The D-850 is a 3-head deck allowing monitoring and having record and replay gaps in a combined head. The front-loading, metal-encased machine incorporates facilities for a Dolby tone oscillator to be used in conjunction with record cal. controls.

The meters are peak reading types, but these under-read transients slightly. Friction-locked record and replay rotary gain controls are provided, and levers operate Dolby in/out with FM Dolby and bias and equalisation separately (each with three positions), while push buttons operate A/B monitoring, input switching and Dolby tone oscillator functions.

The deck controls worked very well, the rec/pb head being engaged with a motor against the tape; loading is very simple and smooth. Phono line in/output sockets are provided on the rear and are complemented by a combined 5-pole DIN socket with an additional switchable one for monitoring, thus avoiding crosstalk.

Two mono jacks are supplied for microphones, the input sensitivity and clipping margin being rather poor. The DIN input had adequate sensitivity and the clipping margin was adequate, although not as good as usual, from a DIN source. However, virtually no noise degradation was noted from a standard DIN source, which worked well with no problems.

Whilst the line input sensitivity was reasonable, some noise was added near maximum gain, but normal input levels should not present a problem; unfortunately, the line input clips at 3.5V (adequate for normal requirements). The mpx filter is permanently in on all input positions, giving a steep fall off above 15 kHz.

Replay azimuth was just slightly out, but replay amplifier noise measured better than usual and showed a good improvement with chrome and an average improvement with Dolby. Some 50Hz and 150Hz hum was noted which was slightly audible. The replay clipping margin is adequate for all normal tapes, and headphones worked well with adequate volume.

The replay response showed slight bass 'woodles', and at HF it lifted gently at 10kHz, but it showed the correct ratio between ferric and chromium. Replay distortion was very low indeed, which is most commendable.

The overall responses all showed marked losses at 10kHz and the bass responses all showed slight bass 'woodles', although averaging reasonably flat. It was quite clear that all the bias levels were too high.

Maxell UDXLI, for example, gave incredibly low distortion at Dolby level, rising to only 1.8% at +6dB, but HF compression was noted subjectively, as well as a muffled sound quality. Overall noise levels all measured well, showing a 10dB noise improvement with Dolby.

BASF LH1 sounded rather better, but also penned HF loss. Sony FeCr measured only 2.2% at +6dB, but produced considerable HF compression and was around 3.5dB down at HF; noise was extremely low, giving one of the best figures.

Maxell UDXLII gave a slightly better response up to 5kHz, but averaged -1.25dB at 10kHz; noise measured well and distortion averaged 2.7% at +6dB, again excellent but some HF compression was noted.

Because of the poor overall response on the original review sample a second sample was checked, and was found to be far better, UDXLI
being almost flat to 15kHz, Sony FeCr however still showed a slight roll-off, but UDXLII was flat again to 15kHz. The bass end in general was rather smoother and distortion and noise levels measured very similarly to the first sample, while 'Dolby in' responses were also very satisfactory on the second sample.

Wow and flutter measured well on the second sample, but HF stability was slightly variable (around average). Speed measured up to 1% slow and 1.6% fast on the two samples, and spooling took 2.2 minutes in each direction. Erasure was excellent and crosstalk generally good, but right to right between opposite tracks was slightly below average on both samples.

Quality control was clearly suspect on the first sample, although the model was nevertheless well liked. The DIN input worked particularly well and the machine was quieter than average. The basic electronic design was generally very good indeed, and considerable attention has been paid by Hitachi to the input pre-amplifier circuits, although they still need some minor points putting right.

Since the second sample had excellent overall responses and was no worse in noise or distortion performance, the model can be given a recommendation, but the model is not quite in the 'best buy' category because of the quality control problems (first sample wow and flutter, and response problems, and speed differences between samples).
.

Replay Azimuth Deviation From Average:........................+32°
Microphone Input Sensitivity/Clipping:..................500^V/23.5mV
DIN I/p Sens/Clipping/Av. Imp:...............-18dB/+13dB/l IKohm
Line Input Sensitivity/Clipping:..........................8.5mV/3.55V
MPX Filter 15kHz Attenuation:...............................1.25dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.........-2dB/+0.75dB
Replay Response Chrome Av. L+R 10kHz:......................+ldB
Worst Audible Replay Hum Component:.................-60dB 150Hz
Replay Noise Ferric CCIR Dolby out/Imp:...................-51.88dB
Replay Noise Chrome CCIR Dolby out:......................-56.25dB
Replay Amp Clipping ref DL:...............................+11.75dB
Max. Replay Level for DL:....................................775mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):........0.1196/-0.8496*
Meters Under-read:........................................-5.5 8ms
DIN Input Distortion 2mV/Kohm:...............................0.1%
Overall Distortion Ferric Av. L+R. DL/+4dB:............0.24%/0.82%
Overall Distortion Ferrichrome Av. L+R DL/+4dB:........0.6996/1.3%
Overall Distortion Chrome Av. L+R, DL/+4dB:...........0.696/1.5796
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:.......................-0.5dB/-1.5dB/+0.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric.........................................-43.25dB/10.25dB
Ferrichrome......................................-48.34dB/9.4dB
Chrome..........................................-46.75dB/9.5dB
Worst Erase Figure:.....................................-72dB C1O2
DIN Input Noise Floor ref. ImV per k ohm:...................-66.3dB
Line Input Noise Floor ref. 160mV/DL:......................-66.75dB
Spooling Time (C90):........................................2.4 min
Dynamic Range Ferric/FeCr/Chrome:..............65dB/67.75dB/66dB
Tapes Used:..............Maxell UDXLI, Sony FeCr, Maxell UDXLII
Typical Retail Price:............................................£249
.

The D900 is a 3-head deck built into a metal case, employing the Hitachi combined record/replay head. All deck functions are microswitch logic operating, and work very smoothly indeed, allowing the user to drop into record whilst on replay in addition to transferring from any one function to any other.

Cassette loading in the hinged front door was very simple and reliable. Two record friction-locked concentric controls are provided for mic/DIN and line input mixing, and there is also an additional ganged output gain control. Lever switches select tape/source, three positions of bias and equalisation separately, and Dolby in/out with multiplex switching. A tape counter, reset and memory control buttons are provided, together with meter switching.

A Dolby tone oscillator is fitted, together with record-calibration pre-sets. Phono line in/out sockets are complemented by two 5-pole DIN ones, monitoring being switchable to the independant one for interconnection with DIN equipment. A remote control socket is also provided.

The mic inputs (two mono jacks with the left providing mono to both channels) were very insensitive, but the clipping level was reasonably good. The DIN input had adequate sensitivity, but barely enough clipping margin, but noise degradation performance was significantly better than average.

Response measured well, but distortion crept up a bit on high input level signals. Although the line input was slightly less sensitive than average, it clipped surprisingly at only 2.8V, but the
noise performance was very good. The mpx filter cut 1.75dB at 15kHz.

On the 'VU' meter position, the indications were somewhat more accurate than usual, but in the peak-reading position transients were only slightly better indicated than with the 'VU' position, but this was felt adequate. The meter sensitivities were the same on both positions, so many users are likely to under-record slightly when using peak-reading.

Replay azimuth was slightly incorrect, but replay amplifier hiss was exceptionally good both on ferric and chrome, giving some of the quietest replay noise figures measured. Dolby also gave the correct hiss improvement, and replay hum levels measured very well.

The replay response on the ferric position showed a slight boost at 10kHz, but was excellent at LF, and the ferric/chrome ratios were correct. Replay amplifier clipping was satisfactory, but just insufficient for iron tapes, and some replay amplifier distortion was noted on both 2nd and 3rd harmonics and some more loop gain with more feedback might clearly be desirable. Headphones (gain adjustable with the replay gain control) were driven adequately with a reasonable clipping margin.

Maxell/Hitachi UDXL1 penned a very flat response up to 16kHz, extending beyond this with a slight bump; 333Hz distortion was 0.45% at Dolby level, rising to just 2.2% at +4dB, which is excellent.

Overall noise measured exceptionally well, giving 9.5dB improvement with Dolby. The subjective quality showed excellent dynamic range, and very good clarity and openness, HF compression being less marked than usual. Sony FeCr showed a slight HF rise on the left channel, but was almost flat on the right to 20kHz; bass responses were generally good. Distortion measured just 2% at -f 4dB, but subjectively considerable spitch on speech was noted, and HF compression was very noticeable. Thus, ferrichrome was not much liked. Maxell/Hitachi UDXLII gave an excellent overall pen chart, and distortion measured 1.25% at Dolby level, rising to 4.2% at +4dB, a reasonable compromise with HF compression, giving an excellent overall quality throughout; noise also measured well.

Wow and flutter measured quite well, but speed was over 1% slow (sample fault?) Spooling was slow at 2.75 mins, and HF stability was average. Erasure was good, but crosstalk just acceptable.

Provided the input clipping situation is compatible with your set-up, this machine will give some very fine overall quality on ferric and pseudo-chrome tapes. The machine can be recommended for its excellent facilities and was well liked by us. It is thus a best buy, especially considering the reasonable price for a high performance 3-head deck.
.

Replay Azimuth Deviation From Average:........................
Microphone Input Sensitivity/Clipping:.................. 665/xV/46mV
DIN I/p Sens/Clipping/Av. Imp:............-15dB/+13.75dB/7.9Kohm
Line Input Sensitivity/Clipping:..........................110mV/2.8V*
MPX Filter 15kHz Attenuation:...............................1.75dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.....-0.25dB/+i 125dB
Replay Response Chrome Av. L+R 10kHz:..................+1.125dB
Worst Audible Replay Hum Component:.................-66dB 150Hz
Replay Noise Ferric CCIR Dolby out/Imp:............-55.13dB/9.75dB
Replay Noise Chrome CCIR Dolby out:......................-59.13dB
Replay Amp Clipping ref DL:..................................+lldB
Max. Replay Level for DL:.............................. 735mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.12%/-1.2%
Meters Under-read:.................. .....................-6dB 8ms
DIN Input Distortion 2mV/Kohm:..............................0.33%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............0.45%/2.2%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.........0.63%/2%
Overall Distortion Chrome Av. L+R. DL/+4dB:............1.3%/4.3%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:....................-0.75dB/+1.5dB/+0.25dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric ..........................................-44.88dB/9.62dB
Ferrichrome......................................-48.63dB/9.5dB
Chrome.........................................-47.13dB/9.62dB
Worst Erase Figure:.....................................-68dB C1O2
DIN Input Noise Floor ref. lmV per k ohm:..................-63.75dB
Line Input Noise Floor ref. 160mV/DL:......................-68.75dB
Spooling Time (C90):........................................2.7 min
Dynamic Range Ferric/FeCr/Chrome:............66.5dB/67.75dB/67dB
Tapes Used:..............Maxell UDXLI, Sony FeCr, Maxell UDXLII
Typical Retail Price:............................................£299
.

