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In Reply to: RE: Fortunately, these are very inexpensive these days posted by Victor Khomenko on January 29, 2021 at 11:44:35
It cost me quite a bit to restore my Revox PR99 MKII which includes head relapping, recapping, and rebias to its original specs. I was going to restore the Revox A77 as well but after seeing the cost on the PR99 I've decided to wait a while. Besides it still running well even though the photocell has quit working.
If a thing's worth doing, it's worth doing well
(Proverb)
Follow Ups:
Yes, if you pay a tech for recapping it will cost quite a bit. I usually do that kind of job myself, it is not complicated on a modular machine like the Revox. It is smartly put together, you take one board out and work on it. Do it one board at a time.
I try to do as little as reasonable, I am against the wholesale recapping. People have created tons of issues by doing it. Especially when they do it in one shot. One lifted pad, one broken trace and your machine can turn into a brick.
I do have a machine just like that one. Unfortunately, it is in NAB, which I don't use...
"I try to do as little as reasonable, I am against the wholesale recapping. People have created tons of issues by doing it. Especially when they do it in one shot. One lifted pad, one broken trace and your machine can turn into a brick. "
There are many reasons not to just changem all. For one, older caps - if good - are usually of better quality.
I design and have made a study of caps, how some are worked harder than others and how their values are chosen. It is not arbitrary but it is different than most people think.
What's wrong with listening to the NAB equalized music are you biased or something? Kidding aside I did some comparison with NAB and IEC equalization recording with my OTARI, I found the difference to be very subtle, to say the least. The difference was just like listening to Steinway and Godtrian Concert Grand pianos the Steinway was more visceral sounding but the Godtrian was more agile on its feet. But you know what if either one of them was played by Keith Jarett you won't be able to tell the difference. But of course, that's just me.I wish I had your electronics skillsets man I'd be buying a lot of used high-end electronic stuff even if they're not working properly.
If a thing's worth doing, it's worth doing well
(Proverb)
Edits: 01/29/21
With my Otari decks I find that the SQ differences between IEC and NAB tend to be quite marked. There are more IEC tapes in my 15/2 collection but there are quite a few NAB tapes too.
I've got my main deck wired for direct tape head output, into Kara Chaffee's deHavilland 222 tubed tape head preamp and this seems to increase rather than reduce the IEC/NAB SQ differences I hear.
I don't use any tape head preamp as I connect the Revox PR99 MKII output cable directly into the Krell Evolution 202 preamp's tape input. The sound is quite good much better than the Audio Research Reference 1 preamp that I used to own.
If a thing's worth doing, it's worth doing well
(Proverb)
The ones I bought prerecorded are ALL IEC, and I made that a standard when I make recordings.
The only NAB tapes I have are the commercial prerecorded old tapes on 7" reels, and for those I am using a Teac machine, which is, naturally, an NAB device.
Otherwise, all my high quality tapes are in IEC.
You can standardize on either EQ - they are close to each other, but since IEC is slightly better, today it is the most common high end format.
I don't have any commercially recorded tapes anymore. Presently I'm using the Revoxes RTR for home recordings only.
If a thing's worth doing, it's worth doing well
(Proverb)
When you record and play using the same EQ the difference will be minor, IEC has a bit less hiss and it has better HF extension at high level. PR99 is a fine machine, if calibrated properly it will deliver wonderful performance.
What tape are you using?
Pro-grade low noise tapes from Maxell, TDK, and BASF that I bought years ago. However, recently I've been buying some pancake tapes from the local pro-audio shop that sounded quite good which is better than I would expect from a generic brand.
If a thing's worth doing, it's worth doing well
(Proverb)
Edits: 01/29/21
That pro studio tape is most likely something like SM468 or SM900, which require VERY different calibration - usually they would not get enough bias. It is great tape, I use a lot of it, but the machine must be calibrated for it.
My Revox PR99 MKII machine is calibrated at RMGI Tape: 900 Flux: 250 nWb/m for 7 1/2" and 15" IPS speed record and play. All I know the tech told me that this calibration will work high with output tapes from +3 dB, +6 dB, and +9 dB. In hindsight, perhaps I should have asked him to calibrated it to 350 nWb/m do you think it would make a big difference in sound?
If a thing's worth doing, it's worth doing well
(Proverb)
Yes, you could have gone higher, but you can just set the level above the usual, when you are recording. Use the music you are familiar with, and keep raising the level, until you start hearing the distortion, then back down a bit. But that's for your RGM tapes, the Maxells will not go that high.
When some of my recordings have slightly distorted and or saturated sounds for no apparent reason. I thought the tape was damaged or something until I lowered the recording input signal to a more acceptable level and voila everything snapped into place.However, some of the generic pancake tapes that I bought though I don't know who manufactured them probably from China seems to work well on higher recording level devoid of distortion and saturation in sound. Oh well, live and learn I suppose.
If a thing's worth doing, it's worth doing well
(Proverb)
Edits: 01/30/21
I reckon distortion is the produced by vibration of the cassette body, as I've been alluding to these past couple of weeks. Dynamic range and signal to noise ratio in audio systems are certainly constrained by internal or external vibration, that's one thing we've learned for sure in the last 25 years of so, for any medium, tape, CD, vinyl, whatever. Even the wires and cables suffer the indignity of vibration.
Edits: 01/31/21
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