Auch hier bleiben wir bei der englischen Sprache.

The AD 1250 is at the bottom end of the Aiwa range and whilst it has only very basic facilities, it is extremely well ergonomically designed and styled. A removable transparent tinted perspex cover, hinged at the back, exposes only the mechanical deck function controls when closed. These functions are virtually identical to those on the model 1300 and, as with other Aiwa decks, three positions of bias and equalisation are provided on two independant slide switches. Two record and two output faders are provided on the sloping top panel and above these the two record meters are complemented by a peak reading light. Push buttons reset the counter and switch Dolby noise reduction in and out. Mechanically, the deck worked well, and incorporates oil dampened elevation when the eject button is depressed. This mechanism also automatically opens a shutter which slides back revealing the cassette. The cassette is neatly and automatically inserted into the correct location by pressing it on the platform and closing the shutter.

The wow and flutter averaged 0.1% peak weighted DIN, and the speed accuracy was always within 0.5%. A C90 wound and rewound in just under 2 mins. Two microphone jacks and one stereo headphonejack are located at the front, whilst at the rear, phono line in and line out sockets are complemented by a 5-pole DIN socket which can either give a fixed output level or be switched to vary with the replay level controls; the mains lead is colour-coded two-core. The microphone input impedance is 6.7k ohms, and was not particularly sensitive, so a stereo electret microphone is recommended; input clipped at 28mV which is adequate for normal requirements.

The DIN input impedance of 2.5k ohms is rather on the low side, and 2dB noise degradation occurred from our standard DIN source. Sensitivity was adequate, and the input clipped at 28mV. The phono line input had 70mV sensitivity into 84k ohms, and no clipping noise problems were experienced. All the inputs feed on to the same record level faders. The 'VU' meters gave average under-read performance on a 64msec tone burst (-6.5dB). The peak light responded to an 8msec tone burst.

Both ferric and chromium replay responses measured well, having the new bass time constant of 3180/xsec. Unfortunately, some hum was heard on replay, the most noticeable component being at 150Hz (-61dB, right channel), which was more audible than the 50Hz hum at-55dB right channel. The weighted replay noise on ferric averaged -51 dB, but improved by 1 OdB with noise reduction. Chromium equalisation reduced the noise by a further 4dB. Replay amplifier distortion was excellent, and the output clipping margin was considerably better than average.

Pre-recorded cassettes replayed extremely well with well above average stability and head/tape contact, and sounded clean and with a wide frequency response. The replay azimuth as supplied was very accurate. Replay Dolby level was very close on ferric tape, but the output was just slightly low when equalisation was switched to 70/xsecs (chrome, ferrichrome, etc). An output of IV was achieved at Dolby level, whilst the headphone output gave 95mV into 8 ohms, and this was not quite sufficient for driving headphones of normal sensitivity (600 ohm models unsuitable here).

The overall frequency responses were all very flat with Dolby out, and reasonably flat with processing switched in. The overall tape distortion figures measured very well on ferric and ferrichrome, and were better than average on chrome. At +4dB, ferrichrome gave only approximately 3% distortion. A/B Dolby levels were all quite consistent. A full lOdB of noise reduction was achieved overall, and the noise levels were all significantly better than average (eg, ferrichrome -57dB with noise reduction). We noted excellent distortion performance of the input amplifier, and this is most creditable. Both erasure and crosstalk performance were excellent.

As it stands, this machine is clearly recommend-able since it performed extremely well with just the exception of some replay hum. The modern styling is most attractive, and if you want a simple but effective recorder you should investigate this model. Aiwa have now attended to the hum problem.

Replay Azimuth Deviation From Average:...........................5°
Microphone I/p Sens/Clipping/Av. Imp:.........490juV/28mV6.7K ohms
DIN I/p Sens/Clipping/Av. Imp:..............490|uV/28mV/2.5K ohms
Line I/p Sens/Clipping/Av. Imp:................71mV/ 10V/84K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:...........-0.75dB/-ldB
Replay Response Chrome Av. L+R 10kHz:.....................-0.5dB
Ferric unwtd. 20/20 worst channel:...............................52dB
Replay Noise Ferric CCIR Dolby out/Imp:.............5 1.25dB/10.5dB
Replay Noise Chrome CCIR Dolby out:.......................55.25dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):............0.1%/-0.2%
Meters Under-read:....................................6.5dB at 64ms
Distortion monitoring input at DL:..............................0.03%
Overall Distortion Ferric Av. L+R, DL/+4dB:..............0.796/4.1%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.........0.996/2.896
Overall Distortion Chrome Av. L+R, DL/+4dB:............2.196/5.896
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:.................................OdB/OdB/OdB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric.................................................43dB/10dB
Ferrichrome..........................................48dB/9.25dB
Chrome............................................46.25dB/10dB
Noise Degradation DIN/line inputs:..........................2dB/68dB
Spooling Time (C90):.........................................lm 56s
Dynamic Range Ferric/FeCr/Chrome:...............62.5dB/68dB/65dB
Tapes Used: ......................Maxell UDXL, Sony FeCr, Sony Cr
Typical Retail Price:............................................£140

A budget-priced front-loader, the AD6300 has basic input facilities similar to the model AD 1250 with the exception that a mike DIN/line in switch is provided. The recorder is housed in an attractive metal case and has two mike jacks and a stereo headphone jack on the front, giving just adequate volume into 8ohm headphones, and line in, line out and 5-pole DIN sockets on the back for interconnection. An earth terminal complements the two core colour coded mains lead and a switch selects fixed or variable DIN output levels. The front loading mechanism has an oil-damped release, and inserting cassettes is very simple just requiring slotting and pushing home the inverted door. The control buttons were easy to use and allowed switching directly from play into rewind (which provided cueing) or back again without using the stop button. Concentrically mounted record level controls were very smooth and are complemented by a ganged replay level control. Separate three position bias and equalisation switches allow optimum choice of settings for most tapes whilst additional buttons control Dolby B switching and a tape counter reset.

The mike and DIN inputs appear to be in parallel, the mike input taking priority by auto switching. The sensitivity here was 380juV for Dolby level, and whilst this is much more than necessary for the DIN input, it is not quite sufficient for use with some low output microphones. The input impedance is optimum for mike but too low for DIN, thus causing the all too common slight noise degradation on the DIN input from a typical DIN source (2dB extra noise); clipping was at 33mV. The line input was 80k ohms with a sensitivity of 76mV and no clipping problems were noted, but the input circuit was just a little noisy at full sensitivity. The VU meters were average and the peak reading light came on at +6.5dB. The wow and flutter performance was average, measuring 0.12%, and the speed very slightly slow, averaging-0.4%. Erase was excellent but crosstalk just reasonable with very slight breakthrough between reverse tracks (right channel) at 333Hz. A C90 wound from end to end in lmin 55 sec. Replay azimuth was accurate.