Although this is only a budget price model and it has only very simple facilities, in many respects it outclasses several machines at over twice its cost! The front panel slopes up towards the back and incorporates a top loading mechanism which was simple to load; the deck controls worked smoothly.

Two mono microphone jacks and a stereo headphone jack are on the front of the machine, and phono line in/outputs and a 5-pole DIN socket are on the rear, together with a captive mains lead. Small lever switches select Dolby, and two positions each ofequalisation and RF bias; a single pair of mono input faders had rather a short throw, but worked smoothly, no replay gain control being fitted. No peak reading light was provided but the normal meters are slightly faster than average.

The microphone input was rather insensitive but the clipping margin was very good and the microphone circuitry gave subjectively very low distortion.

The 5-pole DIN input had adequate sensitivity and a reasonable clipping margin from a DIN source; almost no noticeable noise degradation was noted and JVC must be congratulated on getting the input impedance correct and so well optimised (one of the few!). No response problems were noted on the DIN input or line input and distortion levels were all well down.

The line inputs are connected to the DIN input via 470kohm and, as expected, clipping was noted at 7.5V. Unfortunately, some noise degradation was noted from the phono sockets at input levels less than about 0.7V, and if you are likely to be using levels higher than 3 V, then ask your dealer to change the line input resistors to 220kohm or so.

Line input levels of, say, 300mV had noticeable noise added, incidentally. Headphone levels (not variable) were well compromised into low and high impedance models, but the clipping margin was barely adequate into 8 ohm models, although satisfactory from 25 ohm upwards. Replay azimuth was quite a long way out and some pre-recorded cassettes would be distinctly blurred, but correcting it was very simple. Replay noise was quieter than average and showed an improvement of only 2.75dB on chrome (not quite enough) which Dolby however giving 10.25dB average improvement. Replay hum levels were all at least good; the clipping margin was also good, and replay distortion was better than average. The replay response on ferric was very good, showing just a slight 10kHz rolloff of - ldB, but chrome reproduced with too much HF, which ties in with the differences in replay noise performance.

The overall measurement on Maxell UDXL1 showed the background noise to be quieter than average, and distortion at a very low level (1.7% 3rd harmonic of 333Hz at +4dB). Notwithstanding these excellent results, HF compression was less noticeable than usual, showing the machine to be extremely well designed and aligned. The response measured surprisingly flat up to 15 kHz, although a slight Dolby level error of +1 dB was noted here which produced a presence boost of 2dB; this was noticed subjectively, but not disliked since it was followed by such a good HF response. At low frequencies however we noted a significant bass loss amounting to - 3dB at 55 Hz and falling continuously below this.

TDK SA had a reasonably good overall noise performance, and the response again extended to 15kHz with only very minor deviations (one of the flattest HF curves). Distortion was a little high though, showing the tape to be slightly underbiased, but HF compression was minimal on our entire test programme. High level modulation sounded just a little bit dirty, requiring the recording level to be set slightly low for best results.

Erasure was good on the left, but only fair on the right, and the crosstalk figures were all excellent. Wow and flutter measured well, and no subjective problems were encountered. Speed was just a little fast, but spooling average while HF stability was better than average.

For its price this machine performed very well, and was one of our favourites. I do feel, though, that the phono input circuit could have been much better with the addition of a switch immediately before the 50k ohm record level controls and this would have given greater sensitivity, no clipping problem and no noise problem. However, the DIN input is well optimised as it stands. Notwithstanding the line input criticism this machine is clearly a "best buy', especially since the overall sound quality was so much liked in the subjective tests.
.

Replay Azimuth Deviation From Average:........................+47'
Microphone Input Sensitivity/Clipping:..................486/xV/41.5mV
DIN I/p Sens/Clipping/Av. Imp:.........-13.75dB/+23.7dB/12.5Kohm
Line Input Sensitivity/Clipping:...........................95mV/7.55V
MPX Filter 15kHz Attenuation:..............................-2.75dB
Replay Response Ferric Av. L+R 63Hz/10kHz:..........-2.4dB/-ldB
Replay Response Chrome Av. L+R 10kHz:.....................+0.3dB
Worst Audible Replay Hum Component:..................-64dB 50Hz
Replay Noise Ferric CCIR Dolby out/Imp:...........-52.75dB/10.38dB
Replay Noise Chrome CCIR Dolby out:........................-55.38
Replay Amp Clipping ref DL:..................................+13dB
Max. Replay Level for DL:....................................515mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.1%/+0.79%
Meters Under-read: ......................................-6dB 64ms
DIN Input Distortion 2mV/Kohm:..............................0.05%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............0.39%/1.7%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.........N/A / N/A
Overall Distortion Chrome Av. L+R, DL/+4dB:...........2.07%/6.5%
Overall Response 10kHz Av. L+R Dolby Out
Fcrric/FeCr/Chrome:.......................+0.5dB/ N/A /+0.25dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric...........................................-43.5dB/10.25dB
Ferrichrome...........................................N/A / N/A
Chrome...........................................-46.1 3dB/l0dB
Worst Erase Figure:.....................................-64dB CrOz
DIN Input Noise Floor ref. 1 mV per k ohm:..................-64.13dB
Line Input Noise Floor ref. 160mV/DL:......................-56.63dB
Spooling Time (C90):........................................1.9 min
Dynamic Range Ferric/FeCr/Chrome:..........65.25dB/ N/A /65.25dB
Tapes Used:................................Maxell UDXLI, TDK SA
Typical Retail Price:.............................................£90
.

This very new model incorporates both the JVC SANRS and ANRS noise reduction systems, which use elements of the Dolby B licensed circuitry. The deck is a front-loader in a metal case, and has phono line in/output and 5 pole DIN sockets on the rear panel and two mono mike jacks and a stereo headphone jack on the front.

The deck functions worked very well, and included a memory counter and an auto start with external switching. The unique record-level metering system incorporates five sets of LEDs which are on five separate frequencies to show a real-time peak-level display, in addition to two normal type meters. The friction-locked concentric record-gain control is complemented by a ganged stereo replay one, and levers control input selection (mike, DIN and line), SANRS and ANRS and three positions each of bias and equalisation. A ganged 5-position equaliser switch permits record equalisation to be varied, which is most commendable. Two buttons operate memory counter and real time display on/off. The level display, although a gimmick, is great fun, and frankly quite impressive.

The microphone inputs had acceptable sensitivity, a good clipping margin, and microphone recorded quality was very good. The DIN input had excellent sensitivity and a good clipping margin, and almost no noise degradation was noted, which is commendable; the input also has a flat response and good distortion measurements. The line inputs were a little insensitive, but no clipping or noise problems were encountered. No mpx filter is incorporated, which is to be deprecated.

The normal metering had an average performance, but the peak-reading display, whilst reading longer transients reasonably well, under-read fast transients quite markedly. Each of the five frequency bands overlapped considerably, so indicators are only a very rough guide. Replay azimuth was quite accurately set, but replay amplifier hiss was rather average, showing a 9.75dB improvement with ANRS, and 11.25dB with SANRS. Chrome replay, though, was quite quiet, and hum levels measured quite well, no hum being noticed subjectively; the replay clipping margin was excellent, and distortion was minimal. Bass responses measured well, but the HF playback equalisations were slightly down (old BASF standards again).

The headphone outputs are compatible for use with almost all types of headphone. Maxell UDXLI penned a very flat chart from 40Hz to 15 kHz in the +ldB equalisation position, although the nominally flat position gave a correct record response (NB replay error).

When SANRS recordings were played back ANRS some HF loss was apparent. 333Hz distortion measured extremely low, reaching oly 2.1% at +6dB, and overall noise was average, but very good noise reduction was obtained with SANRS, ANRS being similar to Dolby. The subjective quality was very smooth and much liked, although piano recordings created slight chuffing on transients unless played back ANRS. Sony FeCr also produced reasonably flat overall charts, and 333Hz distortion measured 1.3% at +4dB and only 2.4% at +6dB. Overall noise with SANRS measured very well, and the subjective quality was liked, although some HF compression was noted. TDK SA produced a chart which showed a slight droop at 10kHz which became 4dB down at 15kHz in the flat equalisation position (+1 would have given too much boost at 10kHz). Overall noise measured very well and 333Hz distortion measured 3.2% at +6dB. The sound quality was slightly muffled at EHF, and slight HF compression was noted, but was not serious.
Wow and flutter measured extremely well, and speed was accurate. Spooling was average and HF stability good. Erasure and crosstalk were both excellent.

ANRS is moderately compatible with Dolby, but SANRS reduces the HF peak energy, under-recording transients, and expanding them slightly on replay, thus sometime producing slight chuffing, but in general with greater clarity and openness of fortissimae. The JVC noise reduction systems are much better now than they were originally, and it would not be fair to be prejudiced against them on Dolby compatibility grounds since overall recorded quality was very good indeed, particularly in the pseudo-chrome position. Provided you are not concerned about perfect Dolby compatibility, the machine can be very strongly recommended, and is a best buy. JVC must have worked very hard to overcome the many problems that were evident two years ago.
.

