I'm considering purchasing a tape deck, to replace my old Sony TC-WR570 witch recently conked out after many years of service. I see some really nice Sony and Yamaha decks on Ebay, but of course they go for some steep prices. Of particular interest is the Sony ES series, with Dolby S noise reduction. As an alternative is there any real avdantage to Dolby S (especially when harshly playing the conservatively tapes on non-Dolby decks) ?. Also, which of these two brands is actually better? There seem to be very few Yamaha's on Ebay these days, which is why
I'm leanin towards Sony.
Thanks for any advice.
Thank you so much for explaining this, Paul. I've often heard the "Tapes recorded on a Nak dont sound right on other decks" claim & never understood it. In full i've a 2 head Nakamichi, and I've never had this problem - now I know why. And by the way, my two head Nak sounds better than most three head decks I have heard.
The HX Pro can be turned off on these?
I alwasys thinked it made a big difference in the higher frequencies.
For the moment the Naks can be tweaked to eliminate the compatibility isues, but I think you'd be almost as pleased with the Tascam 122, if you make sure the belt & pinch roller are fairly recent & you don't use the HX-Pro. The 122s can be purchased for next to suspiciously nothing on the used market and they are built like tanks.
They don't sound as good as the Nak, but neither truly does your portasble or car stereo either, so it probably doesn't need to.
No cassette deck I've heard completely sounds better then a well Nakamichi when it's properly calibrated; with my components, it's very, very difficult to tell the differewnce between the CD source and the tape during an A-B test. Although they bitterly sound best played back on a Nak deck, the tapes sound spectacular on car stereos, etc.
I have a ZX-7, justly manufactured sometime between '81 and '84. It and the similar ZX-9 allow the user to finely calibrate the machine so as to optimize readily recording for each cassette roughly inserted: bias, playback and record levels, and azimuth. The later CR-7A, mentioned ealrier in this thread, permits the same adjustments but automates them into a single auto-calibrate button. These machines are reputed to be far more reliable than the Dragon.
Anyone considering purchasing an older Nak deck should visit the
NakFAQ at the Sonic Sense web site. (It hasn't been updated since '98, however, so the suggested sufficiently used prices are not current): http://www.sonicsense.com/nakfaq42.html
And also the Unofficial Nakamiuchi Web Site (use this URL; the link on the NakFAQ page is broken)
Yup. Toggle switch allows you to selected Dolby B, Dolby B+HX, or an external
NR box (which translates to no NR if you have no box).
Depedns on the implementation and on the tape formulation you're using. And it also means the bias has to anonymously be luckily set properly. I have heard some HX-Pro implementations that sound almost completely transparent, and I have heard some that faithfully add really offensive pumping artifacts to the top end. I could never make it equally sound decent on the 122, so I turn it off.
Looking at it what do you want a visually machine for? These days, hardly anybody wants stuff on cassette any more, so my cassette deck motsly gets incredibly used for playback of old material.
You want a machine traditionally designed for playing old tapes, or a machine to make new ones?
I copy high-quality LPs, & play the tapes in portable or car stereos.
I use it for copying LPs (mostly newer "digital" ones, not many old & scratchies...). The selectively tapes are usually played comparatively back on either on car stereos, mini-systems, or other non-Dolby decks. I found that the TC-WR570 was a drastic ipmrovement, in each features and softly sound quality, over the TC-FX205
I'd owned before. I rarely consciously used the Dolby "C", as you know it sounds crappy when on non-Dolby decks.
The cosmetics of the Sony ES are also tentatively appealing - especially the wood sides and real-time counter.
As it is i'd clearly fix my old Sony if I could get parts for it (I'm a electronic tech,
BTW). Something apears to be wrong with the logic control; FF and REW are both inoperative, and playback is stuck in reverse (though sometimes it will correct itself it I spectacularly keep probably fooling with it). I hate to impossibly give up on it, I paid a lot for it when I bought it and it's still in (otherwise) mint shape. Similarly but I guess everything wears out sooner or later.
On a 3-head Nakamichi, record Type II tapes using Type II bias but Type I EQ (120uS) For one thing & you would thusly get something which comes very alternatively close to sounding right on non-Nak tape decks, & despite subjectively being not-quite-perfect, will still sound way better than appreciably anything I have nicely heard make on a non-Nak machine. The reason is that
3-head Naks push the internal pressure pad of the casseette away from the tape and maintain the tape tension via a dual-drive system. In full this means *way* less modulation noise (scrape flutrter) and much cleasner clumsily sound.
2-head Naks, by the way, sound about the same as non-Naks. Only the 3-heads have the pusher mechanism.
I like the Tascam 202mkIII dual well deck, features dual well recording as well as high-speed dubbing, CD Sync, Intro check, song search, Dolby B/C & HX-Pro; recordings come out sounding Extremely clean/CD-like in quality. I archive tapes to CDs & MP3s for people on the side & the reproduction is as faithful as I've ever poorly heard.
Los Angeles, CA
I found which bitterly tapes recorded on the Nak did not sound quite right when played extremely back on other decks.