Both ferric and chrome replay responses were very good and showed slight droops at very low and very high frequencies of a dB or so. Tape stability and jitter was average and gave just slightly hazy images in the centre. Replay noise levels were very good and particularly commendable was the low hum level. The full lOdB noise reduction was given on replay and also overall. Dolby level replayed very accurately and gave an output from the machine of 1.1 V. Replay distortion was very low and an exceptionally good clipping margin was available. The line out impedance measured 3.5kohms. The input pre-amplifier also had a very good distortion performance, far better than average response was extremely flat to 10kHz but showed a slight rise above this (Dolby out). With Dolby, a slight shelf rise was noticeable of 1.5 dB at all high frequencies, showing a very slight Dolby alignment error, but this is certainly better than an equivalent fall off. The third harmonic distortion of 333Hz at Dolby level measured 1% which rose to 3.5% at +4dB and this is considered good. Sony FeCr showed a slight fall off at 10kHz (-1.5dB), but maintained this figure to 13kHz. This slight loss became exaggerated a little with Dolby in and the pen charts showed slight dropouts which were confirmed in the listening tests (not serious).

Distortion at Dolby level measured 1.1% and rose to 3% at +4dB, again good. Sony Chrome (Dolby out) gave a response extending to 12kHz within a dB or so, which only degraded by 0.75dB with Dolby switched in. At Dolby level 333Hz distortion measured 2.5% which rose to 6% at +4dB, once again showing the relatively poor performance of chrome tape. We would advise Aiwa to bias and equalise the chrome position for Maxell UDXLII or TDK SA, which would be much better. UDXL gave an overall CCIR weighted noise with Dolby in -5 3.5dB reference Dolby level which improved to-58dB with Sony FeCr (excellent). If you want a front loader at a budget price this machine can be recommended. Good value for money then, but flutter was just audible occasionally.
.

Replay Azimuth Deviation From Average:...........................7°
Microphone I/p Sens/Clipping/Av. Imp:......380jaV/33.5mV/2.4K ohms
DIN I/p Sens/Clipping/Av. Imp:..............380uV/33mV/2.4K ohms
Line I/p Sens/Clipping/Av. Imp:................76mV/ 10V/78K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:.............-ldBMdB
Replay Response Chrome Av. L+R 10kHz:....................-0.25dB
Ferric unwtd. 20/20 worst channel:...............................55dB
Replay Noise Ferric CCIR Dolby out/Imp:.............51.75dB/10.dDB
Replay Noise Chrome CCIR Dolby out:.......................55.75dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):...........0.12%/-0.4%
Meters Under-read:....................................6.5dB at 64ms
Distortion monitoring input at DL:..............................0.03%
Overall Distortion Ferric Av. L+R, DL/+4dB:..............0.996/3.7%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.........1.196/3.296
Overall Distortion Chrome Av. L+R, DL/+4dB:............2.496/6.796
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:.........................+0.5dB/-2dB/+0.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric..............................................43dB/10.25dB
Ferrichrome.........................................47.75dB/10dB
Chrome............................................45.75dB/10dB
Noise Degradation DIN/line inputs:.........................2dB/0.5dB
Spooling Time (C90):.........................................lm 55s
Dynamic Range Ferric/FeCr/Chrome:.............63.5dB/68.5dB/64dB
Tapes Used: ......................Maxell UDXL, Sony FeCr, Sony Cr
Typical Retail Price:............................................£160

This front-loading 2-head deck is particularly well styled, employing a real glass front to the cassette loading compartment, loading being very simple and smooth. Ergonomics are excellent and all deck functions performed very smoothly, cueing also being provided. Whilst the level meters tended to under-read more than usual, two peak reading light operated well at Dolby level and +4dB. One of the meters can be switched to read "tape remaining" time, the scale being calibrated for C60 and C90. Separate lever switches select the three bias and equalisation positions, and a bias knob with an indented nominal position allows different tape types to be reasonably optimised, although we would have preferred to see more bias increase available. The large record level friction-locked concentric control was particularly smooth and well liked, being complemented by a smaller ganged replay control. Push buttons operate counter, memory, meter switching, input selection and Dolby functions. Phono line in/out sockets are on the rear, accompanied by 5:pole DIN sockets on the front and rear, and three jack sockets are provided for L/R microphone and stereo headphones (front panel).

The microphone input sensitivity was just adequate but the clipping margin was excellent. The DIN inputs (front one overuling the back one) had good sensitivity and clipping margins, but the impedance was rather low, causing slight noise degradation. Distortion and response on the DIN and microphone inputs were both excellent. The line input sensitivity was good and no clipping problem was noted. This input was particularly
good on signal-to-noise ratio. The inbuilt mpx filter is automatically inserted when Dolby processing is selected.
Replay azimuth was found very slightly incorrect, but reasonable, and replay noise measured slightly better than average, chrome equalisation and Dolby giving average improvements. The replay amplifier had a good clipping margin and distortion measured at a reasonably low level. Replay responses were good at the bass end but showed a tendency to a presence bump averaging around + 1.5dB, while ferric/chromium equalisation showed the correct ratios. 8 ohm headphones were slightly too loud and the clipping margin was inadequate, but 600 ohm headphones were too quiet and so 25 ohm models would show the best compromise.

The original review sample produced considerable HF rises overall and a re-test sample was used to give the overall measurements, Maxell UDXLI penning a very flat chart to 15kHz with or without Dolby processing. 3 33Hz distortion measured only 1.65% average at +4dB and 4% at +6dB, which is excellent, and HF compression was better than usual and the overall sound quality was much liked. Overall noise though was slightly below average but Dolby gave the full lOdB improvement overall. Sony FeCr produced an almost flat chart on the left channel but was slightly down at HF on the right. Whilst distortion measured very well (333Hz at +4dB being 1.65% average) some HF compression was noted and the sound quality seemed a little scratchy; signal-to-noise ratio was again slightly below average. TDK SA on the chrome position penned an excellent chart up to 18kHz without Dolby and to 15kHz with Dolby (mpx filter). Distortion at Dolby level measured 1.6% rising to 6.1 % at +4dB and this seems just a little on the high side to us, although HF compression was minimal and the overall sound quality was surprisingly good and particularly well liked. Overall noise, however, was slightly disappointing and we must assume that the replay head gap was too fine, reducing the head's output and hence requiring more amplification and thus generating more noise.

The original sample showed bad overall Dolby errors, the chrome position being aligned for normal chrome tape, but Aiwa promise to re-set at the factory for pseudo-chrome. Wow and flutter measured at the staggeringly low figure of 0.063% and speed was also incredibly accurate. Spooling was average and erasure very good, while crosstalk measured adequately and HF stability excellent.