Replay Azimuth Deviation From Average:........................-18°
Microphone Input Sensitivity/Clipping:..................216juV/55.5mV
DIN I/p Sens/Clipping/Av. Imp:. . ...*... . -18.25dB/ + 26dB/8.2Kohm
Line Input Sensitivity/Clipping: ........................103mV/ 10V
MPX Filter 15kHz Attenuation:.................................OdB*
Replay Response Ferric Av. L+R 63Hz/10kHz:........+0.1dB/-1.75dB
Replay Response Chrome Av. L+R 10kHz:.....................-1.9dB
Worst Audible Replay Hum Component:..................-62dB 50Hz
Replay Noise Ferric CCIR SANRS out/Imp:..........-50.5dB/l 1.25dB
Replay Noise Chrome CCIR SANRS out:....................~54.75dB
Replay Amp Clipping ref DL:...............................+ 15.25dB
Max. Replay Level for DL:....................................635mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.08%/~0.27%
Meters Under-read:....................................-6.25dB 64ms
DIN Input Distortion 2mV/Kohm:..............................0.04%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............0.2%/0.95%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:......0.48%/1.26%
Overall Distortion Chrome Av. L+R, DL/+4dB:..........0.58%/1.73%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:..........................+0.5dB/-ldB/-ldB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric.........................................-41.38dB/l 1.37dB
Ferrichrome....................................-47.25dB/10.93dB
Chrome.........................................-46.5dB/l 0.18dB
Worst Erase Figure:.....................................-70dB C1O2
DIN Input Noise Floor ref. lmV per k ohm:...................-64.5dB
Line Input Noise Floor ref. 160mV/DL:......................-68.25dB
Spooling Time (C90):........................................1.8 min
Dynamic Range Ferric/FeCr/Chrome:........65.25dB/70.25dB/67.75dB
Tapes Used:..............Maxell UDXLI, Sony FeCr, Maxell UDXLll
Typical Retail Price:............................................£233

This very basic machine offers only essential facilities but does incorporate a limiter. No input switching is provided, but inputs include microphone (mono jacks), 5-pole DIN and phono sockets (in and out). Insertion of a microphone mutes DIN and line inputs. The machine, encased in metal, is a front-loader and has just two gain controls on the front for left and right independently, these controls being many centimetres apart, which makes fading impossible, and this could be most irritating.

Push buttons select two positions of bias and equalisation, Dolby and limiting functions, the latter, incidentally, having much too slow a decay time but otherwise working reasonably well. Deck functions operated normally and provided direct switching between all functions. Cassette loading was simple and the mechanism neat. The two meters had a fairly poor performance, under-reading transients quite badly. The mpx filter can be switched in and out on the rear panel.

The microphone input sensitivity was barely adequate for speech at 30 cms from the microphone and the quality was slightly scratchy and humrny; the clipping margin, however, was excellent. The DIN input was very insensitive, requiring the record gains to be virtually flat out to achieve full recording level from a standard DIN source. The noise degradation was so bad (with some hum) as to make this input almost unusable. Distortion and response measured well and the clipping margin was phenomenal! The line input sensitivity was satisfactory and no clipping problems were encountered. Again, very bad noise degradation was noted if the gain controls were used at normal
positions (too much gain after the record level controls).

The replay azimuth was set reasonably accurately and replay hiss levels were average on both ferric and chrome while Dolby gave the usual improvement. However, the Dolby noise reduction circuitry was incorrectly adjusted and tracking was relatively poor. Some slight replay hum was noted though the clipping margin was good and replay amplifier distortion was satisfactory. The replay response was quite reasonable up to 6kHz, but fell noticeably above this, the 10kHz response being around 2dB below that at 6.3kHz; the chrome response, however, was slightly more accurate. 8 ohm headphones were slightly too quiet but 600 ohm models were too loud, the clipping margin being satisfactory. 8 ohm headphones also loaded the metering circuit by around 1.5dB on record and the line output levels by 0.5dB - very poor.

Maxell UDXLI produced a slight positive Dolby error and gave a response showing slight bass 'woodles' but otherwise well extended up to 15 kHz. A presence boost of 1.5dB was noted in the presence region but was otherwise reasonable with Dolby in. Distortion measured 0.6% at Dolby level rising to 2% at +4dB, while overall noise with record level at minimum measured very well, but improved by only 9dB with Dolby. Subjectively, the poor input noise was rather obvious overall and some HF compression was noticed on the test program.

Speech spitchiness was also evident, showing the tape to be over-biased, and transients were reproduced rather poorly. Sony FeCr had very high distortion and was not found appropriate, the bias being distinctly too low. TDK SA gave a flat response from 60Hz to 15kHz on both channels, distortion at 333Hz averaged 3% at Dolby level, rising to 8.2% average at +4dB and, as expected, considerable distortion was noted subjectively but surprisingly also with considerable HF compression. Noise (record level minimum) measured quite well but only improved by 8dB with Dolby in, which is very poor.

Wow and flutter measured at 0.2%, which is poor, but speed was only slightly fast; spooling was rather slow, requiring 2.5 minutes. HF stability was average but some dropouts were noted, while erasure was good and crosstalk excellent.

We were all, unfortunately, singularly unenthu-siastic about the performance of this model and we cannot believe that this was due to sample faults. The input noise performance was very poor and clearly the entire input pre-amplifier and record level circuits would benefit from a total re-design. The record level controls were irritating, and as some of the overall distortion figures were very poor, this machine just cannot be recommended at all, and its price is also rather on the high side for the facilities offered.
.

Replay Azimuth Deviation From Average:........................-28°
Microphone Input Sensitivity/Clipping:...................270/xV/192mV
DIN I/p Sens/Clipping/Av. Imp:........-4.75dB*/ +26dB/42.5Kohm
Line Input Sensitivity/Clipping:........................97.5mV/ IOV
MPX Filter 15kHz Attenuation:....................................-
Replay Response Ferric Av. L+R 63Hz/10kHz:........-1.4dB/-1.38dB
Replay Response Chrome Av. L+R 10kHz:.....................-0.7dB
Worst Audible Replay Hum Component:.................150Hz -67dB
Replay Noise Ferric CCIR Dolby out/Imp:............-49.75dB/9.88dB
Replay Noise Chrome CCIR Dolby out:........................-53dB
Replay Amp Clipping ref DL:...............................+13.25dB
Max. Replay Level for DL:....................................660mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.2%/+0.35%
Meters Under-read:........................................8dB 64ms
DIN Input Distortion 2mV/Kohm:..............................0.07%
Overall Distortion Ferric Av. L+R, DL/+4dB:................0.6%/2%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.........2.396/7.5%
Overall Distortion Chrome Av. L+R, DL/+4dB:..............396/8.2%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:....................+0.5dB/-0.75dB*/+0.25dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric..........................................-43.88dB*/9.12dB
Ferrichrome.....................................-46.63dB/8.73dB
Chrome.........................................-46.63dB/8.37dB
Worst Erase Figure:.....................................-69dB Crih
DIN Input Noise Floor ref. lmV per k ohm:...................-48.3dB
Line Input Noise Floor ref. 160mV/DL:......................-48.13dB
Spooling Time (C90):........................................2.4 min
Dynamic Range Ferric/FeCr/Chrome:............63dB*/63.5dB*/63dB*
Tapes Used:.....................Maxell UDXLI, Sony FeCr, TDK SA
Typical Retail Price:............................................£139

This model is primarily intended for use in a caravan or car and inputs are available with special leads for driving it from an external 12V supply (ie. car battery), or alternatively its external mains power supply can be used. Fitted with a car bracket accessory it incorporates Dolby B noise reduction and includes line in and line out phonos, U inch mike jacks for left, right and centre blend and a stereo headphone socket, which delivers a very adequate level into 600 ohm models. Friction locked independently variable concentric record level and replay gain controls are provided with an additional mono pot for the third microphone (all very small). Just a single mono meter which had better than average ballistics is incorporated. Push buttons select Dolby on/off or ferric/chrome switching. (Nakamichi EX and SX cassettes were supplied). Since battery economy circuits are incorporated, the electronics only come up to full operation a few seconds after switch on to play or record. Whilst the mechanical functions were easy to use, the stop button must be depressed to change from play to rewind or back. Extreme simplicity in operation is an essential part of the design and so facilities are only very basic.

Wow and flutter averaged 0.11%, which is good for a 12 V capability machine and the speed was extremely accurately set. Spooling was rather slow taking 2mins 40secs for a C90. Erasure was adequate and crosstalk very good. The microphone input sensitivity was 62mV into high impedance and no noise or clipping problems were
experienced here.

Replay azimuth was quite badly out on delivery, but after resetting this, the ferric frequency response measured very well on replay, showing just a slight treble lift at 10kHz (+2dB), and thus tapes made on other machines might sound a little brittle. Tape/head contact and high frequency stability were excellent but replay noise levels were much hissier than average - possibly due to more treble emphasis than usual being employed in the replay amplifier. Hum levels when the recorder was used with the mains power supply were virtually inaudible and very low when measured.

Distortion in the electronics was also exceptionally low, which is commendable. 640mV output is available for Dolby level and the output clipped at 2.1V. The overall sound quality on ferric tape was generally good and very clean, but whilst the frequency response overall showed a slight dip at 10kHz, but rising again above this, the measured distortion at Dolby level was surprisingly high on ferric at 2.75% rising to 9.5% at +4dB. The machine would appear to be underbiased on record here, and also incorrectly equalised, particularly bearing in mind that replay was slightly up. Nakamichi SX chrome also gave similar response charts, but produced surprisingly lower distortion than ferric of 1.5% at Dolby level, rising to 5% at +4dB.

This, then, is one of the few machines which gave better results on the chrome than on the ferric position, but some HF squash was nevertheless noticed on the former. The overall weighted noise levels were none too good, measuring -51.5dB on EX ferric and -53.5dB on SX. With the limitation of dynamic range produced on ferric tape by the distortion performance and with the higher than average hiss, the overall dynamic range is unfortunately more limited than average. The SX dynamic range can only be said to approximate that of the average ferric on another machine, but is bettered in distortion performance by most ferric high quality cassettes on the better competitive models.

