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ScepanBG

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Stigao i mali Dragon - i to bi bilo to :listen

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Zanimljivo za BX-300E je da je u Nemackom Audio-u bio malo bolje ocenjen od CR-5E i RX-505E.Dok je u Stereo-u CR-5E bio bolje ocenjen za klasu od BX-300E.Cena BX-300E u Stereo-u je bila 1650 dm,dok je u Audio bila 1700 dm.Cena u UK mu je bila 645 funti(What Hifi Januar 1988 godine).Preporucene kasete po What Hifi-ju za njega su bile Nakamichi i TDK.

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Zal za mlados i sadasnja mogucnost ispunjenja nekih davno neprezaljenih audiofilskih snova..a i retro je do j.j.

TDK sa x na m88 sa dolby Nr om a onda to na Nak-a samo sa 70 us i Type2 eq i obrnuto sa Dolby B.

A Nak sa Dolby C-om i metalkom mrtva trka sa EMBLOM - opsta zabava a i ima se jedno 300-nak kaseta od 1974.....

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Zal za mlados i sadasnja mogucnost ispunjenja nekih davno neprezaljenih audiofilskih snova..a i retro je do j.j.

TDK sa x na m88 sa dolby Nr om a onda to na Nak-a samo sa 70 us i Type2 eq i obrnuto sa Dolby B.

A Nak sa Dolby C-om i metalkom mrtva trka sa EMBLOM - opsta zabava a i ima se jedno 300-nak kaseta od 1974.....

Pecass uzivaj u novom deku,zelim ti da nabavis jos neki vrhunski dek jer sam dobrim dekovima dobra zabava nikada ne prestaje :thumbsup2:cheers .

Imao sam BX-300E 6 puta(6 komada) i secam se da sa Dolby-em C zaista postize odlicne snimke.Inace BX-300E je bio prvi Nakamichi koji sam imao u zivotu,bese to davno pre nekih 21 godinu.Kad se samo setim koliko sam bio srecan :loveface kad sam ga nabavio.Ubrzo posle toga sam nabavio i RX-202E.

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Pecass uzivaj u novom deku,zelim ti da nabavis jos neki vrhunski dek jer sam dobrim dekovima dobra zabava nikada ne prestaje :thumbsup2:cheers .

Imao sam BX-300E 6 puta(6 komada) i secam se da sa Dolby-em C zaista postize odlicne snimke.Inace BX-300E je bio prvi Nakamichi koji sam imao u zivotu,bese to davno pre nekih 21 godinu.Kad se samo setim koliko sam bio srecan :loveface kad sam ga nabavio.Ubrzo posle toga sam nabavio i RX-202E.

Scepane, nemoj nikada da spominjes bilo kakve godine. Moze Sima da uleti na temu i da casom preracuna i proglasi te za matorca i gluvaca.

Znas da visi na forumu (svim temama) vasceli dan. :ruganje

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Zanimljivo za BX-300E je da je u Nemackom Audio-u bio malo bolje ocenjen od CR-5E i RX-505E.Dok je u Stereo-u CR-5E bio bolje ocenjen za klasu od BX-300E.Cena BX-300E u Stereo-u je bila 1650 dm,dok je u Audio bila 1700 dm.Cena u UK mu je bila 645 funti(What Hifi Januar 1988 godine).Preporucene kasete po What Hifi-ju za njega su bile Nakamichi i TDK.

I dan danas imam BX 300 kome sam prvi i jedini vlasnik.Ovih dana mi je ljubaznošću kolege Impulsa stigao idler zamena je u proceuri.Za CR5 ne mogo da priÄam nemam iskustava, ali za RX 505 je ocena taÄna.Imao sam istovremeno RX505 i BX300, oba nova.RX 505 je pojam luksuza i kao pojava je neprevaziÄ‘en, uz naravno NakamiÄi kvalitet izrade i zvuka, ali BX300 svira za nijansu bolje.To pripisujem naprednijem transportu.

Ovo su jedini dekovi koje sam ikada imao.Ko jednom proba Nakamichi tu je kraj

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Zal za mlados i sadasnja mogucnost ispunjenja nekih davno neprezaljenih audiofilskih snova..a i retro je do j.j.

TDK sa x na m88 sa dolby Nr om a onda to na Nak-a samo sa 70 us i Type2 eq i obrnuto sa Dolby B.

A Nak sa Dolby C-om i metalkom mrtva trka sa EMBLOM - opsta zabava a i ima se jedno 300-nak kaseta od 1974.....

Cestitke za dekove ( Technics i Nak) . BX 300 je odlican dek jedino sto mu nedostaje je definicija dubine na snimku sto su vrhunski modeli nakova sposobni da isporuce. Za pare koje se daju za njega - tesko da ima konkurenciju.

