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Studer A800 MK III 24-track recorder

Studer Vista 8 digital audio console

Israeli composer Joseph Tal at the Electronic Music Studio in Jerusalem (c. 1965). On the right is the synthesizer sound, on the left is the Studer C37 reel-to-reel tape recorder.

Studer

is a designer and manufacturer of audio equipment for recording studios and broadcasters. The company was founded in Zurich, Switzerland in 1948 by Willy Studer. It initially became famous in the 1950s for its professional tape recorders. In the 1990s, the company switched to producing mixing consoles.

Management, sales, engineering, R&D and customer service were located in Regensdorf, Switzerland until owners Harman International Industries closed the Swiss facility in March 2018, moving the now decentralized production to China, Hungary and the USA. Manufacturing, marketing and customer support were part of Soundcraft's facility in Potters Bar, England until Harman closed the Potters Bar plant in June 2016 and moved production and customer support to Hungary. Studer is currently a subsidiary of Harman International Industries which is owned by Samsung Electronics.

Story

Willy Studer began making high-voltage oscilloscopes in 1948. These products were produced until 1968. In March 1951, Studer introduced Revox as a subsidiary brand name.

In 1990, Studer sold the Studer-Revox group to Motor-Columbus AG, including all subsidiaries. In 1991, Motor-Columbus split the Studer-Revox Group into separate Studer, Revox and manufacturing divisions. Motor-Columbus sold several subsidiaries and plants.

A major reorganization culminated in the sale of the Studer group to Harman International Industries in March 1994. The Revox group was divested and sold to private investors. On March 17, 1994, Harman completed the acquisition and acquired 100% of the shares of Studer-Revox AG from Motor-Columbus AG.

Harman paid 100 Swiss francs (approximately US$70) for all issued and outstanding shares of Studer-Revox. Harmann assumed Studer-Revox's post-acquisition debt of approximately CHF 23 million (approximately US$16 million). Harman later moved part of its Studer business operations to England and merged them with those of its Soundcraft subsidiary.

Willie Studer died on March 1, 1996.

Studer

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The history of Studer's development is reminiscent of a guide to high-quality audio equipment. In 1948, Willy Studer founded a company in Zurich for the production of oscilloscopes for high-voltage laboratories, his staff consisted of three people.

The very next year, the company released the first Dynavox tape recorder of its own design, and in the early 50s, a new name for amateur equipment products appeared on the market - Revox. In 1951, Swiss radio used a prototype of the first professional tape recorder, Studer 27, to record the International Music Festival in Lucerne.

1955 marked the beginning of a new era in the production of professional tape recorders. The Studer A37 and B37 models were developed that year. In subsequent years, the compact studio tape recorder B30 and the first mixing console Studer 69 appeared on the market. The company continued to develop, and in 1960 it began production of a new generation of tape recorders - the Studer C37.

In 1963, the first all-transistor professional tape recorder, the Studer A62, was created, and in 1964, a prototype 4-channel studio tape recorder, the J37, was introduced, which used the same transport mechanism as the C37. The J37 was the most sophisticated device at the time, and it was this tape recorder that paved the way for Studer equipment in all recording studios around the world.

In 1967, to record the famous album Sergeant Pepper's Lonely Hearts Club Band by the Beatles, two Studer J37 tape recorders were used at Abbey Road Studio.

In the same year, production of the Revox A77 tape recorder began, which subsequently gained enormous popularity. This model became the best-selling in this class of tape recorders: in total, more than 400,000 such devices were sold. Almost every studio in different countries of the world used this wonderful device. Studer produced more than 50 versions of the A77 tape recorder, consisting of separate modules: for broadcasting, for recording voice information, for educational purposes, etc.

In 1970, a professional studio tape recorder appeared with a completely new design - the Studer A80. Various modifications of this device were offered, including options for cassette recorders with quality control of compact cassettes and 2-inch wide tapes for 24-channel recording of music programs. More than 11,000 A80 tape recorders were produced and were installed in almost every radio and music studio in the world.