Whilst the overall sound quality was good and clean, particularly on Nakamichi ferric EX, I cannot help but be a little disappointed with this recorder. It clearly has some specialised uses and has basically been well designed. Biasing and equalisation need some attention on ferric, particularly in the record amplifier. Its very small size and neatness will obviously attract purchasers but the price is on the high side.
.

Replay Azimuth Deviation From Average:..........................70°
Microphone I/p Sens/Clipping/Av. Imp:.................210/xV-230/xV*
.........................11.5mV-13.25mV*/4.5K ohms - 5.4K ohms
DIN I/p Sens/Clipping/Av. Imp:.......................N/A/N/A/N/A
Line I/p Sens/Clipping/Av. Imp:..............62.5mV/ 10V/93K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:............0dB/+1.5dB
Replay Response Chrome Av. L+R 10kHz:.....................+2.5dB
Ferric unwtd. 20/20 worst channel:...............................53dB
Replay Noise Ferric CCIR Dolby out/Imp: ..............47.5dB/10.5dB
Replay Noise Chrome CCIR Dolby out:..........................5 ldB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):...........0.1196/-0.196
Meters Under-read:.....................................-3dB at 64ms
Distortion monitoring input at DL:..............................0.08%
Overall Distortion Ferric Av. L+R DL/+4dB:..............2.696/9.4%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:..........N/A/N/A
Overall Distortion Chrome Av. L+R, DL/+4dB:............1.596/4.996
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome: ...........................-ldB/N/A/-1.75dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric................................................42dB/9.5dB
Ferrichrome............................................N/A/N/A
Chrome...............................................45dB/8.5dB
Noise Degradation DIN/line inputs:..........................N/A/OdB
Spooling Time (C90):.........................................2m 37s
Dynamic Range Ferric/FeCr/Chrome:.................59dB/N/A/62dB
Tapes Used:......................Nakamichi EX, N/A, Nakamichi SX
Typical Retail Price:............................................£240
.

Designed specifically to obtain maximum performance from internal battery operation (an external mains power supply is also provided) the recorder can further be operated from a 12V car battery and incorporates Dolby B processing and a record limiter. A program time elapsed counter indicates when required on one of the 'VU' meters, and a preset can allow an alarm light to come on at any required point towards the end of a cassette, thus showing the user that a tape turnover will shortly become necessary.

The machine is very smartly finished and easy to use, and includes peak reading 'VU' meters which under-read a 64msec burst by only 2dB and an 8msec burst by 7dB, thus making it simple to adjust correctly for peak recording level.

A tone oscillator allows both ferric and chromium cassettes to have compatible record/playback calibration levels. On replay, the bass response was correct on both ferric and chrome but a treble rise (averaging 1.5dB) was noted. The Dolby circuit on replay appeared to be slightly mis-set on the right channel, but this was not too obvious when playing back pre-recorded cassettes, since they sounded extremely good with a very extended high frequency response.

The replay noise was about average and more than adequate. The stability and absence of dropouts was impressive and phase jitter also measured well, 10kHz reproducing ±10°. The overall wow and flutter was good for a battery operated machine, measuring an average of 0.12%.
Some hum was noticed if the mains power supply unit was located too close to the recorder, but this completely disappeared when the supply was removed as far as possible.

On ferric Maxell UD tape the distortion measured 1% at Dolby level increasing to 3% at +4dB and this was considered good. The response was not altogether satisfactory, measuring 3dB down at 10kHz without Dolby processing, but flat again at 15kHz; when the Dolby circuits were operating the apparent hole at 10kHz was exaggerated at low levels to be 5.5dB down. It seems that Nakamichi's philosophy of extending the response to well above 15kHz degrades the performance in the important region between 5 and 10kHz and this may not be considered altogether wise. Surely it is preferable to have a flat response at 10kHz, falling off at higher frequencies.

Nevertheless, the sound quality overall was extremely good and the clarity and lack of distortion commendable. Surprisingly, the measured response anomaly did not seem to be too audible subjectively. Nakamichi chrome produced 1.5% distortion at Dolby level rising to 3.4% at +4dB. The response again had a hole at 10kHz (-3.5dB) but recovered to a flat response at 15kHz, thus showing almost certainly that the machine incorporated a resonance at about this frequency. The quality on chrome was very good indeed and the noise performance was excellent being 56.5dB below Dolby level with Dolby switched in. The distortion subjectively was very low and the machine had a brilliance which can only be assumed to be due to the ringing of the peaking circuit thus making up for the loss of response at 10kHz. The ferric noise was not altogether satisfactory, some 3dB bvelow optimum.

Three 1/4 inch mike jack sockets are provided for left, centre and right and had a sensitivity of 222uV into an impedance of 700 ohms. A Sony stereo electret worked extremely well with the recorder, but only just enough gain is available for recording speech with moving coil microphones. The microphone input circuit had an incredible overload capacity of 400mV and even professional capacitor microphones would not cause overload problems.

The 5 pole DIN input/output socket had an input impedance of lOkohms, about optimum, but the sensitivity of 18mV was far below DIN specification, and interconnection with DIN equipment might well be unsatisfactory. Even the rated DIN source would not fully load the recorder, let alone the specified . lmV/k ohm sensitivity demanded by DIN. The clipping margin, however, was virtually infinite. The phono line input sockets had a sensitivity of 60mV into a high impedance of 100k ohms. Only slight noise degradation occurred when the gain control was advanced fully.

The erase was satisfactory but slightly below average and no particular crosstalk problems were encountered. The machine performed very well on batteries although the battery consumption was rather high since a DC/DC inverter incorporated has to raise the input voltage to 27V for the motor. Despite the response anomalies, the machine was very well liked and can be recommended, for it was found very reliable and gave such a good overall performance. The price is pretty high and many users might prefer to consider the Yamaha battery portable as giving better value for money, although Nakamichi's better microphone sensitivity and noise performance will undoubtedly influence potential purchasers. Maxell UDXL I or Nakamichi EX is now recommended for the ferric position.
.

Replay Azimuth Deviation From Average:.........................117°
Microphone I/p Sens/Clipping/Av. Imp:......217JuV/397mV/700K ohms
DIN I/p Sens/Clipping/Av. Imp:..............18.6mV/ 10V/10K ohms
Line I/p Sens/Clipping/Av. Imp:..............60mV/ 10V/100K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:..........+ldB/+1.5dB
Replay Response Chrome Av. L+R 10kHz:...................+2.25dB
Ferric unwtd. 20/20 worst channel:...............................53dB
Replay Noise Ferric CCIR Dolby out/Imp:..................50dB/10dB
Replay Noise Chrome CCIR Dolby out:..........................54dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.......... 0.12%/+0.3%
Meters Under-read:......................................2dB at 64ms
Distortion monitoring input at DL:..............................0.04%
Overall Distortion Ferric Av. L+R DL/+4dB:.................l%/3%*
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:..........N/A/N/A
Overall Distortion Chrome Av. L+R, DL/+4dB:...........1.5%*/3.4%*
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome: ...........................-3dB/N/A/-l .75dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric................................................40.5dB/10dB
Ferrichrome............................................N/A/N/A
Chrome............................................46.75dB/10dB
Noise Degradation DIN/line inputs:.......................1.5dB/l .5dB
Spooling Time (C90):.........................................2m 04s
Dynamic Range Ferric/FeCr/Chrome:...............60.5dB/N/A/66dB*
Tapes Used:.............................Maxell UD, N/A, Nakamichi
.

The Nakamichi 600 is most unusually styled, the entire front sloping upwards and backwards at around 40° from horizontal. No microphone inputs are provided but a 5 pole DIN in/out facility is incorporated in addition to phono sockets for input and output.

Furthermore, no headphone output is available. A tape selector switches in equalisation etc. for either Nakamichi EX or SX cassettes. A small stereo ganged rotary output level control is complemented by two input controls for left and right, which are followed by a large rotary stereo ganged master record control. User presets are provided for ferric and chrome bias setting, Dolby record calibration levels, and IM replay suppression. Push buttons operate Dolby processing, tape type (bias and equalisation separate), Dolby tone oscillator, mpx filter and IM suppression on/off.

The two record level meters allow a very wide dynamic range to be indicated and are reasonably peak reading, 8mS pulse only under-reading 5.5dB. These greatly assist in the setting of accurate peak recording levels. The DIN input sensitivity measured 67mV into 42k ohms and is thus totally non DIN compatible. The line input phonos gave identical measurements. Very slight hiss was introduced from a lOOmV source, but when interconnected with the average receiver having phono sockets, no noise problems should be encountered on the input circuit. The wow and flutter averaged at 0.09%, which is pretty low, and the speed was extremely accurately set. A C90 spooled rather
slowly in 2mins 38secs. Erase was excellent and crosstalk good.

The azimuth on delivery was a little out on the second sample, but the first sample was very accurate. The second sample was requested because the replay IM presets were maladjusted and an average user would not be able to set them up anyway without the required test equipment. Whilst the first sample was unsatisfactory here, the second one was very much better, although we could not detect much difference subjectively when the button was depressed (it showed a significant measurement improvement though). Whilst the bass end on replay was very flat, the 10kHz response showed a marked rise to +2dB on ferric and +2.25dB on chrome.

Pre-recorded cassettes sounded brittle and hard and replay hiss levels were much higher than usual. Tape/head contact was extremely good as was general HF stability. The first sample had incredibly good hum levels, but the second one reproduced very slight hum on the left channel. Dolby level gave 670mV approximately on each output and clipping was reached at 3.8V. Distortion in the electronics was generally at a low level.

On a ferric cassette the overall response without noise reduction extended to 20kHz on one track, but was slightly down at EHF on the other and even with Dolby in, the response was still very good. The overall hiss level, however, was very disappointing at only -50.5dB weighted ref. Dolby level.