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MR 1 vs BX 300

- na prednjoj ploci ulaz za 2 mikrofona umesto master fader preklopnika

- odsustvo bias podesavanja na MR 1

-kod mr1 je primenjen IEC 81 kriva za ekvilizaciju da bi se vise slagao sa drugim dekovima po ovom pitanju umesto klasicne NAk krive kod BX 300

- zadnju stranu si vec prikazao sa prikljuccima za xlr konektore i onima za upotrebu eksternih sistema za redukciju suma, dok bx ima samo 1 linijski ulaz i izlaz.

- ako se ne varam mr 1 je dolazio sa standardnim gear mod-om umesto idler tire na bx 300 - za ovo nisam siguran :wacko:

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MR 1 vs BX 300

- na prednjoj ploci ulaz za 2 mikrofona umesto master fader preklopnika

- odsustvo bias podesavanja na MR 1

-kod mr1 je primenjen IEC 81 kriva za ekvilizaciju da bi se vise slagao sa drugim dekovima po ovom pitanju umesto klasicne NAk krive kod BX 300

- zadnju stranu si vec prikazao sa prikljuccima za xlr konektore i onima za upotrebu eksternih sistema za redukciju suma, dok bx ima samo 1 linijski ulaz i izlaz.

- ako se ne varam mr 1 je dolazio sa standardnim gear mod-om umesto idler tire na bx 300 - za ovo nisam siguran :wacko:

Svakako, gore navedeno jesu razlike, no mislio sam pre svega na eventualne razlike u elektronici, odnosno kvalitetu iste... s obzirom da izgleda da je mehanika ipak drugaÄija.

Usput, možeš li da postaviš te famozne EQ-krive Nakamichi vs EQ-krive IEC... bilo je dosta govora o tome na forumu, bio bi red da jednom i to stavimo "ad acta" ?

:wave2

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Ne verujem da tu ima mnogo promena na elektronici i mehanizmu jer je mr 1 modifikacija BX300 , tako da verujem da je unutra klasicni Sankyo mehanizam koji su koristili kako nak tako i masa drugih proizvodjaca.

Sto se tice samog izgleda same EQ do danas nisam nasao pismeni dokaz ove price osim mase izjava koje se poklapaju sa mojim iskustvom - traka snimljena na zx7 zvuci tamno na dekovima drugih proizvodjaca i obrnuto - trake sa drugih dekova zvuce na nakamichi-ju kao kada hrom trku slusas na 120 ekvilizaciji. Drugo , sumnjam da i u okviru naka da ovo nije vremenom menjano jer procep PB glave na recimo ZX , ZXL, 6xx serijama nije isti ( manji je- oko 4 mikrona ) ako poredis sa BX, CR serijom ( da sad ne trazim po internetu , mislim da je na ovim glavama 6 mikrona procep ) . Da li je za celu pricu ovo bitno - nije. Dek se uzima da bi se na njemu snimale trake i na ISTOM reprodukovale , pomocu koje krive nije ni bitno , vec je vazan krajni rezultat- koliko je u snimku sacuvan orginal.

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Interesting thread. Back in the cassette time, I worked in a store sold a lot of decks and we were a top 5 Nak dealer. I think the original decks were very good, 600, 700, 1000, but the breakthrough product was the 580 series and those that followed. These all featured the Diffused Resonance transport with the cassette tape pressure pad lifter. This allowed the cassette tape shell and crappy pressure pad to be removed from the equation.

In the case of the 580 it did work but the decks kept eating the tapes! Ha. After a bit of head placement modification it was then clear sailing. Yes, a properly working 480 is a very good deck then as now.

Other brand machines can sound good and there are sure a bunch of them since the market was huge. Other than the Tandbergs that had other challenges, Nakamichi was in a class by themselves.

I used to run an alignment performance chart on every deck we sold using the SoundTech gear. As stated above the Naks just worked a whole bunch better than the rest, way more extended and very flat response. The three head Nak decks with Metal tape would compare to the Revox, Tandberg and Otari reel to reel decks except the Nak had better noise specs. Amazing.

Thanks,

Ron-C

Koga ne mrzi da cita prilicno dugacak thread evo linka,

http://www.audiokarma.org/forums/archive/index.php/t-253530.html

gde ima par servisera iz davnih vremena kada je format kasete bio jos aktuelan.

Sto se onog gornjeg tice- ne vidim nista sto Philips N4520 moze a da ZX 7 ne moze ( cak je ZX7 daleko fleksibilniji za upotrebu zbog odlicnog sistema za kalibraciju trake dok Philips moras da kalibrises za jednu traku i istu koristis da bi dobio maksimalne rezultate).

Edited by alex67
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Svakako, gore navedeno jesu razlike, no mislio sam pre svega na eventualne razlike u elektronici, odnosno kvalitetu iste... s obzirom da izgleda da je mehanika ipak drugaÄija.

Usput, možeš li da postaviš te famozne EQ-krive Nakamichi vs EQ-krive IEC... bilo je dosta govora o tome na forumu, bio bi red da jednom i to stavimo "ad acta" ?

:wave2

Ovo je jos najopsirninje sto sam nasao..........