By 1972, by order of the Swiss Broadcasting Corporation, the world's largest professional mixing consoles, Studer 289, were created, which had 30 input channels and were intended for recording theater and music programs.

And the next year, the world's first FM tuner, the A720, with electronic frequency generation, was demonstrated.

1978 was the year of birth of a new generation of professional studio tape recorders - the Studer A800. These were the first multi-channel tape recorders controlled by microprocessors.

In subsequent years, Studer introduced the first samples of digital audio equipment: SFC16 - sample rate converter, DAD-16 - delay line. The company's specialists took an active part in the development of the DASH format, proposed as a standard for pulse code modulation. In the period 1984-1985, the production of CD players Studer A725, synchronizers Studer TLS4000, professional tuners Studer A726 with MPX signal compression at the output and master-class analog tape recorders Studer A820 began.

In the late eighties and early nineties, the Studer corporation actively expanded its production. After purchasing the American company Integrated Media Systems, Studer Editech was created. A short time later, Studer introduced digital audio workstations to complement existing digital equipment, including the D827 48-channel DASH-compliant digital tape recorder.

In 1990, Willy Studer sold the Studer Revox group to Motor Columbus AG and began work on creating a new corporation, Studer Revox AG. The process of absorption of related companies continued the following year - a controlling stake in the French audio equipment manufacturing company Digitec SA was acquired. The products of this company complemented the line of equipment manufactured by Studer. Now the corporation could offer turnkey system solutions. The full-scale reorganization program was crowned by the transition in 1994 of the Studer group of companies to the full control of Harman International Industries. The Revox group of companies was spun off from Studer and sold to private investors.

In 1993, the first large-scale digital mixing console, the D940, was sold to radio station WDR Cologne. And in the spring of 1995, a digital radio broadcasting system, created by order of the Swiss company DRS, began operating on the air.

That same year, the Studer Corporation completed work on the first 2-channel MO tape recorder, the D424. An 8-channel Mic/Line preamplifier was also introduced, equipped with a professional AD converter, which opened the D19 series equipment line. The seriousness of the corporation's efforts to improve radio broadcasting devices was confirmed by the appearance of the Studer Digimedia automatic broadcasting system, which was distinguished by a completely updated design and a completely new hardware and technical base.

In 1996, many new products were released. First, a device for recording compact discs CD Recorder D741 appeared, and then - digital equipment for switching, the Studer 928 mixing console, designed for the production of radio programs, recording theatrical performances and live broadcasts, and the Studer On-Air 2000 digital broadcasting mixing console with very operator-friendly interface.

The D19 series equipment line has been expanded with a 2-channel Mic/Line preamplifier MicVALVE and an analog-to-digital 8-channel MultiDAC converter with variable frequency amplitude modulation and mixing/listening functions.

In 1997, the Studer D950 digital mixing console was released. Its presentation took place at an exhibition held by the Committee for Automation of Broadcasting (CAB), and attracted great attention from specialists who highly appreciated its unique technical characteristics. At the same exhibition, Studer presented for the first time compact broadcast automation systems DigiMedia and Digitec Numisys, Track'Filer and Smart'Log software developed at Studer Digitec, and new Studer D19m switchers.

1998 was marked by the implementation of the new VirtualSurround Panning mixing format in the D950S console and the creation of the PUMA chip. This powerful digital signal processing chip was developed by Studer and is used in the DigaStudio controller to control DigAS software using DAVID

Today, the Studer company is a symbol of quality and prestige. Studer is a leading manufacturer of broadcast and live show consoles.

Categories with Studer products:

• Reel-to-reel tape recorders
• Vintage

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Tape recorders

In 1949, Studer expanded into the audio business by modifying imported tape recorders from the United States. By 1950, they had developed their own line of tape recorders, called the Dynavox series. Throughout its history, the company has built many models of two-track recorders for stereo recording.