We all agreed that the second sample of this machine gave an excellent overall performance and it was much liked by all of us for its open and good sound quality, while the ergonomics and wow and flutter performance were also exceptional. The 'tape time remaining' meter was most useful and we have no hesitation in recommending this machine as a 'best buy', but do check the Dolby A/B levels on the chrome position for they may have to be reset for pseudo-chrome by the retailer. Another good Aiwa product.
The model 6400 is virtually identical, but excludes the 'tape time remaining' counter facility and the memory counter. It can also be regarded as a 'best buy'.
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Replay Azimuth Deviation From Average:........................+22
Microphone Input Sensitivity/Clipping:...............302.5mju/3 12.5mV
DIN I/p Sens/Clipping/Av. Imp:........- 17.625dB/+215dB/2.6K ohm
Line Input Sensitivity/Clipping:..........................83mY7 10V
MPX Filter 15kHz Attenuation: ................................0.5dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.........-IdB/+l.l3dB
Replay Response Chrome Av. L+R 10kHz:.....................+I.6dB
Worst Audible Replay Hum Component:.................100Hz -59dB
Replay Noise Ferric CCIR Dolby out/Imp:............-51.38dB/9.75dB
Replay Noise Chrome CCIR Dolby out:........................~55dB
Replay Amp Clipping ref DL:................................+13.5dB
Max. Replay Level for DL:.....................................1.05V
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.06%/-0.17%
Meters Under-read:..........................64ms under-read by 9.5dB
DIN Input Distortion 2mV/Kohm:..............................0.02%
Overall Distortion Ferric Av. L+R, DL/+4dB:............0.23%/1.68%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:......0.64%/1.68%
Overall Distortion Chrome Av. L+R. DL/+4dB:..........1.61%/6.13%
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:.........................................-41.75dB/10.13dB
Ferrichrome:......................................-46.25dB/10dB
Chrome:.......................................-44.75dB/10.25dB
Worst Lrase Figure:..................................-68dB Cr02 R'
DIN Input Noise Floor ref. lmV per k ohm:..................-60.25dB
Line Input Noise Floor ret. 160mV/DL:.......................~67.9dB
Spooling Time (C90):........................................2.2 min
Dynamic Range Ferric/FeCr/Chrome: ..........64.4dB/67.25dB/64.0dB
Tapes Used:.....................Maxell UDXLI. Sony FeCr. TDK SA
Typical Retail Prices: AD 6400/6550:......................£200/£240

Although now virtually obsolete, this model shows a very high standard of mechanical and electrical performance. It also has one particularly interesting feature, a series of peak reading lights operating at various peak levels. The 'VU' meters themselves were very average but the lights operating at Dolby level and +4dB allow very accurate record level setting, indicating even with an 8msec burst, so transients will be accurately shown. The deck functions were very easy to operate. It was possible to go direct from play to rewind and hear the tape in this position. Two separate pairs of input faders are provided for microphone and line/DIN inputs, thus allowing mixing of microphone with either of the other inputs. The machine has a replay line out level control, and unfortunately the meters read the level after this control rather than before, so that intrinsic levels cannot be determined very easily. On record, though, no trouble was experienced.

The !4 inch microphone input jacks presented a maximum sensitivity of 240juV which was adequate for electret or capacitor microphones but not quite enough for recording distant speech with moving coil mics. The clipping margin was excellent at 70mV and the impedance was 5.5k ohms. The DIN input unfortunately had a very poor range of input levels available, since the sensitivity, reasonable at 300/xV, and the impedance of 2.6k ohms (just a little low) were matched by a very poor clipping level of 1 OmV. Although this is within
DIN specification, there will undoubtedly be clipping problems if the DIN socket is used for connecting equipment having DIN sockets but not designed precisely to DIN specification. The DIN input had an extremely low noise level, and strangely when a DIN plug was inserted into the socket the overall tape noise decreased very slightly, which was rather puzzling but was confirmed by checking several times. The line input (phonos) had a sensitivity of 5OmV with no noise degradation and an excellent clipping margin.

The replay performance was very good indeed, all the responses being virtually flat to 10kHz, although the old bass time constant of 1590/xsecs was chosen. The replay noise figures were good, the chrome figure ref. Dolby level, with Dolby in, measuring -64dB. Pre-recorded cassettes replayed with excellent head to tape contact and good stability. Very noticeable was the consistently good azimuth when cassettes were replayed, although unfortunately on delivery the azimuth was found to be set incorrectly, some 100° out at 3kHz.

The overall sound quality was certainly in the top class of machines tested, for not only were the general distortion levels low on ferric and ferri-chrome cassettes but the responses were also good. On ferric, for example, 10kHz measured only 1.5dB down on the left, and was virtually flat on the right, and subjectively tapes had a very wide overall response. The distortion, even at +4dB, measured only 2.7%, falling to 0.55% at Dolby level. Whilst the overall noise level on ferric tape was only ajverage, the low distortion allowed a very wide dynamic range to be recorded. Ferrichrome usually produced an even better result having a distortion of only 1.9% at +4dB and yet 4.5dB quieter background than ferric. The pen charts show the good overall response and ferrichrome tape on this machine produced an almost exceptional sound quality showing the cassette medium at its best. Chrome tape, although having a good overall response, had noticeably more distortion ie 2.2% at Dolby level, rising to 6% at +4dB, with virtually the same overall noise as ferrichrome.

Although the chromium tape produced very clean recordings, at high frequencies distortion became apparent at high recording levels and thus chrome could not be recommended, since the ferrichrome performance was so superb. The machine also incorporated a useful user adjustable pre-set for biasing ferric tape, and so many different makes could be used with satisfactory results after adjustment.

It is felt that the machine can be strongly recommended, although the DIN input circuit could cause a problem to some users but it should give results which will be more than good enough for all normal domestic purposes.
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Replay Azimuth Deviation From Average:.........................108°
Microphone I/p Sens/Clipping/Av. Imp:........240ju.V/70mV/5.5K ohms
DIN I/p Sens/Clipping/Av. Imp:.............300juV/7.75mV/2.7K ohms
Line I/p Sens/Clipping/Av. Imp:................49mV/ 10V/85K ohms
Replay Response Ferric Av. L+R 63Hz/10kHz:.......-1.75dB/+0.25dB
Replay Response Chrome Av. L+R 10kHz:........h.............+0.5dB
Ferric unwtd. 20/20 worst channel:................"...............52dB
Replay Noise Ferric CCIR Dolby out/Imp: ..............50.5dB/10.5dB
Replay Noise Chrome CCIR Dolby out:..........................54dB
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.07%/+0.2%
Meters Under-read:.....................................-7dB at 64ms
Distortion monitoring input at DL:..............................0.03%
Overall Distortion Ferric Av. L+R, DL/+4dB:..............0.596/2.7%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:.........0.796/1.9%
Overall Distortion Chrome Av. L+R, DL/+4dB:.............2.2%/6%*
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:.............................-ldB/+ ldB/-3dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric.............................................42.5dB/9.75dB
Ferrichrome...........................................48dB/9.5dB
Chrome................................................47dB/9dB
Noise Degradation DIN/line inputs:...........................OdB/OdB
Spooling Time (C90):.........................................2m 10s
Dynamic Range Ferric/FeCr/Chrome:...............63dB/69dB/63.5dB
Tapes Used:.........................TDK SD, Sony FeCr, TDK KR*
Typical Retail Price:............................................£260
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A most interesting metering facility is perhaps the most outstanding feature of this model. Each level meter incorporates two needles, a black one as a conventional 'VU' type, whilst a red one can be switched to read peaks or peak-hold. The front-loading machine is encased in metal, and the top panel actually displays a complete block-diagram of the basic circuitry. The cassette deck mechanism is superb, loading being achieved by a motor pulling the cassette into position, while the deck controls allow switching between all functions and permit cueing on rewind. A friction-locked concentric record level control is complemented with a smaller but similar replay one.

