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In Reply to: RE: Revox PR 99 posted by lipmanl on June 05, 2007 at 06:55:42
Hi, lipman1:
You are joking, aren't you!
The PR-99 was an upscale version of the B-77 in slightly different dressing, with pretty much the identical B-77-type logic controls, a few other nice touches, but transport dedicated to the environment and use of pro radio broadcasters and some recording studios, which could not afford the BIG STUDERS. It probably featurd balanced XLR inputs/outputs on the back, which the consumer B-77 lacked, methinks.
Unless you have an existing library of old 2-track pre-recorded tapes or your own masters, without record capability (the ad did mention "reproduce only"), that is the only way to use the deck, obviously.
Parts are very expensive these days, or just unavailable.
For example, a replacement pinch roller must, by now, cost upwards of $75, if available.
Anyway, if it was $50 and working, I would run and grab it instantly, but I already own so many old tape recorders!
Or find yourself an all-tube Ampex 351-2. Now, there is a solidly built, professional deck!
Richard Links
Berkeley, CA
Follow Ups:
No, I wasn't joking. I don't know much about open reel machines, and less about pro and studio gear. thanks for the info.
Hi, lipman1:
If the price is attractive to you, I would go for it, just as long as you have a use for the machine. Let's just say that if I wanted another dedicated machine to play my collection of rare mid-to-late-fifties open reel 2-track pre-recorded reels, this might be a good machine to own.
Have fun, too!
Richard Links
Berkeley, CA
I think you bring up a interesting distinction that is not often discussed, Richard, that being "broadcast" quality machines. They sit somewhere between consumer machines and full blown studio machines. The lower end of this class includes machines that seem just a little fancier than the standard consumer models like the PR99, the Technics 1520, etc. These were used a lot in broadcast stations, and tend to be worn out because of this. If I have my facts straight that's the usage the playback only PR99 was intended for. At the upper end of this broadcast machine class you might see the lower end Studers like the B67. Of course fancier machines were used in broadcast facilities too. My ATR102 came from Canadian Broadcast Corp. But the reverse wasn't too common - the broadcast quality machines weren't typically used in studios for recording or mastering unless the that was all the budget allowed for.
I was very lucky that I was able to buy it from an fm station who went digital broadcasting last year.
Hi, millen:
There were two such machines sitting unpurchased in the parking lot next to KPFA studios in my own neighborhood of North Berkeley about a year ago. The station was holding a sort of "yard sale".
They tried to get $50-60 each for them and they looked a bit battered up, but there they were, running condition UNKNOWN!
Even I passed them up, even in their cute little roll-around housings.
Oh, well!
Richard Links
Berkeley, CA
but next time don’t forget to give them a second glance you’ll be very surprise of how good they really are once you go over them with an air compressor, contact cleaner and general cleaning work.
Thanks, millen!
I simply have no more room to store such items, even though they are quite tantalizing!
Believe me, I like them very much but I also like a certain amount of domestic tranquility even more these days!
Richard Links
Berkeley, CA
Yes, the MX-5050 is in that sort of gray region between studio and broadcast machines as well. While they may not quite have the tape handling or sonics of a full on studio machine, these broadcast machines are for the most part rugged and reliable. Yours looks really nice! A lot of MX-5050s look like they got hit by a meteor. But even those usually work.
This machine worked flawlessly after I went through it with an air compressor. It was so durned dusty on the outside perimeter surprisingly enough though the innards was very clean. No headwear that I can see the rollers were in excellent condition after cleaning them up and the digital counter keeps up time as if it was brand new.
The overall sound compared to my Revox A-77 of which I still have is a little bit better on 71/2 IPS however; on 15 IPS, the sound is simply marvelous. I did a comparison between my Denon 2900 SACD player and the Otari. On 15 IPS, the Otari was much better on the overall resolution coupled with an extended top end with no harshness. BTW, the Denon player is no slouched when it comes to SACD reproductions.
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