Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10 5/3/83 based; site houxf.UUCP Path: utzoo!watmath!clyde!floyd!harpo!ihnp4!houxm!houxf!5121cdd From: 5121cdd@houxf.UUCP (C.DORY) Newsgroups: net.audio Subject: Re: open-reel decks Message-ID: <651@houxf.UUCP> Date: Tue, 13-Mar-84 20:09:03 EST Article-I.D.: houxf.651 Posted: Tue Mar 13 20:09:03 1984 Date-Received: Wed, 14-Mar-84 19:50:10 EST Organization: AT&T Bell Labs, Holmdel NJ Lines: 62 It all depends on what you want to do with the machine. In my opinion, there are only a couple of good reasons to buy an open-reel deck today: to record live music or to play back open-reel master tapes. For copying records, a good cassette deck is both more convenient and economical (open-reel tape is EXPEN$IVE). If live recording is your bag, I can make a some suggestions: In the "under $5000" price range stick to open-reel decks made by Technics, Revox, or Otari (maybe Tascam) only. These are the decks that are the workhorses of the pro / semi-pro recording industry -- you don't want to haul a consumer deck around to location recording jobs, it won't last. I can make some specific recommendations based on experience and personal bias, so if I slam anyone's favorite machine don't hesitate to demand equal time. A few features you would probably like in a open-reel machine for location recording are: 1/2 track - 15 ips (these are essential, no one takes you seriously with anything less), cue features (to keep the tape in contact with the playback head in fast-wind mode to locate a given spot and to locate the edit point), edit dump (to discard out takes on the floor), peak-reading meters (transients can easily saturate the tape while reading nominal levels on VU meters), 10 1/2 inch reel capacity (even then you only get about 33 min per reel with 1.5 mil tape at 15 ips), adjustable bias and equalization controls FOR EACH CHANNEL (these are also necessary, tape is not consistent from batch to batch), adjustable output level control, removable head-block assembly (makes changing the heads a lot easier), and a carrying case (tape decks are easily damaged). Personally, I own a Technics RS-1500US open-reel deck -- I have used it professionally for on-location recording for 3 1/2 years. The transport on this machine, frankly, is better than anything available under $5000. The isolated-loop design gives you wow and flutter performance surpassed ONLY by the top-of-the line Studer and Nagra machines. As well, the audio performance isn't too bad out of the box, however, it can be improved on greatly. Careful alignment is necessary -- very few decks come set-up properly from the manufacturer. I currently have my deck biased for Ampex 456 optimized at 15 ips. The specs. (for those who care) are measured at 250nW/m 0VU and are +1/4 -3 dB 30 Hz to 35 kHz. The signal to noise ratio is 69dB. By the way, at 1000 Hz, I have 15 dB of headroom (to 3% THD) ref. 250 nW/m fluxivity. Other specific recommendations include: Revox Pr99 Otari 5050B MkII By the way, I would stay away from Revox A-77 (sorry all you Revox owners) unless you are up for some heavy modification work. The A-77 (available now only on the used market) does not have adequate headroom for today's tape formulations. Significant modifications need to be made to this deck if you want a reasonable dynamic range at all. All indications are, however, after the mods that the A-77 is a real champ and performs quite well. In fact this could be quite a deal if you like to tinker -- used A-77s are available for under $500. By the way, a very good article appeared in The Audio Amateur describing the necessary mods to the A-77. Craig Dory AT&T Bell Laboratories Holmdel, NJ P.S. Golden Ear Peter Moncrief (Mr. Wonder Cap) even likes the Technics RS-1500US over the other audiophile / semi-pro open-reel decks -- what more can you ask for?