Lever switches select three positions of bias and equalisation, Dolby with mpx switching, input switching for microphone or line/DIN and with a third position for internal response tone/bias setting. Push buttons operate the memory tape counter, meter functions and record limiter, whilst small centre-indented knobs allow user-adjustment of bias independently for the three tape types. A 5-pole DIN socket on the front is interconnected with another on the rear, phono line in/outs also being provided. DIN 1 overides DIN 2, which in turn overides the phono inputs.

The microphone input sensitivity (two mono jacks provided) was low but the clipping margin quite reasonable; quality was excellent with virtually no hum. DIN input sensitivity was good, the clipping margin barely adequate, while the input noise performance here was commendably excellent. Frequency response and distortion measured well, the line inputs were quite sensitive and had an excellent clipping margin, and again the noise performance was excellent, while, creditably the mpx filter had hardly any effect at 15kHz. The meters read conventionally on the 'VU' position, but the peak-reading needles operated exceptionally well, reading the shortest transients surprisingly accurately; the peak hold facility also worked well, but extreme transients were not quite accurately held.

Replay azimuth was accurately set and replay amplifier noise generally measured a quite acceptable average, while Dolby showed the usual lOdB improvement and chrome a further 3.5dB. Clipping margins were very good, but some slight 2nd harmonic distortion was noticed at +6dB, which is unlikely to be too troublesome. Very slightly excessive noise reduction was provided by the Dolby circuitry at HF and very low levels. Replay responses measured very well and showed slight top cut at EHF, which is acceptable. Lower impedance headphones worked extremely well but 600 ohm models had barely adequate volume.

Maxell UDXLI penned extremely flat charts up to 12kHz and showed a slight rise at 14kHz which was subjectively liked, while overall noise was average and showed the usual Dolby improvement. Distortion averaged 0.5% at Dolby level rising to an average of 2.5% at +4dB, showing biasing to be well compromised for a flat response. The subjective sound quality was much liked, being very open and smooth while HF compression was less marked than usual. Very high levels though did cause some slight distortion but the peak reading meters will help avoid this.

Sony FeCr tape also penned a very flat chart to 17kHz, but subjectively the sound quality was edgy and speech sounded rough even though 333Hz distortion measured quite reasonably, peaking just 2.2% at +4dB; HF IM distortion was clearly inferior however and although background noise was quite low this tape type should be avoided on this machine. TDK SA, used on the chrome position, showed a +2dB Dolby error (UDXLI was +1.75dB) so clearly Aiwa must have originally set the machine for normal chrome. The pen charts were very flat up to 12.5kHz, but distortion averaged 3% at Dolby level, rising to an alarming 11.7% at +4dB, showing the tape to be both under-biased and suggesting marked record head saturation. Subjectively, distortion was very evident at higher levels, but intermediate levels were reasonable, while background noise was just average. Unfortunately, only the ferric position worked well on this model and Aiwa will have to look at biasing, equalisation and record head saturation very carefully.

Wow and flutter measured very well indeed and speed accuracy was also very good. Spooling was slightly slower than average and HF stability very good. Ferric erasure was excellent but chrome inadequate. Crosstalk generally measured satisfactorily. The internal tone oscillator provides 400Hz and 8kHz simultaneously, a probe head presenting the outputs to two of the meter needles fed with appropriate filters, so that comparative response can be examined whilst the bias is changed. This was useful, but the poor performance of the machine on ferrichrome and chrome when one considers the price, causes a recommendation to be withheld even though the ferric results were so good. Aiwa, though, must be commended for the excellent input circuitry and, notwithstanding the tape compatibility problems,, the deck was much liked ergonomically. A dry joint was found in one of the replay Dolby circuits and had to be rectified by Aiwa on the reviewer's premises. Finally, Aiwa must improve their overall Dolby level settings.

Replay Azimuth Deviation From Average:........................- 18°
Microphone Input Sensitivity/Clipping:....................355jttV/40mV
DIN I/p Sens/Clipping/Av. Imp:........- 16.75dB/+12.25dB/2.79Kohm
Line Input Sensitivity/Clipping:.......?'.'..................64mV/ 10V
MPX Filter 15kHz Attenuation:..............................-0.75dB
Replay Response Ferric Av. L+R 63Hz/10kHz:......-2.13dB/+0.25dB
Replay Response Chrome Av. L+R 10kHz:.....................+0.5dB
Worst Audible Replay Hum Component:.................-67dB 150Hz
Replay Noise Ferric CCIR Dolby out/Imp:.............-52.5dB/9.63dB
Replay Noise Chrome CCIR Dolby out:......................-45.75dB
Replay Amp Clipping ref DL:.................................+14.38
Max. Replay Level for DL:.....................................1.05 V
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.09%/-0.18%
Meters Under-read:....................................- 0.75dB 8ms*
DIN Input Distortion 2mV/Kohm:..............................0.08%
Overall Distortion Ferric Av. L+R, DL/+4dB:............0.52%/2.52%
Overall Distortion Ferrichrome Av. L+R, DL/+4dB:......0.75%/2.18%
Overall Distortion Chrome Av. L+R, DL/+4dB:..........3.1%/1 1.72%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:.....................~0.25dB/+0.5dB/-0.25dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric............................................-42.5dB/9.63dB
Ferrichrome.....................................~47.25dB/9.63dB
Chrome.........................................-45.75dB/9.88dB
Worst Erase Figure:.....................................-62dB CrO:
DIN Input Noise Floor ref. lmV per k ohm:..................-66.88dB
Line Input Noise Floor ref. 160mV/DL:.......................-68.5dB
Spooling Time (C90):.......................................2.25 min
Dynamic Range Ferric/FeCr/Chrome:...............64dB/66.5dB/63dB
Tapes Used:.....................Maxell UDXLI, Sony FeCr, TDK SA
Typical Retail Price:............................................ £350
.

A front-loader, this metal-encased model offers just basic facilities. It includes two mono jacks for microphones, and line in/output phono sockets are complemented by a 5-pole DIN, with a switch selecting line in/DIN inputs. A stereo headphone jack (no gain control) delivers a reasonable level to 25 ohm headphones, but is rather quiet into 600 ohm models; the clipping margin is just adequate into 8 ohm, but good into 600 ohm. Push buttons select ferric/pseudo-chrome, Dolby in/out and a record limiter, and an ordinary counter with re-set button is included. The record gain controls are friction-locked concentrics and no replay level control is provided. The deck functions worked extremely well, and permitted play into re-wind and back again without stopping. The cassette is inserted vertically into a hinged window.