Some Studer components were sold under the Revox brand with minor modifications at a lower price. Revox variants were designed for consumer use with features such as an IR remote control and no balanced input/output jacks. Otherwise, the basic schemes of the two were almost identical. One of the company's models was the Revox A77 recorder, introduced in 1967.

Studer developed and manufactured multi-track recorders. Studer's first multi-track machine, the J37, was released in 1964. She recorded 4 tracks on one-inch tape. A pair of J37s were used by the Beatles to record Sergeant Band Pepper's Lonely Hearts Club

in 1967[1] Later analog Studer machines were built in 8-, 16-, and 24-track configurations using tape up to two inches wide.

The Studer A800 MKIII is the focus of the first frame of the 1988 video. Guns N' Roses song "Patience".

Sales of analog machines continued until the early 1990s, when they began to be replaced by digital recorders. During this period, Studer introduced the multi-track models D820 and D827, which used a digital audio stationary head as standard. However, digital tape formats eventually fell out of favor with the advent of computerized hard disk drive recording systems and software products such as Professional Tools.

Cats foreva!

The Studer A810 is one of the most famous professional reel-to-reel tape recorders, a model that became widespread in many recording studios in the eighties, and later became a cult favorite among audiophiles. We examined this reel, restored by Revox/Studer specialists, and rendered our verdict on whether investing in an updated vintage is now justified.

A brief summary of the model is as follows: the presentation of the Studer A810 took place in 1980, and serial production of the bobbin machine started two years later. Until 1989, several thousand devices rolled off the assembly line, then production was curtailed (the model was gradually replaced by the Studer A807, assembled on a simplified mechanical platform, but more advanced in terms of electronic filling, and the mastodon Studer A820). Initially, the Studer A810 was aimed at small (namely small) recording studios: hence the possibility of desktop (both horizontal and vertical) installation and mounting in a 19” rack. The device plays and writes to 6.3 mm (1/4″) wide magnetic tape in stereo (two tracks) format and supports playback speeds of 9.5, 19 and 38 cm per second.

Studer wouldn't be Studer if it didn't incorporate a ton of innovation into this reel-to-reel tape recorder . Well, for the eighties of the twentieth century, the model really turned out to be stunning in terms of technological innovations: the transport mechanism of the bobbin machine uses a servo drive; The capstan is controlled by a microprocess, and quartz stabilization is not forgotten. Equalization standards are CCIR/NAB. The Studer A810 can handle coils up to 10.5″ (26.5 cm) in diameter, has balanced inputs and outputs (XLR) and is equipped with a 6.3 mm jack for connecting headphones. The modular design allows for very quick replacement of main boards, and the precision transport mechanism with four rollers ensures gentle handling of the belt. One cannot fail to note the luxurious body of the device - with a rigid frame and molded sides (on which you can install decorative overlays with handles for carrying, which is what was done in our model). The functionality of the device is programmable, including detailed sound calibration, the option of bus integration via a serial connection port is not forgotten, and the optional digital remote control (not included in our package) allows you to perform many operations with the bobbin. The device weighs very heavily (31 kg), so only two people need to transport the Studer A810.

We received the Studer A810 model, received after restoration from the Swiss company Z-Audio (the work was done in collaboration with the Revox/Studer factory that had resumed its operation): the company’s specialists use only “original” spare parts and “bring” each device to a new state. A completely new head unit is installed, capacitors are changed, the external cosmetic condition is brought to the level of an untouched device, and careful professional tuning guarantees convenience and comfort during further operation. For each model, a “report book” is also issued on the obtained measurements of the bobbin - you can focus on its ideal parameters during periodic further adjustments (after each transportation it is advisable to check everything again).