Distortion of 333Hz at Dolby level measured 0.7% with the IM button depressed, and this rose to an average of 3% at +4dB. Subjectively, the overall sound of ferric was superb and almost beyond criticism but, nevertheless, a little noisy. Nakamichi SX chrome gave an incredibly flat response to 19kHz on the left channel, but was slightly down on the right, but still good (without noise reduction).

With Dolby noise reduction inserted a slight dip occurred on both channels at 2.5kHz, but the response came up again at 10kHz. Resetting record Dolby calibration levels would probably have given a better overall response, but this was nevertheless pretty good. Although the dynamic range seemed better on SX, the distortion was more marked on the first sample but less on the on the second one. We still all preferred the sound of ferric tape, but acknowledged the excellent sound quality on SX which was far better than almost any other machine used in the chrome position. Distortion on the second sample measured 0.6% at Dolby level rising to 3% on the left channel and less than 1% on the right. Both were measured with IM reduction in. Nakamichi SX noise measured -55dB with Dolby in.

An excellent machine, then, which is highly recommended providing you are only concerned with recording and playing back your own tapes. Mr Nakamichi insists that he is right regarding equalisation, which thus makes him incompatible with almost every other manufacturer in the world and so who is in step? Although slightly hissy, then, the remarkable sound quality shows this machine to be reasonable value for money.
.

Replay Azimuth Deviation From Average:..........................50°
Microphone I/p Sens/Clipping/Av. Imp:.................N/A/N/A/N/A
DIN I/p Sens/Clipping/Av. Imp:...............67mV/ 10V/42K ohms
Line 1/p Sens/Clipping/Av. Imp:................68mV/ 10V/42K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:..........+0.5dB/+3dB
Replay Response Chrome Av. L+R 10kHz:...................+2.75dB
Ferric unwtd. 20/20 worst channel:.............................45.5dB
Replay Noise Ferric CCIR Dolby out/Imp:.................48dB/9.5dB
Replay Noise Chrome CCIR Dolby out:..................9.5dB/52.5dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.............0.09%/0%
Meters Under-read:...................................1.75dB at 64ms
Distortion monitoring input at DL:..............................0.02%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............1.9%-0.6%*
....................................................6.9%* -3.1%*
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:..........N/A/N/A
Overall Distortion Chrome Av. L+R, DL/+4dB:...........1.6%-0.5%*/
............:.........................................5.6%*-1.6%*
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:...............................-ldB/N/A/0.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric................................................41dB/9.5dB
Ferrichrome............................................N/A/N/A
Chrome...............................................45dB/10dB
Noise Degradation DIN/line inputs:.......................0.5dB/0.5dB
Spooling Time (C90):.........................................2m 38s
Dynamic Range Ferric/FeCr/Chrome:................61.5dB/N/A/68dB
Tapes Used:.......................Nakamichi EX,N/A,Nakamichi SX
Typical Retail Price:............................................£350

The 1000 II is easily the most expensive model reviewed in this book and incorporates 3-heads, allowing A/B monitoring. 3 pairs of faders are provided for line/DIN input, microphone input and replay gain, and an additional mono fader is provided for a centre-injection microphone input.

Two position lever switches operate bias, equalisation, DNL, Dolby and A/B monitoring functions, and a memory counter and auto-reverse switch are incorporated. A push button opens the damped front-loading cassette holder above which is a hinged door concealing azimuth alignment controls, a Dolby tone alignment switch, and a pitch control.

All the deck functions are controlled by touch sensitive microswitch logic, and these operated smoothly at the slightest touch, although record was sometimes difficult to engage. Excellent peak reading meters are provided and user pre-sets allow adjustment of A/B levels separately for ferric and chrome. The model is encased in a very large wooden cabinet. The back panel includes 5-pole DIN sockets for mike and normal inputs, phono line in/out and remote control sockets, a mpx filter, and a tone level pre-set.

The microphone inputs had adequate sensitivity and a good clipping margin, but slight hum was noted on the right channel. The DIN input did not have the required input sensitivity, but normal DIN source did work very well into it, the clipping margin was also adequate and no noise degradation was noted, which is commendable.

The line inputs had good sensitivity and no clipping or response problems were noted. Distortion measured generally very well on the record electronics.

Replay azimuth was mis-set and replay amplifier hiss was clearly inferior to average because of the replay response being generally well up in HF (+2.25dB at 10kHz) on both ferric and chrome positions; the bass response was excellent however. Dolby reduced the hiss by 9.25dB, which is not enough, and the clipping margin was good but bettered by many cheaper models. Distortion, however, measured very well. Immense volume was available into all types of headphone with an excellent clipping margin.

Maxell UDXLI produced one of the poorest overall noise measurements. Distortion, however, measured very well and thus high levels could be recorded, HF compression also being better than usual because of the (questionable) non-standard equalisation. Recordings sounded very clean but hissy. The response charts were incredibly good, being almost a straight line up to above 25 kHz! UDXLII also produced an excellent pen chart up to 25kHz and distortion measured fairly well, clearly optimised for good HF characteristics; noise was, again, considerably inferior to average. HF stability was very good overall and there is no doubt that the overall sound quality was superb apart from the limited dynamic range.

The wow and flutter was rather average at 0.12% and some was noticed subjectively on occasions. As delivered, speed was very slightly fast (NB adjustable though). Spooling was very fast at 1.10 minutes, but no damage was noted to any leaders, etc. Erasure was excellent and better than average. The peak reading meters under-read transients more than usual but were better than 'VU's.

Economically, we liked the machine, although it was not easy to see the cassette window since it was obscured slightly by the hinged door. Considering the very high price for this model, I feel that the noise performance lets it down badly and Nakamichi have clearly optimised the entire performance for response needlessly sailing up to well beyond audibility!

I must dispute Nakamichi's replay equalisation, and if this was corrected and the record equalisation correspondingly adjusted, the signal-to-noise ratio would have become average. However, on such an expensive model it should be virtually better than any other machine, and I suspect that the replay head gap is so fine that the head output requires excessive amplification, thus increasing hiss. Many prerecorded cassettes will be found exceptionally 'toppy' on replay and old BASF test tapes, which are themselves incorrect, actually played back +5dB at 10kHz!

This model is used by many professionals for making high quality cassette copies of master tapes, but I have received many complaints that the recordings are not compatible with the average replay characteristics of the majority of cassette decks on the market.

The replay quality appears very muffled on other machines, whereas recordings made on other models will tend to be very brittle and hard on the 1000 II. For this reason, it is difficult to recommend this model, although it has so many good things about it, but if you are attracted to it then weigh up its astounding performance in so many parameters against the snags I have outlined. If only Nakamichi would become more compatible with the rest of the world, his machines would undoubtedly become worthwhile standards for the industry, as well as a delight for their owners.
.

Replay Azimuth Deviation From Average:........................+47°
Microphone Input Sensitivity/Clipping:.....................174jit.V/1.3V
DIN I/p Sens/CIipping/Av. Imp:.........-8.75dB/+22.25dB/15.5Kohm
Line Input Sensitivity/Clipping:..........................57mV/ 10V
MPX Filter 15kHz Attenuation:....................................-
Replay Response Ferric Av. L+R 63Hz/10kHz:........-ldB/+2.25dB*
Replay Response Chrome Av. L+R 10kHz:......................+2.3dB
Worst Audible Replay Hum Component:.................All -75dB
Replay Noise Ferric CCIR Dolby out/Imp:.............-48.5dB/9.25dB
Replay Noise Chrome CCIR Dolby out:......................-52.75dB
Replay Amp Clipping ref DL.................................+ 12.6dB
Max. Replay Level for DL:.....................................1.14V
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.12%/+0.48%
Meters Under-read:.........................................6dB 8ms
DIN Input Distortion 2mV/Kohm:.....................-72.4dB 0.02%
Overall Distortion Ferric Av. L+R DL/+4dB:.............0.48%/1.9%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:...............N/A
Overall Distortion Chrome Av. L+R, DL/+4dB:...........1.596/4.35%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:..........................OdB*/ N/A /+0.5dB*
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric............................................-40.5dB/9.75dB
Ferrichrome...........................................N/A / N/A
Chrome.........................................-44.63dB/9.62dB
Worst Erase Figure:....................................... -75dB
DIN Input Noise Floor ref. lmV per k ohm:..................-66.25dB
Line Input Noise Floor ref. 160mV/DL:......................-73.75dB
Spooling Time (C90):.......................................1.16 min
Dynamic Range Ferric/FeCr/Chrome:.............63dB/ N/A /64.25dB
Tapes Used:.........................Maxell UDXLI, Maxell UDXLII
Typical Retail Price:............................................£927

NEAL have realised that there are keen cassette recording enthusiasts who like to have not only a very good cassette recorder but one which will allow experimentation with different makes of cassette tape, obtaining optimum results on almost any brand.

The model 103 is very similar to the 102 Mk II, but includes separate mixer controls for mike, DIN and line inputs, each control having two separrate concentric pots for the two channels and, like the 102 Mk II, user preset controls for ferric and chrome bias record equalisation and Dolby calibration levels. A push button permits the bias levels to be monitored, so that when changing a cassette tape type the bias can be reset to a different reading as explained in the extremely comprehensive and useful instruction book.

The general performance was very similar to that of the 102 Mk II but where differences were noted they were usually marginally better on the 103. The distortion levels, however, were very slightly inferior but our measurements show that this is primarily due to the bias settings adjusted by the manufacturer before delivery. Re-adjusting these, produced an improvement in distortion at middle frequencies, but of course deteriorated the very high frequency squash performance. Whilst the ferric replay response was very good, the chrome one had insufficient shelf cut, and a further l34dB cut would have corrected the problem and improved the chrome replay and overall noise levels further. The deck itself was identical, wow and flutter was .09%
and the speed accuracy was 0.45% - good but bettered (though perhaps unnecessarily) by many machines. No crosstalk or output clipping problems were encountered and whilst the DIN and line inputs were excellent the microphone input, although much more sensitive than the 102 Mk II, had unfortunately a rather low clipping level of 15mV. This would definitely prevent users from recording loud pop music live without distortion. Input noise and distortion levels otherwise were excellent.