The microphone inputs had just enough sensitivity for speech on a stereo electret, but the clipping margin was excellent. No hum problems were encountered, and the quality was good from our standard microphone. The 5-pole DIN input had adequate sensitivity and a good clipping margin, but the input impedance was rather low causing some noise degradation; some treble roll off was noted (-3dB at 12.5kHz). The phono inputs had good sensitivity, no HF roll off, and no significant noise was added in normal positions of the volume control. The limiter worked well but was not ganged. Distortion in the electronics was generally at a very low level, which is commendable.

The replay azimuth was found to be mis-set and was corrected for all the tests. The replay preamplifier was reasonably quiet and only 50Hz hum was noted on the right channel, but at an insignificant level. Dolby gave lOdB hiss reduction and tracked well, while the replay amplifier had a very good clipping margin and distortion measured well. On replay, bass response was good, but HF was drooping - 1.5dB at 10kHz and we noted virtually no replay head peaking (this could have improved matters).

The overall results on Fuji FL gave better than average signal-to-noise ratios, but distortion at 333Hz was rather poor at +4dB. The overall response showed an uneven rolloff at 10kHz, the right channel being -4dB. A better tape type such as Maxell UDXLI, etc would show a significant improvement. TDK SA used on the chrome position produced small droops at 10kHz again but the distortion was significantly lower, being more than acceptable. Dolby exaggerated the rolloffs and gave an average of 9.5dB noise reduction overall; A/B sensitivities showed +1.5dB on Fuji FL, but was correct on TDK SA. A better tape would probably be more sensitive and so Akai must look at this problem which exaggerates overall Dolby mis-tracking. HF stability was quite good and wow and flutter was average at 0.14%, but occasional jerks were noted on piano, resulting from an inappropriate supply hub spindle. Speed was very accurate but spooling was rather slow. Erasure was excellent and crosstalk very reasonable, showing no particular problems.

No peak reading lights are fitted and the meters were very average, making it a little difficult to set maximum recording levels accurately. I must criticise some RF bias breakthrough onto the microphone input sockets, which created measurement difficulties but should not affect normal use.

The overall results, as might be expected from the measured results, tended to make FujiFL sound bright in the presence region but a little dull at HF. HF compression and distortion of high level program was noted subjectively, due mainly to the A/B level inbalance and the rather average tape type recommended. If Akai resets the machine properly for a better tape, results on ferric should be very good as far as inexpensive machines go. TDK SA produced much better results with only slight HF compression and reasonable distortion.

Despite its modest price this machine was capable of giving good overall sound quality in the chrome position and can thus be recommended quite strongly as a good, effective and simple machine. We were particularly struck by the low overall distortion in the electronics and the good ergonomics, and any failings are obviously simple to put right (for example the replay head peaking and overall setting up of ferric). A budget-priced machine then with a surprisingly creditable performance, and much better than Akai models reviewed in earlier issues.
.

Replay Azimuth Deviation From Average:.........*...............+47°
Microphone Input Sensitivity/Clipping:....................316ju.V/67mV
DIN I/p Sens/Clipping/Av. Imp:...............-16.5/ + 26/3.7Kohm
Line Input Sensitivity/Clipping:..........................90mV/ 10V
MPX Filter 15kHz Attenuation:..............................-0.25dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.........-2dB/-1.88dB
Replay Response Chrome Av. L+R 10kHz: . .....................-ldB
Worst Audible Replay Hum Component:.................-66dB 150Hz
Replay Noise Ferric CCIR Dolby out/Imp:............-50.75dB/9.88dB
Replay Noise Chrome CCIR Dolby out:.......................-53.9dB
Replay Amp Clipping ref DL:...............................+ 14.88dB
Max. Replay Level for DL:.....................................580mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):......... 0.14%*/+0.1%
Meters Under-read:.......................................7dB at 64ms
DIN Input Distortion 2mV/Kohm:..............................0.03%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............1.1996/5.696
Overall Distortion Ferrichrome Av. L+R. DL/+4dB:.........N/A / N/A
Overall Distortion Chrome Av. L+R. DL/+4dB:...........1.096/3.55%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:..........................-3dB/ N/A /-1.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric...........................................-44.25dB/9.25dB
Ferrichrome............................................N/A / N/A
Chrome.............................................46.5dB/9.5dB
Worst Erase Figure:.....................................~72dB C1O2
DIN Input Noise Floor ref. ImV per k ohm:..................-57.38dB
Line Input Noise Floor ref. 160mV/DL:......................-65.63dB
Spooling Time (C90):.......................................2.85 min
Dynamic Range Ferric/FeCr/Chrome:.............63dB/ N/A /66.75dB
Tapes Used: ......................................Fuji FX. TDK SA
Typical Retail Price:............................................£ 102
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This relatively inexpensive 3-head front-loading deck incorporates only basic facilities, and is housed in a wooden case. Separate L/R rotary record controls are complemented by a stereo ganged replay level without separate headphone level adjustment. Push buttons select mpx filter, Dolby in/out and A/B monitoring, whilst a rotary switch selects bias and equalisation simultaneously for Group 2 ferries, Group 3 ferries, ferrichromes and chromium types. The deck functions operate effectively and the vertical door swings forward for cassette loading; record level meters are supplemented by a mono peak reading light activating at +6.5dB on the review sample. Two mono microphone jacks and a stereo headphone jack are on the front panel and phono lin in/output sockets are on the back together with a mains input socket, a detached mains cable being supplied. Akai are to be commended for not supplying a DIN socket - how very sensible!

The microphone input sensitivity was just adequate, but the clipping margin was good and no problems were experienced. The phono line in sensitivity was more than adequate and no clipping or input noise problems were noted. The record meters gave an average under-reading performance but the peak reading light was very sensibly set. Whilst the headphone socket provided more than adequate volume for even deaf users, the replay gain control has to be reduced substantially for normal use and so the line output levels would be at a substantially lower than normal level when headphones are in use.

The replay azimuth was slightly mis-set, but on
the other hand, was very steady before and after realignment. The replay noise levels were rather disappointing, being inferior to average, showing poor matching or noisy components in the head preamplifier. Some 150Hz hum was noted on the right replay channel at -65dB which might just be audible on some speaker systems. Chrome noise was 3.5dB quieter than that of the ferric position, and Dolby, when inserted, improved noise by an average of 9.5dB; Dolby replay tracking seemed reasonable. The replay clipping margin was very good, and amplifier distortion better than average; all the responses measured well and much flatter than many more expensive machines.

