying crazy prices at "fleabay" the shit would get worse. I mean, how in the world are you going to pay almost $1,800 for a non working TEAC Z 7000 ??? Or almost $700 for a non working ZX 9 ??? COME ON!!!! Again, this is only my personal opinion and frustration. How many times have you seen decks advertised at stratospheric prices by sellers who claim "Deck sold "as is" as I don't have a cassette tape to test it. No returns" Bull shit! 4 days later you receive your prized piece of audio only to realize that the deck has gone un used for almost a decade and the motor don't even turns! That's everybody's problem and I'm just giving you and advise...but it's up yo you, of course! Anyway, back to our 1000 ZXL. This machine produce recordings so natural that it becomes addictive. The wow! factor on your friends is amazing and the looks is a killer. Problem is that it's so big and heavy that you could hardly fit it into a cabinet. It's also a PIA to maintain as you would be paying a fortune in shipping cost alone! The limited edition is a nice piece of audio, but believe it or not, the regular version looks better and it's less fancy. I bought one from a group in New York who liquidated a doctor's estate for $1,000. Yep! For only $1,000 dolares! It came with the external NR units and so...but my wife said: "What the hell is that?" Looks so old and out of place. Get rid of that shit immediately" To make the long story short, 2 weeks later the machine went back to where it came from as it was a total mechanical disaster. Fortunately, my $1k were returned in full by the audio guys. So much for the fabled Golden Nuggett. They didn't even had an idea of what the hell they were selling and advertised it as "Mint Condition". Yeah!, mint condition my arse!
Two of my three Dragons resting. The world's best recognized cassette deck!
The Dragon, to me, is not the best Nak but just the name "Dragon" in honor to their late founder Mr. Nakamichi himself, was a total marketing success. Fierce looking with a lot of rotary buttons, heavy and well constructed, plus it NAAC bi-directional auto-azymuth system make the Dragon the best seller and longer produced Nak ever! This was Nakamichi's golden's egg hen! I bought mine from Audio Classics many moons ago and sold it later. I didn't like it that much. You have to be very careful when buying one of these as the NAAC tends to fail if not used and requires attention and maintenance. I can guess that 8 out of 10 Dragons in the used market are ready for service...expensive and demanding. So, buy one cheap "non working" and send it to the shop. Most of them require service anyway. I know of a person on the West Coast who inactivated the "annoying NAAC mechanism" as he called it...Ha! Can you believe it? His problem anyway...
The Nak CR 7 main advantage is its manual azymuth adjustment that permits to play any tape recorded on another tape deck without the azymuth discrepancy that is the culprit of awful imcompatibilities among different cassette decks. At least that's how I see it and if it doesn't do that,then, why bother? It's a very nice machine but sonically speaking the ZX 9 sounds better. This came out in the Dragon era and still a gem in the used market demanding "ridiculous" high prices: always over the $1,000.00 Best examples are most of the time over the $1,200's range. Incredible!
When I say "ridiculous" high prices it doesn't means that the machine is not worth it or something like that. The value concept is very personal for every person and if you are frantically looking for one to complete your collection,. then it's ok...but: when enough is enough? Unconsciously, we are the ones who are promoting this crazyness and driving the market upwards: WE! So, let's keep talking about cassette decks as we are going now to visit the TEAC Z SERIES.
The Teac Z series is a fine example of what a research and development department of an audio cassette manufacturer can do when cost is no object and have unlimited resources at their disposal. The Teac Z 7000 was the response to the other manufacturers and they established a clear statement of what a cassette deck can do and how many versatile features you can put in a cassette deck. I mean, look at this beast! 40+ pounds of solid construction, with the face panel full of options that even to the most cassette recordist looks intimidating. Almost impossible to operate without a manual if you really wants to exploit all of its capabilities to the maximum.
My Z 6000 in action.
Its Computomatic system allowed to keep all settings in memory and visualize everything on a huge display window as well as search and memorize tracks. Computomatic deals with almost everything in the 7000: block-program/replay, one-touch rewind-to-rec-start (STR), STZ and STC memory points, SES (spot erase), in/out faders, Hi-Extend (high-frequency MOL pinching), 2 to 10s rec-mute, auto-monitoring, 10% pitch control. A battery allows to keep in memory the Auto-Cal calibrations made. Hell, the Z-7000 was even more expensive than Teac's own X-2000R open-reel recorder in the 80's!!!! The closest sound to a CD when you record using dbx with a S/NR of 92db !!! Tape guides are made of ceramic and the heads are set in a big diecast fixer. The play head is DC coupled to FET audio stages with regulated bipolar power-supply overall. A nightmare to service, complex machine and really heavy for shipping. Few techs are able to deal with this girl, but you can find Russ Bachman in New Jersey and Sam Palermo in Chicago. Both guys love this machine...Ha!
Teac Z 7000 little sisters are the Z 6000 and Z 5000. Basically, the 6000 is almost the same as the 7000 but with manual calibration, lighter and without the wood trim on top. Some other small things are not available on the 6000, but it offers the benefit of manually fine tuning the bias, level and eq of your tapes. The smaller of Teac's 3 Musketeers is the Z 5000. Very similar to the V-900X but without the tape auto cal. This is not like the other 2, but an excellent machine all by itself. Properly serviced and calibrated, the 5000 is a machine to listen too and it comes relatively cheap on the second hand market at around $450.00-up to $700.00. Like the 6000, you have to do the tape cal manually. My experience with this machine is that its forté remains in the bass department. Strong & deep bass. Natural sounding and very neutral. A nice machine to have if you find it at a good price. You wouldn't be dissapointed.
Finally, I'll talk about another milestone in cassette deck design: the Tandbeerg 3014A. Also recognized as one of the best around, some folks has argued about its reliability, limited parts availability and service. I bought one in 2000 needing a belt change for $450.00. Incidentally, the ZX 9 belt is a direct replacement for the 3014A and in fact that's what I did. Easy to change. This machine has the fastest wnding speed in the industry! Goes like Flash! The sound is very neutral and the freq response is flat. It's a natural sounding machine without the Christmas tree lights of the Japanese counterparts. As the Revoxes, the Tandbergs are also "cold" looking, but still really impressive. It's also not small or light, but nothing like the Z 7000 either. The highs are something else in this machine perhaps in part due to the Actilinear and Dyneq thing that we already discussed somewhere else in these series. Unfortunately, if you find a nice one prepare yourself to pay over $2,000 easily,so, good luck! I sold mine years ago to a fellow in Russia. Nice machine!
P.S Don't get offended by my comments as they are my own personal opinion. Send me a line if you like it or if you have any additional information that could help me improve my articles. Enjoy and thanks!
References:
Evolution of the audio recording: Van Prague, 1st edition,1997
Complete handbook of magnetic recording, Jorgensen, 3rd ed 1988
Vintage Knob website
Wikipedia articles
Tapeheads & Phoenix forums
Vintage Cassettes website
Zoki Audio website
Nakamichi website
Bleus website