The 103 incorporates a built in tone oscillator for setting Dolby level on recording very accurately, and this can be switched in by depressing a button on the side panel. The pen charts show the ferric overall response with Dolby to be good, but before the machine was re-biased more precisely a hole of some 3.5dB was noted in the response at 4kHz on chrome tape with a lowering of bias level, and a resetting of Dolby calibration and equalisation on chrome tape. The second pen chart showed a considerable improvement at 4kHz but allowed the treble to rise somewhat at 14kHz, which was not considered serious.

The level meters, surprisingly, were even better than on the 102, having a most remarkable response at 64msec (under-reading only -0.5dB) and at 8msec even more remarkably under-reading only 4dB. This allows very precise setting of peak recording levels, so that if a user knows his favourite cassette tape brand well optimum performance can easily be obtained.

This machine in general performed excellently and reliably, although the tape itself had the same phase jitter, azimuth and slight dropout problem. It can undoubtedly be classed in many ways as one of the leaders and should therefore do very well.

After pointing out the chromium dioxide problem to NEAL they stated that they would redesign the record equaliser to match the new record head type that they are now fitting to this new model. It seems possible that part of the rise at 14kHz could be due to insufficient damping on replay, since test tapes are not available extending further than 12kHz for chromium and 1 OkHz for ferric. It is thus difficult to see whether the error in response at very high frequencies is on record or replay.
.

Replay Azimuth Deviation From Average:..........................
Microphone I/p Sens/Clipping/Av. Imp:..........160ju.V/16mV/2K ohms
DIN I/p Sens/Clipping/Av. Imp: .•.............4.6mV/580mV/10K ohms
Line I/p Sens/Clipping/Av. Imp:............68mV/ 10V/ 100K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:........+0.25dB/+0.6dB
Replay Response Chrome Av. L+R 10kHz:...................+2.25dB
Ferric unwtd. 20/20 worst channel:...............................54dB
Replay Noise Ferric CCIR Dolby out/Imp:..................52dB/10dB
Replay Noise Chrome CCIR Dolby out:..........................55dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):...........0.09%/-0.5%
Meters Under-read:......................................5dB at 64ms
Distortion monitoring input at DL:..............................0.04%
Overall Distortion Ferric Av. L+R, DL/+4dB:...............0.6%/2%*
Overall Distortion Ferrichrome Av. L+R. DL/+4dB:..........N/A/N/A
Overall Distortion Chrome Av. L+R, DL/+4dB:............1.996/4.5%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:...........................-0.5dB/N/A/-1.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric...............................................43.5dB/9.5dB
Ferrichrome............................................N/A/N/A
Chrome...............................................46dB/10dB
Noise Degradation DIN/line inputs:...........................OdB/OdB
Spooling Time (C90):..........................................lm 8s
Dynamic Range Ferric/FeCr/Chrome:................64.5dB/N/A/64dB
Tapes Used:................................TDK SD, N/A. TDK Kr*
Typical Retail Price:............................................£275

The Neal 302 is a worthy successor to earlier models, and is usefully, if unusually, styled. The deck can be used vertically or horizontally, with the inputs and outputs mounted on the left side panel, including a 5 pole DIN socket, phono sockets for line in/out, two mono jacks for mic inputs and a stereo headphone jack. The deck employs three motors, and the micros witch-operated logic control is very smooth in operation, the capstan being solenoid engaged.

Remote control is on a front panel socket, while on the back will be found user pre-sets (long spindle screwdriver required) for record Dolby calibration and biasing for ferric and pseudo-chrome tape types. A ganged replay gain control complements a ganged record-level control, a record balance control also being provided (no centre indent, unfortunately). Push buttons select ferric/chrome switching, Dolby noise reduction, stereo/mono recording, mic/DIN/line inputs, Dolby tone and calibration metering. The two peak-reading meters are mounted so that the needles flap up and down towards each other, rather than the more conventional mounting method, and they were found easy to read. However, they were fed with a heavily equalised signal, and did not read transients particularly well, although they were better than' VU' types. The phono sockets were too close together, and thus somewhat fiddly, and some types of screened plug may not fit properly.

The mike inputs were decidedly insensitive, but Neal should be improving these shortly; quality, however, was good, and clipping margins quite reasonable. The 5-pole DIN input worked extremely well with adequate sensitivity, a good clipping margin and less noise than average, which is commendable; distortion and response also measured well. The line inputs were unusually sensitive, but clipped at 4.4V (which should not concern domestic users, though recording studios may find it annoying). These inputs were slightly noisy near maximum gain, but very quiet at more normal input levels. Some form of earth loop existed on the left channel which caused some problems, but was clearly a sample fault.

Replay azimuth was accurate and stable. Some bass loss was noted on replay, but the HF response was flat, and reasonably extended; the chrome equalisation did not show quite enough HF cut. Replay hiss levels measured well, and showed a lOdB improvement with Dolby, but chrome naturally did not show quite enough hiss improvement; replay hum levels presented no problems. Replay clipping margins were extremely good, thus allowing for even the highest level recording capability of iron tapes, and replay distortion figures also measured well. Plenty of volume was available into 8 ohm and 600 ohm headphones, although an earth loop fault produced breakthrough on the headphone left channel with the volume at minimum (sample fault again); 8 ohm headphones, however, had rather a poor clipping margin, though 25 ohms were satisfactory.

The overall results on TDK AD showed a response with some loss below 50Hz and some HF loss above 12kHz, although the response between 80Hz and 10kHz was very flat indeed, which is commendable (Dolby out). Dolby in response gave a general HF shelf 2dB down, and subjectively the sound quality was very slightly muffled, with some HF compression. Distortion averaged 0.55% at Dolby level, rising to just 2% at +4dB, this showing the tape to be slightly overbiased. Other tape types would be severely down at HF, and I suggest that Neal have chosen a very incompatible tape here. Background noise, however, was very low, and showed the usual Dolby improvement. TDK SA although slightly up at HF (+3dB at 14kHz), sounded excellent, and gave a very good open sound quality with almost no HF compression. Distortion averaged 0.7% at Dolby level, rising to 2.5% at +4dB, which shows an excellent bias compromise. Overall noise on SA though was very average, which is most surprising.

Wow and flutter measured very well at 0.1 %, but speed was a little fast. Spooling was too fast at 1 minute each way (a TDK AD tape consumed itself, but this could have been a cassette sample fault.) HF stability was excellent, erasure very good indeed, and crosstalk figures were also good. The DIN socket replay pins were live on record (non-standard).

Whilst this machine is capable of giving some excellent overall results, it seems to be rather overpriced, though it can nevertheless be recommended. The provision of sensible user pre-sets, and the good signal-to-noise ratios and responses on ferric tape types are commendable, but the metering was a little disappointing. I confess to disliking the ganged record with independant balance control personally, but in other ways the machine was well liked economically.
.

Replay Azimuth Deviation From Average:........................- 18r
Microphone Input Sensitivity/Clipping:...................413JuV*/36mV
DIN I/p Sens/Clipping/Av. Imp: ............-14.25dB/+25.5/9.9Kohm
Line Input Sensivitity/Clipping: . .•.......................40.75mV/4.4V
MPX Filter 15kHz Attenuation:..............................-0.25dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.........-3dB/+0.25dB
Replay Response Chrome Av. L+R 10kHz:.....................+1.5dB
Worst Audible Replay Hum Component:..................-~60dB 50Hz
Replay Noise Ferric CCIR Dolby out/Imp:............-5 1.75dB/9.88dB
Replay Noise Chrome CCIR Dolby out:........................-55dB
Replay Amp Clipping ref DL:...............................+16.68dB
Max. Replay Level for DL:....................................550mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.1%/+0.63%
Meters Under-read:.....................................10.25dB 8ms
DIN Input Distortion 2mV/Kohm:..............................0.04%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............0.5796/2.1%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.........N/A / N/A
Overall Distortion Chrome Av. L+R. DL/+4dB:..........0.72%/2.55%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:............................-ldB/ N/A /+1.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric...............................................-44dB/9.8dB
Ferrichrome...........................................N/A / N/A
Chrome.........................................-45.1 3dB/9.38dB
Worst Erase Figure:........................................ -70dB
DIN Input Noise Floor ref. lmV per k ohm:.................-62.25dB*
Line Input Noise Floor ref. 160mV/DL:.....................-62.38dB*
Spooling Time (C90):.......................................1.0 min*
Dynamic Range Ferric/FeCr/Chrome:.............65.75dB/ N/A /67dB
Tapes Used:.....................................TDK AD, TDK SA
Typical Retail Price:............................................£300
.

One of Philips' first front loaders, the 2538 is neatly encased in a metal cabinet, but incorporates only very basic facilities. Two ordinary slide faders are provided for record level setting, and no input switching is included . A 5 pole DIN socket (replay pins dead when recording) is complemented by phono line in and out sockets, the latter having preset adjustable level controls. Round push buttons select bias and equalisation simultaneously for ferric, ferrichrome and chrome tapes, two additional buttons switching in Dolby and/or DNL - the latter not really being worth bothering about, unless tapes are very hissy.

The deck controls were easy to use, allowing transfer from one function to another, and a memory counter and a switchable multiplex filter were also provided. The record level meters read transients reasonably well, but under-read longer bursts slightly and incorporated some HF lift, which was not liked. A peak-reading light came on at +5dB ref Dolby level. The microphone inputs did not mute the DIN input unfortunately. The record/playback head is made from solid iron silicon aluminium alloy (fsx) which should give long life and good HF performance.

The microphone inputs were very insensitive, but had a good clipping margin, and the sound quality was good. The 5 pole DIN input, as expected, worked well with good sensitivity and an excellent clipping margin, and no noise degradation was noted (the basic overall noise being rather poor anyway). Response and distortion measured very well. The line input was very sensitive, and clipping was noted at around 8 V input (no problem though). The mpx filter gave a 1.75dBcutat 15kHz, which is acceptable.