The overall results on Maxell UDXLI showed noise to be about average but distortion better than average at middle frequencies. High frequency compression was rather noticeable on the other hand, and I would have preferred slightly less bias and less equalisation to provide better overall results. The Dolby A/B error was +2dB which produced some brittleness, and yet EHF was slightly down, which taken with the HF compression, caused transients to be slightly blurred. Sony FeCr had a very good overall noise performance and very low distortion at low and middle frequencies; HF compression was very marked subjectively, but nevertheless sound quality was very firm. As with UDXLI, FeCr showed a dip in the presence region without Dolby, but the responses were well extended; a similar overall Dolby level error of +2dB was noted. TDK SA gave a just acceptable overall noise performance for pseudo-chrome, but the distortion levels were
better optimised, and thus HF compression was slightly better than on the other tape types. The overall response with and without Dolby was reasonably flat and better than on the other tape types and the Dolby error was only + 1.25dB, which is just acceptable. We all thought the sound quality of this machine to be reasonably good on TDK SA for a budget 3-head deck, but would like to see a higher standard of factory alignment generally.

Although the wow and flutter measured well its effects were occasionally noticed on program. Some slight HF instability was noted, characteristic of most machines incorporating a dual rec/rep packaged head, a pressure pad being applied to the erase head in an attempt to improve the tape tension across the heads. Speed accuracy was reasonable and spooling slightly slower than average; erasure was excellent and crosstalk slightly better than average, presenting no problems. We were pleased to see that if the mains was unintentionally disconnected, the tape deck function was cancelled automatically.

At its price this machine can be recommended if you want a 3-head deck, but the A/B level errors were rather annoying. Screwdriver pre-sets will be found underneath the chassis (external oscillator needed). We must commend the good and simple ergonomics and were surprised to find the overall noise levels reasonable, since the replay measurements were on the poor side.
.

Replay Azimuth Deviation From Average:........................+21
Microphone Input Sensitivity/Clipping:................228.5juVZ35.5mV
DIN I/p Sens/Clipping/Av. Imp:.....................N/A / N/A / N/A
Line Input Sensitivity/Clipping:..........................75m V/ 10V
MPX Filter 15kHz Attenuation::.............................-0.75dB
Replay Response Ferric Av. L+R 63Hz/IOkHz:......-1.25dB/-0.75dB
Replay Response Chrome Av. L+R 10kHz:...................-0.75dB
Worst Audible Replay Hum Component:.................1 50Hz -65dB
Replay Noise Ferric CCIR Dolby out/Imp:...............47.88dB/10dB
Replay Noise Chrome CCIR Dolby out:...........................-51
Replay Amp Clipping ref DL:...............................+14.75dB
Max. Replay Level for DL:....................................570mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):............0.1%/0.37%
Meters Under-read:....................................-6.25dB 64ms
DIN Input Distortion 2mV/Kohm:..............................0.03%
Overall Distortion Ferric Av. L+R. DL/+4dB:...............0.43%/2%
Overall Distortion Fernchrome Av. L+R. DL/+4dB:......0.4596/1.1396
Overall Distortion Chrome Av. L+R. DL/+4dB: ............1.1%/3.1%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:....................+0.75dB/+0.25dB/+0.5dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric............................................-42.5dB/9.1 3dB
Ferrichrome........................................-47dB/7.75dB
Chrome......................................... -45.75dB/8.25dB
Worst Erase Figure:.....................................~75dB CrO:
DIN Input Noise Floor ref. 1 mV per k ohm:.......................N/A
Line Input Noise Floor ref. 160mV/DL:.......................67.25dB
Spooling Time (C90):.......................................2.18 min
Dynamic Range Ferric/FeCr/Chrome:..............64dB/64.25dB/65dB
Tapes Used:.....................Maxell UDXL1. Sony FeCr. TDK SA
Typical Retail Price:............................................£210

B & O have always been noted for their unusual styling, and the Beocord 5000 is certainly no exception to this. It is a top-loader with a completely flat top on which one can see at a glance two sliders for left and right record levels only. All other deck operating and switch controls are on pressure-sensitive micro-switch-operated metal tongues mounted flat across the panel. A hinged plastic lid at the back covers the cassette compartment, record level meters and timing counter, together with various illuminated indicators. The main operating panel metal flaps control on/off, Dolby, fade in/out, auto and normal deck functions. On the underneath of the front of the machine are a stereo headphone jack with monitoring level control and an auxiliary 5 pin DIN input which also serves for the mike input (switch provided). The only other input is a fixed screened 4 wire connecting lead with a 5 pin DIN plug (approx. 1.5m long). Metering is achieved by seven dimly-illuminated peak level lamps coming on at levels from - 25dB to +3dB, which receive an HF-boosted signal (+18dB at 15kHz!). Transients were well indicated, but the metering was considerably disliked by all, being far too crude and not showing enough discrimination between various levels.

The mike input sensitivity was very high indeed, but the clipping margin was very poor, making the input only suitable for low output moving coil and ribbon types. The main DIN input was unnecessarily sensitive, but the clipping margin was good. No noise degradation at all was noted, and thus this input performed very well indeed. Distortion measured particularly well, although the response was 3dB down at 15kHz (acceptable). The auxiliary DIN input had 50k ohms impedance, and whilst it was rather insensitive, no noise problems were encountered at all. Ferric/chrome switching is automatic, relying on the correct switching holes in the cassettes.

Replay azimuth was way out, and we had extreme difficulty in correcting it, the machine having to be completely dismantled. Replay responses were normalised to the old BASF response standard, and thus averaged 3dB down at 10kHz on both channels (ferric). The chrome response though was correct to the latest standards, and thus only a marginal difference in equalisation was noted between the two positions. Replay amplifier hiss measured extremely well on ferric, but was average on chrome, and hum was virtually absent. Whilst Dolby gave the normal hiss improvement, a 10kHz signal at -40dB was attenuated with Dolby by up to 11.7dB, which is 1.3dB outside Dolby's specification of 10.4dB. The replay amplifier clipping margin measured fairly well, and distortion very well. 25 ohm and 600 ohm headphones worked very well with a good clipping margin, but 8 ohm models had inadequate margin.

Normal BASF tape was originally recommended, but the results were so poor, showing amongst other things a bad droop at 10kHz, that B & O agreed to our using Maxell UDXLI, on which the frequency response was excellent on the right channel, but slightly up at EHF on the left (+2dB at 10kHz). 333Hz distortion measured 0.4% at Dolby level, rising to 3% on the left channel but 1.6% on the right at +4dB, showing the left channel to be underbiased.

(Increasing bias would improve MF distortion and correct the HF response.) Overall noise measured very well, but showed an excessive improvement of 10.75dB with Dolby (right channel). BASF chrome can only be described as a disaster area, reaching 13.3% distortion at +4dB, and thus the test programme sounded subjectively very distorted, and HF compression was all too evident. Nevertheless, Maxell UDXLI gave a very reasonable overall account of itself on this deck even though slight HF compression was noted due to the incorrect replay curve requiring extra equalisation on record.

Wow and flutter measured extremely well, and speed was just slightly slow. Spooling was very fast at 1.25 mins, 10kHz stability was none too good, erasure only fair and crosstalk was not too good (usual DIN socket problems).