IEC1976 & IEC1981

Nakamichi decks in general adhere to the original IEC1 standard. Other makers' decks since around 1980 have been made to more or less to the IEC2 standard. This standard was created due to the fact that nobody but Nak was able to make tape heads that had 20kHz response, even being at -20dB, without a large amount of treble equalisation. Nakamichi chose not to use the IEC2 standard a)because they didn't need it, and b)because the heavy treble boost severely increases distortion in the treble at all but very low levels. The B version of the MR1 was created strictly to silence rumours among professional users that Nak-made tapes did not play back correctly on other decks. But, with the evolution of tape heads in general, the incompatibility is all but non-existent, except with really crappy decks that aren't worth using to begin with. So, I would absolutely say you shouldn't worry about finding the rather rare MR-1B. But, you should positively NOT buy an MR-1 unless you have positive confirmation that it has the gear type reel drive mechanism. Fully half of all MR-1's were made before this mech was in the production line, and have the very high-maintenance rubber tire driven reels. The only sure way to confirm gear drive is to have the seller remove the cassette well back plate, a matter of two screws, and show you the white nylon gear sitting smack between the reel tables. The MR-1 is an excellent deck, being a pro version of the BX300.

-Stephen Sank

As for playback EQ, the Sendust head 2-head models, i.e., CR-1/2, as well as RX202, BX1/2/100/125/150, DR3/8, MR-2, CassetteDeck2/3, were actually "off standard" per usual Nak standards, having been made closer to IEC-2 (the easier to meet standard used by the other "crap" deck makers), due to the poorer high frequency playback ability of the Sendust vs crystal permalloy heads, so should theoretically make tapes that sound more normal on other maker's decks. This does, however, say that these decks are "crap" compared to crystal permalloy head Naks (i.e., all 3-head Naks, plus the 580, 550, 500 and 350 2-head decks). I agree with this statement, but also say that the 2-head Naks are still far and away better than almost every other makers' best decks.

Paul Carrington's explaination

I know Richard Hess was doing research on this. It is my belief that Nak used the IEC 1976 equalization (along with others). Later, BASF is alleged to have made an error which resulted in an alignment tape with a peak of approx 4 db above 12kHz. This had the effect of extending the freq response from playback heads at the expense of headroom and highier distortion. It was brought to the attention of the IEC and they agreed on a compromise which I believe reduced this peak (to 2db?). The new equalization was referred to as IEC1981. Nak continued using the IEC 1976 equalization as they did not consider it necessary to introduce the change as their heads were capable of extended response without adopting the 1981 equalization, and they did not want to reduce the headroom or increase distortion. Other manufacturers follow IEC 1981. That is my understanding of the situation .... I have been trying to get hold of the IEC 1976 and 1981 alignment tapes to do a comparison and see what the difference really is but I have not been able to do so! Nak published their equalization curve in some of their service manuals.

Regards,

Paul Carrington

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e onda si zreo za naocare ;-)

jos malo ................

MR-1B and equalization differences (applies to the MR-2B also)

The following is from a Service Information document from Nakamichi dated, 6/10/87. It explains the root cause of why tapes recorded on Nakamichi decks sound different on other decks and vice versa.

To enable users to produce tape on the Nakamichi MR-1 which sound acceptable when played on cassette decks using playback heads of inferior quality, Nakamichi has made available two versions of the MR-1, called the MR-1 and the MR-1B. The "B" designation denotes a machine which has had its record and playback equalization altered to conform to the IEC March 1981 equalization, rather than the earlier IEC standard which Nakamichi has followed since the introduction of our first products into the United States market in the early 70's.

These two models are not differentiated in any way on the front or back panels, both are identified as being MR-1's. MR-1B models are generally marked with a small white dot affixed to the bottom panel near the rear of the machine.... ... The following general observations can be made about certain characteristics of the MR-1B as compared to the MR-1.

Playback response -- aprox. +4dB at 15kHz using Nakamichi playback response tape DA09002. Flat response using BASF IEC standard PBFR tape.

Record characteristics -- Distortion approx. 0.1 to 0.5% higher than normal at 0dB, depending on tape type. Maximum record level (before 3% THD is reached) about 2dB lower then MR-1.

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Pecass uzivaj u novom deku,zelim ti da nabavis jos neki vrhunski dek jer sam dobrim dekovima dobra zabava nikada ne prestaje :thumbsup2:cheers .

Imao sam BX-300E 6 puta(6 komada) i secam se da sa Dolby-em C zaista postize odlicne snimke.Inace BX-300E je bio prvi Nakamichi koji sam imao u zivotu,bese to davno pre nekih 21 godinu.Kad se samo setim koliko sam bio srecan :loveface kad sam ga nabavio.Ubrzo posle toga sam nabavio i RX-202E.

Hvala Shcepane,a mozda bi sada mogli da nastavimo dalje akademsku diskusiju na temu:

Vrhunski dek - Odakle poceti uz svesrdnu pomoc Dekovskog Guilda :listen

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