Replay azimuth was reasonably set, but the replay hiss performance was slightly worse than average, though chrome equalisation showed an average improvement and Dolby worked normally. No replay hum problems were noted subjectively, but some 50Hz hum was measured which should not however be troublesome. The replay clipping margin was adequate for normal cassettes, but totally inadequate for iron types, although the machine has apparently been designed to work eventually with iron tapes (realignment required later). As expected, some second harmonic distortion was noted at +6dB (averaging 0.4%). The replay responses measured extremely well across the audio range on both ferric and chromium equalisation positions. Headphone volume was just adequate into 8 and 600 ohm models.

Philips Hi-Ferro cassette tape penned an excellent chart on the left channel, being virtually flat to 15kHz, but the right channel drooped slowly but continuously from 2kHz upwards (-4dB at 10kHz and -7dB at 15kHz). This response anomaly was not noticed subjectively, and occasionally the pen chart showed a rather better response on this channel, HF stability and head/ tape contact being rather unreliable on the right channel. Distortion measured 0.33% at Dolby level, rising to 2.5% at +4dB. HF compression was noted but the overall quality was reasonably good at best, and overall noise measured quite well. Philips ferrichrome gave a flat right channel chart, but the left channel rose gently to +2.5dB at 15kHz. The sound quality was one of the best for ferrichrome, and HF compression was clearly better than usual, HF stability also.being better than normal ferric. Distortion measured 2.2% at +6dB, but above +7dB it deteriorated rapidly (replay clipping). Philips chrome measured 1.1% at Dolby level, rising to 4% at +4 (surprisingly good for chrome). The response was just 1.5dB down at 15 kHz on the left channel, but -5dB on the right. The sound quality here was better than expected for chrome, but HF compression and LF distortion were noted, and Philips would do better to set up for pseudo-chrome (politics?). Noise was reasonable, but only 8.75dB improvement was noted with Dolby. Wow and flutter measured well, but speech was just over 1% fast. Spooling averaged at 2 minutes, but HF stability was clearly below average; erasure however was amazingly good, and crosstalk better than average.

Early production samples had a design fault in the metering circuit, which severely affected distortion performance, particularly on piano. I informed Philips about this, and it has now been corrected in production. Although clearly the best machine that Philips have made, I am disappointed at the input noise performance and the HF wavering, due presumably to poor head/tape contact, but this may be a sample fault.

The machine is capable of some very good quality at best, but competition is too stiff for it to be given a clear recommendation.

The model 2534 is basically very similar but the record/replay head is just/sjc-coated. It excludes the DNL circuitry (no great loss though), omits the memory function, and has a fixed multiplex filter; the ferrichrome position \9 also omitted. The price is somewhat lower and the electronic circuitry and deck design virtually identical, and thus the same general remarks apply.
.

Replay Azimuth Deviation From Average:........................-33°
Microphone Input Sensitivity/Clipping:....................370/xV/61mV
DIN I/p Sens/Clipping/Av. Imp:..........- 16dB/ + 26dB/2.38Kohm
Line Input Sensitivitv/Clipping:.........................46.75mV/8.4V
MPX Filter 15kHz Attenuation:...............................1.75dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.........-LldB/+0.5dB
Replay Response Chrome Av. L+R 10kHz:.....................+0.3dB
Worst Audible Replay Hum Component:..................50Hz -59dB
Replay Noise Ferric CCIR Dolby out/Imp:............-49.68dB/9.95dB
Replay Noise Chrome CCIR Dolby out:........................-53dB
Replay Amp Clipping ref DL:................................+7.63dB
Max. Replay Level for DL:....................................960mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.12%/+1.24%
Meters Under-read:....................................-4.75dB 64ms
DIN Input Distortion 2mV/Kohm:..............................0.03%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............0.34%/2.5%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:........0.45%/l.1%
Overall Distortion Chrome Av. L+R, DL/+4dB:..........1.1396/3.8396
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:..........................-4dB*/+ ldB/-2dB*
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric...........................................-42.75dB/9.38dB
Ferrichrome........................................-47dB/8.63dB
Chrome.........................................-46.63dB/8.1 3dB
Worst Erase Figure:.......................................-72dB Fe
DIN Input Noise Floor ref. lmV per k ohm:..................-59.25dB
Line Input Noise Floor ref. 160mV/DL:......................-57.75dB
Spooling Time (C90):..........................................2 min
Dynamic Range Ferric/FeCr/Chrome:.............64.5dB/68dB/65.5dB
Dynamic Range Ferric/FeCr/Chrome:............64.5dB/68dB/65.25dB
Tapes Used: .............Philips Hi-Ferro, Philips FeCr, Philips Chrome
Typical Retail Prices: 2534/2538...........................£ 120/£ 140

The model 4040 is the least expensive recorder in the Pioneer range as reviewed, and is a front-loader in a metal cabinet with just basic facilities. A large friction locked concentric record control operated very smoothly, and two front panel levers switch Dolby, and bias and equalisation simultaneously for three tape types.

The deck functions operated smoothly, but the play button was just a little stiff. The cassette compartment door is opened with a press button, and the cassette manually loaded. Phono line in/out sockets and a 5-pole DIN are on the rear panel with a DIN/line input selection switch and two mono mike jacks and a stereo headphone jack are on the front panel.

The microphone input sensitivity was just adequate and the input clipping margin good, microphone recordings being generally of good quality. DIN input sensitivity was more than enough, the clipping margin good, and only very minor noise degradation despite its low input impedance was noted, which is commendable. Distortion and response were satisfactory, although a slight HF boost of 2dB was noted on the DIN input at 11 kHz. The line inputs had average sensitivity, no clipping problem was noted, and noise also measured very well. The mpx filter was permanently in circuit, averaging - 0.6dB at 15kHz. The record level meters had average ballistics, under-reading transients fairly noticeably.

The replay azimuth was satisfactory and replay amplifier noise generally was average, chrome showing 4dB, and Dolby 10.5dB improvement. Low level HF signals expanded down almost ldB too much (11.3dB). Replay clipping was adequate, and replay amplifier distortion measured well. Ferric and chrome equalisations were well optimised on play back, although slight bass loss was noted. Low impedance headphones worked well, but inadequate volume was ^provided for high impedance models.

Maxell UDXLI penned remarkably flat charts from 50Hz to 15kHz, which is most commendable, although a slight presence bump was noted on the Dolby in curve. 333Hz distortion measured .5% at Dolby level, and 2.2% at +4dB, and background noise was better than average, Dolby improvement was 10.75dB which is slightly too much, and shows incompatible tracking. The subjective sound quality was better than average, with less HF compression than usual, although very low frequencies seemed slightly down. The measured presence lift was just evident subjectively, making the program material slightly bright.

Sony FeCr averaged +4dB at 10kHz without Dolby and the overall subjective quality showed clear HF anomalies, with some HF compression and some spitch on speech; 333Hz distortion measured just 1.2% at +4dB, and 3.5% at 7dB, showing the tape to be overbiased and grossly overequalised on record, nevertheless background noise was reasonable. Maxell UDXLII used in the chrome position, gave a chart showing slight HF loss, which subjectively caused the test programme to be very slightly muffled; the quality was nevertheless reasonable, showing less HF compression than usual. Background noise was average, and distortion at H-4dB measured 3.6%, which shows a reasonable biasing compromise. Dolby calibrations were accurately set throughout, but TDK SA tape would give a flatter overall response in the chrome position, at the expense of slightly more distortion.

Wow and flutter measured well at the beginning of a cassette, but fairly poorly towards the end. Speed was only marginally fast, and spooling average. HF stability, crosstalk and erasure were all extremely good.

This machine is a worthy successor to Pioneer's famous 2121, which was one of the best buys in the first Hi Fi Choice. For its price the overall performance is very good, and high quality recordings are possible on this model. I hope that the rather mediocre wow and flutter measurements at the end of a cassette are not typical of all samples. On this assumption, the machine is very clearly one of the best buys, and may therefore be purchased with confidence.
.

Replay Azimuth Deviation From Average:........................-38°
Microphone Input Sensitivity/Clipping:..................240/i.V/42.5mV
DIN I/p Sens/Clipping/Av. Imp:.........-17.75dB/ +26dB/l .8Kohm
Line Input Sensitivity/Clipping:............................70mV/710V
MPX Filter 15kHz Attenuation:..............................-0.75dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.........-2dB/+0.25dB
Replay Response Chrome Av. L+R 10kHz:..........................0
Worst Audible Replay Hum Component:.................150Hz -64dB
Replay Noise Ferric CCIR Dolby out/Imp:...........-51.68dB/10i45dB
Replay Noise Chrome CCIR Dolby out:.......................~55.5dB
Replay Amp Clipping ref DL:..................................+ 12dB
Max. Replay Level for DL:....................................675mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.14%/+0.33%
Meters Under-read: ......................................- 7dB 64ms
DIN Input Distortion 2mV/Kohm:..............................0.11 %
Overall Distortion Ferric Av. L+R, DL/+4dB:.............0.48%/2.2%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.....0.4396/1.12%*
Overall Distortion Chrome Av. L+R, DL/+4dB:...........0.87%/3.6%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:.....................+0.25dB/+3.5dB*/-0.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric............................................-43.5dB/10.5dB
Ferrichrome....................................~46.75dB/10.13dB
Chrome........................................-45.75dB/10.13dB
Worst Erase Figure:.....................................-73dB Cr02
DIN Input Noise Floor ref. lmV per k ohm:..................-63.75dB
Line Input Noise Floor ref. 160mV/DL:........................-67dB
Spooling Time (C90):..........................................2 min
Dynamic Range Ferric/FeCr/Chrome:............66.25dB/66.5dB/67dB
Tapes Used:..............Maxell UDXLI, Sony FeCr, Maxell UDXLII
Typical Retail Price:............................................£125

The 7070 is being reprinted as representative of three models (the others being the 6060 and 8080) which are being phased out, but may therefore be available at reduced prices. The machines are all very similar, differing slightly in the facilities offered.