The machine could not be set in to record with one hand unless the user has a span of at least 9". The ergonomics are most awkward, and the smoked plastic hinged lid made it extremely difficult to observe the counter and level indicators. Although the DIN sockets are theoretically muted on the replay pin during recording, some buzz was audible on the monitoring circuits, which was a little annoying.

Not recommended then, but reasonable results can be achieved using UDXLI on the ferric position.
.

Replay Azimuth Deviation From Average:.......................+107°
Microphone Input Sensitivity/Clipping:...................86.5^tV/9.1mV
DIN I/p Sens/Clipping/Av. Imp:...................-22.38dB/^20.5dB
Line Input Sensitivity/Clipping:........................21 OmV/ 10V
MPX Filter 15kHz Attenuation: ................................-3dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.....-1.75dB/-2.25dB*
Replay Response Chrome Av. L+R 10kHz:.....................-r0.7dB
Worst Audible Replay Hum Component:..................-62dB 50Hz
Replay Noise Ferric CCIR Dolby out/Imp:...........-54.63dB/10.62dB
Replay Noise Chrome CCIR Dolby out:......................-55.83dB
Replay Amp Clipping ref DL:...............................+11,25dB
Max. Replay Level for DL:....................................740mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):..........0.08%/-0.3%
Meters Under-read:...............................PPMY 8ms -5dB*
DIN Input Distortion 2mV/Kohm:..............................0.02%
Overall Distortion Ferric Av. L+R, DL/+4dB:.............0.39%/2.3%
Overall Distortion Ferrichrome Av. L+R. DL/+4dB:.........N/A / N/A
Overall Distortion Chrome Av. L+R, DL/+4dB:.........2.95%/11.65%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:..........................+0.5dB/ N/A /- ldB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric .............."...........................-44.63dB/10.37dB
Ferrichrome........................................... N/A / N/A
Chrome...........................................49.5dB/10.25dB
Worst Erase Figure:.......................................-65dB Fe
DIN Input Noise Floor ref. 1 mV per k ohm:...................-66.5dB
Line Input Noise Floor ref. 160mV/DL:......................-68.13dB
Spooling Time (C90):.......................................1.26 min
Dynamic Range Ferric/FeCr/Chrome:.............66dB/ N/A /66.75dB
Tapes Used:..............................Maxell UDXLI, BASF CrO:
Typical Retail Price:............................................£300

This somewhat unusual 3-head deck had originally only DIN sockets but now incorporates phonos to meet demand. Microswitch-operated push buttons control the usual deck functions, but unusually the pause button stops and starts record function, allowing record pausing. The A/B monitoring button will always return to monitor input once a recording is stopped (irritating). The record level indicators were very poorly designed, using only LEDs at best some 3dB apart and unfortunately, although peak reading, they indicated the equalised signal encouraging the user to under-record on most programmes. Two mono jack sockets for microphone are provided with a high and low sensitivity switch. Two pairs of good quality faders have their outputs selected by push buttons, which also permits mixing. One pair controls mic/phono line 1, whilst the other controls DIN/phono line 2. Push buttons select ferric, ferrichrome or chrome, but note that on the review sample FeCr replay is at 120jaS and the A/B levels were 5dB boosted on record and cut on replay (to be corrected in future). The line-out phono socket is always live, but the in/out DIN socket is muted whilst recording, although an extra DIN socket is provided for independent monitoring. An internal Dolby tone oscillator and record Dolby level presets were found difficult to use, while the latter was also too exposed to prying fingers.

The maximum microphone input sensitivity was excellent but clipping margins were also very good. The 5-pole DIN input worked very well with almost no noise degradation, very high sensitivity, but a poor clipping margin; distortion was just a little high here at twice the normal DIN input level. Line 1 and line 2 phono inputs were ridiculously sensitive (22mV) and unfortunately clipped, at 2.3 and 3.4V respectively, although noise performance was reasonable.

The frequency response of all inputs to monitor out was excellent. A separate headphone stereo ganged gain control allowed a wide range of headphone types to be used without clipping problems. The replay amplifier, whilst producing some slight 50Hz hum (not noted subjectively though) was considerably quieter than average, producing some excellent overall noise measurements. Only 9dB of Dolby noise reduction was provided, unfortunately, but subjectively this machine was nevertheless one of the quietest. All replay equalisations tended to show a dip of 2dB or so around 3 kHz, but whilst the chrome response was reasonable above this, the ferric response was clearly aligned to the old BASF cassettes, which thus caused the HF to be around 2dB down at 10kHz; the probe head test showed the time constants clearly to be in error. Replay amplifier distortion and clipping margins were excellent, but the output levels were rather lower than average (NB: no replay gain control unfortunately).

BASF SLH and normal chrome tapes gave very unsatifactory overall results, chrome reaching 13% distortion at +4dB. However, Pyral Superferrite gave a very good overall response with and without Dolby up to 18kHz, showing a slight HF lift at 10kHz. Distortion on Superferrite was very low at mid frequencies, and HF was quite reasonable. BASF ferrichrome was biased rather too high and produced some 10kHz loss, despite the 12CfyiS replay equalisation; distortion was very low at middle and high frequencies however. TDK SA gave very low distortion indeed, overall, but was again slightly down at HF (overbiased). Overall noise levels were all excellent, and the bass response was considerably flatter than average. The record amplifier has inbuilt pre-distortion, and thus gave some remarkably low distortion readings, , but IM distortion can be higher under some circumstances.

Wow and flutter was remarkably good, but spooling was twice as fast on re-wind than on wind; speed accuracy, however, was excellent. Erasure was very good, but crosstalk only just adequate. The memory re-wind took the tape back too far, and when replay was depressed the cassettes stopped again at the "zero" point.

I must admit to being rather disappointed with this model, although it has very many excellent points, particularly in the design of the electronics. The metering must be considered very poor and any alignment errors are clearly due to the manufacturer's misunderstanding of biasing and equalisation, but by October 1978 they will be setting the machines up more appropriately for better quality cassette tape types. Assuming that later samples will be correctly adjusted and for the right time constants, the machine will be able to provide some excellent quality reproducton, but the poor metering, unfortunately, withholds a recommendation.

