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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?