It is a metal-encased front-loader incorporating Dolby B, 1/4 inch jack inputs for microphone, 5 pole DIN in/out sockets and phonos for line in/output. A switch on the rear selects DIN or phono input to optimise input noise, although 3dB noise degradation was noted on the DIN input. An IEC mains socket is included with its associated separate mains lead (three core). Mechanically, the machine operated well, giving wow and flutter figures averaging 0.09%, and it is possible to transfer directly from play into rewind and back without depressing stop.

Both play and record buttons however were rather stiff, and a cassette was a little difficult to load as there was no conventional reject control or special loading mechanism; a window flaps down over the cassette when loaded. Friction locked concentric rotary controls are provided for both record and replay, and these were both smooth and fairly large. A stereo headphone jack gives only barely enough volume into 8 ohm headphones, and is insufficient for 600 ohm models. Two average quality record level meters are included, but no peak reading
lights.

The microphone input sensitivity was adequate at 270uV into 20kohms. The DIN sensitivity measured 340uV into 2kohms. The line input sensitivity measured 81mV average into 117kohms, and no problems were experienced on this. Clipping margins were excellent generally. The replay controls affect the replay metering level, and a maximum of IV is given for Dolby level, but if the gain is backed off for this to read + 3VU (Dolby level) the output is 685mV.

As delivered, the replay azimuth was reasonably accurate and the replay response showed a very slight fall off at 10kHz (-2dB). Ferrichrome and chiome responses averaged-3dB at 10kHz.

Slight hum was noticed on the right channel, the 150Hz component measuring -59dB. Replay hiss levels on our sample measured -50.5dB CCIR weighted with Dolby out on ferric equalisation; 9.5dB improvement was noted with Dolby, and an additional 4dB with chrome. The overall sound quality on Maxell UDXL was good, but showed a slight fuzziness. The overall response measured very flat to 12kHz without Dolby, and barely inferior with Dolby in. 333Hz distortion at Dolby level measured only 0.4% .rising to only 2% at +4dB - quite amazing. More bass loss than usual was noted below 40Hz and subjective comments on 'sibilance' were made.
BASF ferrochrom gave a slight top rise at 10kHz with a dip on one channel of 2dB at 2kHz with Dolby in use. Some treble squash was noted subjectively. 333Hz distortion measured 0.9% at Dolby level, rising to 2.2% at +4dB. Possibly Dolby levels had been set slightly inaccurately, and too much record pre-emphasis was present, but potentially this machine seemed very good indeed. Sony chrome again showed a 10kHz rise of about 2dB which increased to +3dB with Dolby in. About 2.2% 3 3 3Hz distortion was present at Dolby level, which is about average for chrome, and so again, we suspect too much record pre-emphasis; distortion rose to 8% at +4dB. Chrome nevertheless sounded better than average overall, but the increase in HF was audible.

The overall noise level on ferric with Dolby in measured -53dB, which was good, the equivalent figures for ferrichrome being-57dB and chrome 56dB, all CCIR weighted ref Dolby level. 3dB noise degradation was noted when the record levels were brought up to transfer our standard DIN source level to read Dolby level on the record meters, and once again it seems that yet another manufacturer does not appreciate the importance of designing the input circuit correctly for complete DIN compatibility. However, only slight hiss was introduced on the line input. Wow and flutter measured an average of 0.08%, which is pretty low, but the speed was a little fast, averaging +0.6%. Erasure was very good, and the crosstalk performance excellent.

All three machines proved capable of giving good performances and the degree to which they can be recommended will depend on the prices at which they are being offered, which may be very variable at the moment.
.

Replay Azimuth Deviation From Average:..........................20°
Microphone I/p Sens/Clipping/Av. Imp:.......270/iV/l10mV/20K ohms
DIN I/p Sens/Clipping/Av. Imp:...............340/aV/110mV/2K ohms
Line I/p Sens/Clipping/Av. Imp:.............:81mV/ 10V/117K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:...........-ldB/-2.25dB
Replay Response Chrome Av. L+R 10kHz:....................-1.75dB
Ferric unwtd. 20/20 worst channel:...............................5 ldB
Replay Noise Ferric CCIR Dolby out/Imp:................50.5dB/9.5dB
Replay Noise Chrome CCIR Dolby out:.......................54.25dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.08%/+0.5%
Meters Under-read:...................................-6.7dB at 64ms
Distortion monitoring input at DL:..............................0.03%
Overall Distortion Ferric Av. L+R, DL/+4dB:...............0.4%/2%*
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:........0.8%/2.2%*
Overall Distortion Chrome Av. L+R, DL/+4dB:............2.4%/7.9%*
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:........................0.25dB/+2.25dB/+2dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric.................................................43dB/10dB
Ferrichrome............................................48dB/9dB
Chrome..............................................47.25dB/9dB
Noise Degradation DIN/line inputs:.........................3dB/0.5dB
Spooling Time (C90):..........................................2m 9s
Dynamic Range Ferric/FeCr/Chrome:.............65.5dB/69dB/64.5dB
Tapes Used:.....................Maxell UDXL, BASF FeCr, Sony Cr
Typical Retail Price:............................................£160

The CTF 9191 can be regarded as a front loader with a difference, in that it has many special features, and is one of the heaviest cassette recorders in the world (12kg).

Although it was conventional for early machines to keep weight and size down, this is to a degree irrelevant since performance and ease of use are far more important.

Separate pairs of concentrically mounted rotat-able gain controls are provided for mike/DIN, line phono and output level (varying replay only and not monitoring levels). The machine has two heads and Dolby B processing, a record limiter, and a peak reading light between the fairly large 'VU' meters. These meters, however, under-read a 64msec burst by some 9dB. The peak reading light operated with peaks exceeding +2dB over Dolby level even on an 8msec transient, and could with advantage have been set to operate at a higher level, since the machine's distortion performance is extremely good and will permit recording of very high levels without distress. The rotary volume controls each have a flange which can be set as a marker for correct record level settings from different sources.

The microphone inputs (1/4 inch jack sockets on the front) were just a little insensitive at 300juV, but the clipping margin was really excellent. A strange anomaly resulted when a stereo microphone having a common earth was plugged*in, since bad hum resulted, which completely disappeared when only one jack was inserted, showing a bad earth loop in the chassis. The input impedance here was also a little high, and thus optimum hiss was not reached for low impedance moving-coil microphones.

The DIN input impedance was much too low at 2.1k ohm, and could tend to introduce noise from low output level DIN tuner amplifiers, although at specified DIN levels almost no noise degradation took place. The line input sensitivity was excellent, and any input level could be accommodated without distress. The record level limiter worked very well with its threshold set at a sensible tape distortion level, so that even when an input programme was driving it very hard, distortion was not apparent, although the recovery time was a little of the fast side, thus causing slight pumping when driven hard.

Pre-recorded cassettes played back extremely well, but on delivery a slight azimuth error was noted (30° at 3kHz). The replay response was good, particularly at the high frequency end, but unfortunately, Pioneer still use the old bass time constant, so some pre-recorded cassettes will play back with slight bass loss.

Despite the bass boost necessary on record, to obtain an overall flat response, bass distortion was not really noticeable at fairly high recording levels on ferric tape, since both biasing and equalisation were exceptionally well adjusted. The ferric overall response with Dolby in was very good indeed, but quite outstanding was the remarkably low distortion on Sony HF and BASF Super LH - below 0.6% rising to only 1.5% at +4dB and 4.5% at 8dB! This gave an extremely clean sound up to very high levels.

Although the chrome sound was good, it was clearly not biased correctly, since the left channel showed a fairly sharp rise at 10kHz and the right channel an equivalent fall off. This produced a rather lop-sided treble response fairly evident on any normal input programme. Whilst the replay noise levels were only average, the overall noise performance, which after all is what really matters, was extremely good, and bear in mind the machine's amazing distortion performance and the very wide dynamic range that could be recorded, even though a very slight hum was audible on replay in very quiet passages. The stability was excellent, and no drop outs were audible at any time. There was no erase problem, and the crosstalk measured well.

The overall sound on ferric was so good that for a moment it was thought that we were listening to the master rather than the cassette. High praise indeed. And, had the chromium biasing been more precisely set, results probably just as good, or even better, might have been noted.

The wow and flutter measured just under .1% and the speed was 0.3% slow, whereas most machines seemed to run a fraction fast. This is perfectly satisfactory for all normal purposes. This machine should do well, since its price seems very fair, and the presentation excellent. The method of loading and unloading the cassette was not liked - but this is a matter for personal preference.
.

Replay Azimuth Deviation From Average:..................
Microphone I/p Sens/Clipping/Av. Imp:.......290ju,V/105mV/50K ohms
DIN I/p Sens/Clipping/Av. Imp:.............305^V/105mV/2.1K ohms
Line I/p Sens/Clipping/Av. Imp:................82mV/ 10V/92K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:.....\... -3.25dB/-l .3dB
Replay Response Chrome Av. L+R 10kHz:....................-0.75dB
Ferric unwtd. 20/20 worst channel:...............................50dB
Replay Noise Ferric CCIR Dolby out/Imp: ..............49.5dB/10.5dB
Replay Noise Chrome CCIR Dolby out:..........................53dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.09%*/-0.3%
Meters Under-read:.....................................-9dB at 64ms
Distortion monitoring input at DL:..............................0.03%
Overall Distortion Ferric Av. L+R. DL/+4dB:..............0.696/1.5%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:........0.5961.096*
Overall Distortion Chrome Av. L+R, DL/+4dB:.............1.896/696*
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:.............................-2dB/3.5dB/-ldB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric.............................................44.25dB/9.5dB
Ferrichrome.......................................47.75dB/8.75dB
Chrome............................................47.75dB/8.75dB
Noise Degradation DIN/line inputs:......................0.5dB/0.25dB
Spooling Time (C90):.........................................lm 30s
Dynamic Range Ferric/FeCr/Chrome:.................66dB/69dB/64dB
Tapes Used:...........................Sony HF, Sony FeCr, TDK Kr
Typical Retail Price:............................................£250