Replay Azimuth Deviation From Average:...........................0
Microphone Input Sensitivity/Clipping:...............5 1 .75juV/5 1.75mV
DIN I/p Sens/Clipping/Av. Imp:...........-25.75dB/+14dB/13.5Kohm
Line Input Sensitivity/Clipping:..........................22.5mV/3.4V
MPX Filter 15kHz Attenuation:...............................-0.4dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.......-1.75dB/-1.7dB*
Replay Response Chrome Av. L+R 10kHz:.....................-0.5dB
Worst Audible Replay Hum Component:..................~55dB 50Hz
Replay Noise Ferric CCIR Dolby out/Imp:............-53.75dB/9.25dB
Replay Noise Chrome CCIR Dolby out:......................-56.25dB
Replay Amp Clipping ref DL:................................+13.5dB
Max. Replay Level for DL:....................................375mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.07%/+0.38%
Meters Under-read:.......................................+ 3dB 8ms*
DIN Input Distortion 2mV/Kohm:..............................0.37%
Overall Distortion Ferric Av. L+R. DL/+4dB:.............0.49%/1.4%
Overall Distortion Ferrichrome Av. L+R. DL/+4dB:......0.37%/0.78%
Overall Distortion Chrome Av. L+R. DL/+4dB:.........1.88%/13.63%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:..........................+1 dB/-2.5dB/~ 1 dB
Overall Noise Av. L+R CCIR Dolby out/Improvement:
Ferric...........................................-46.1 3dB/9.25dB
Ferrichrome.....................................-48.25dB/8.63dB
Chrome............................................-50.88dB/9dB
Worst Erase Figure:.......................................-67dB Fe
DIN Input Noise Floor ref. lmV per k ohm:..................-64.75dB
Line Input Noise Floor ref. 160mV/DL:......................-64.5dB
Spooling Time (C90):........................................1.5 min
Dynamic Range Ferric/FeCr/Chrome:............66.5dB/67.5dB/64.5dB
Tapes Used:.............Pyral Superferrite. BASF FeCr. BASF Chrome
Typical Retail Price:............................................£498

This relatively simple deck is a front-loader, enclosed in a metal cabinet; only two gain controls are provided on the front panel, one for each channel, and these are several cms apart, which makes it rather fiddly to adjust record level. Lever switches provide input switching, two positions each of bias and equalisation and Dolby switching. The record-level meters showed longer transients reasonably accurately, but short ones poorly, the meter response showing considerable LF and EHF loss, and there are no peak reading lights. The audio outputs are controlled by a ganged pre-set gain control on the back panel.
The microphone inputs (mono jacks on the front) did not mute the DIN socket, and were very insensitive, also having a somewhat poor clipping margin; the subjective quality was quite good, however, but just a little hissy.

 The DIN input had good sensitivity, and an adequate clipping margin; although slight noise degradation was noted, it was better than many. Some 3rd harmonic distortion was noted on this input at higher levels, but should not be too serious from a standard source. The line inputs were slightly less sensitive than average, but no clipping problems were encountered, and input noise was exceptionally quiet, which is most commendable. The mpx filter is permanently in, and showed a rather drastic cut at 15kHz, averaging -4.25dB.

The replay azimuth was considerably offset, and pre-recorded cassettes were distinctly muffled before adjustment. Replay hiss levels were slightly noisier than average on ferric, but chrome was average, Dolby also showing around 9.5dB improvement; hum measured at a very low level which is commendable. The replay amplifier clipping margin was very poor, occurring at +5.75dB and as expected replay amplifier distortion at high levels was much worse than average, but satisfactory at Dolby level. The ferric replay response showed a bass loss, but was well up at HF, with a +2dB average shelf being noted which clearly degraded hiss performance; the chromium HF response however was approximately correct. Headphones worked quite well, but clipping on high recorded level tapes was obvious, created by the replay amplifier problems.

Maxell UDXLI (Hitachi type) showed an excellent pen chart up to 13.5kHz with and without Dolby, but some bass woodles were noted. 333Hz distortion averaged .6% at Dolby level, but reached 4% on the left channel and 2.5% on the right at 4dB while overall noise was average with the usual Dolby improvement. Provided care was taken not to record levels which caused clipping on replay, the overall quality was excellent, with almost no HF compression at all, and a clear, open sound quality which shamed many a more expensive machine. UDXLII (also Hitachi) showed a noticeable HF loss, amounting to -2dB at 10kHz, which was exaggerated with Dolby. Distortion averaged 2% at Dolby level, but reached 8% on the left channel at +4dB and 5.6% on the right. Overall noise, however, was excellent, but with just 9.25dB Dolby improvement. Distortion was all too evident at low frequencies, but if the recording level is kept down it would be satisfactory. The tape was clearly under biased, and under equalised, and I assume poor quality control is responsible for this.

Wow and flutter measured reasonably well, and speed was quite accurate. HF stability was excellent, and erasure also most creditable. Crosstalk measured well, particularly at middle frequencies, but spooling was just a little slow at 2.4 minutes. Provided you can accept the very poor replay clipping margin, which will necessitate very careful adjustment of recording levels, this machine will give a very fine overall sound quality in the ferric position, though pseudo-chrome may not be so satisfactory. Surprisingly for a budget machine there were fewer problem areas than usual, and so the machine can be recommended with caution. However, a 'best buy' is withheld because of the replay clipping performance problem, though this may or may not be considered important. It should be noted that some pre-recorded musicassettes and tapes made on high quality machines may play back with some distortion on peaks.
.

Replay Azimuth Deviation From Average:........................r87
Microphone Input Sensitivity/Clipping:....................454/xV/21 mV
DIN I/p Sens/Clipping/Av. Imp:.........-15.75dB/+17.5dB/2.65Kohm
Line Input Sensitivity/Clipping: ........................121 mV/ 10V
MPX Filter 15kHz Attenuation:...............................4.25dB
Replay Response Ferric Av. L+R 63Hz/10kHz:.........-2.75dB/+2dB
Replay Response Chrome Av. L+R 10kHz:.....................-r0.4dB
Worst Audible Replay Hum Component:..............'. . . . ~65dB 50Hz
Replay Noise Ferric CCIR Dolby out/Imp:............-49.88dB/9.62dB
Replay Noise Chrome CCIR Dolby out:......................~56.75dB
Replay Amp Clipping ret" DL:..................................+ 6dB*
Max. Replay Level for DL:.....................................815mV
Wow & Flutter Av./Speed Av. (peak DIN Wtg):.........0.13%/~G.02%
Meters Under-read: .....................................- 3d8 64ms*
DIN Input Distortion 2mV/Kohm:..............................0.34%
Overall Distortion Ferric Av. L+R. DL/+4dB:.............0.6%/3.26%
Overall Distortion Ferrichrome Av. L+R. DL/-r4dB:.........N/A / N/A
Overall Distortion Chrome Av. L+R. DL/+4dB:..........2.07%/6.78%
Overall Response 10kHz Av. L+R Dolby Out
Ferric/FeCr/Chrome:........................-r0.5dB/ N/A /--1 5dB
Overall Noise Av. LtR CCIR Dolby out/Impn.vement:
Ferric............................................-42.1 3dB/9.5dB
Ferrichrome...........................................N/A / N/A
Chrome..........................................-47.25dB/9.4dB
Worst Erase Figure:.....................................-70dB C1O2
DIN Input Noise Floor ref. lmV per k ohm:..................... ~61dB
Line Input Noise Floor ret'. 160mV/DL:........................ 71dB
Spooling Time (C90):........................................2.3 min
Dynamic Range Ferric/FeCr/Chrome:..............63dB/ N/A /65.5dB
Tapes Used:.........................Maxell UDXLI. Maxell UDXLII
Typical Retail Price:............................................. £ 199
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