The main point that will allow you to enjoy listening, of course, will be recordings on magnetic tape . If you purchase them from well-established companies , there will be no disappointments. Direct licensed copies from master tapes provide benchmark playback quality that leaves no stone unturned from any other formats. A two-track tape in a “studio” presentation at a speed of 38 cm/s demonstrates so much musical information that it becomes scary to realize how much was missed in all the past listenings of famous compositions. If you start chasing cheap prices, looking at flea markets for craftsmen selling supposedly good records, you may come across tapes created from vinyl, or even dubbing from digital to tape. Distortion will be added here, of course, but dynamics and detail will not come out of nowhere.

As soon as you check the setup of the bobbin maker (we have already mentioned that it is better to repeat this procedure after transportation by inviting a specialist) and install it, you will only need to connect the cables. If your preamplifier has only unbalanced RCA inputs, you will need XLR/RCA adapters (as was the case in our case - on a system with Audio Note UK M6, Audio Note Ankoru/II, Sonus Faber Amati, JBL DD67000). When using the device, you will have to get used to handling NAB adapters, reels or “pancakes” - the main difficulty at first will be securing the tape to another reel after rewinding - you will need to master some finger dexterity so that the “tail” of the magnetic tape does not jump off while turning the reel . But, ce la vie, analog sound does not tolerate fuss.

When listening, one immediately notices the frantic dynamics of the recording on magnetic tape. A wide (6.3 mm) “band” at a speed of 38 cm/s allows you to transmit so much musical information that your head will spin. Well-known compositions receive volume, texture, and relief, forming an absolutely realistic sound, elastic, clear and collected. Bursts, or rather even “explosions,” of musical energy allow one to achieve an incredible effect of involvement, and the overall unity, seamlessness and “silkyness” of presentation serve as an additional wow factor.

Having listened to a good recording on tape once, there will be no turning back - it becomes clear that other formats (even the notorious first-press vinyl) are only a “pale reflection of someone else’s love,” a likeness of the original, in which some of the details have been lost. In this vein, it makes no sense to discuss the “reliability of timbres” or brilliantness - the wave of information that falls on the listener from a professional studio method of playback allows you to forget about dissecting the music into its component parts and simply immerse yourself in the magic of the sound.

Passport details:

Type – professional reel-to-reel tape recorder | Name - Studer A810 | Format – two-track, stereo | Tape width 6.25 mm | Belt speed, cm/sec. — 38.1 / 19.05 / 9.5 | Capsule control – microprocessor | Standards - CCIR/NAB | Spool sizes up to 26.5 cm | Inputs and outputs – transformer, XLR | Headphone output – 6.3 mm jack | VU Indicators - Line In and Line Out | Power consumption – up to 190 W | Power supply – multivoltage (100 – 240 V) | Weight – 31 kg. | TTX source – HiFi Engine

Ratings

Design 90

Workmanship 100

Sound 100

Ergonomics 90

Total 95

Conclusion:

The Studer A810 is one of the best vintage devices that can still be found on the market today. Precision workmanship, modular design, chic mechanism - and, of course, stunning sound, make the model the choice of true audio gourmets.

Mixing consoles

In the mid-1990s, Studer began developing digital mixing consoles. Following the introduction of the OnAir 2000 with Touch'n Action user interface in 1997, the D950 became the first large-frame digital desk introduced by Studer in 1998. With the Vista Series (Vista 1, 5, 6, 7, 8, 9, V and X) In 2003, Studer launched the Vistonics user interface with pen-on-glass technology. Some older Vista models have been discontinued, but Vista 1, 5, V and X remain in production. Vista 5BE (Black Edition) is the latest model in the series to feature x86 processor technology, replacing SHARC-based DSP processors.

Studer Vista 9M2 (launched September 2013) is a broadcast/live production console featuring Vistonics' proprietary glass-handled user interface and FaderGlow is used by broadcasters including BBC, RAI, France TV, TV Globo, ABC, NRK , and many others. Studer also offers broadcast consoles with Glacier control surfaces (replacing the now discontinued On Air 3000 and 2500 controllers), added to the remaining On Air line, which includes the OnAir 1500.

• Studer A80, 24-track recorder
• Studer A80 at Mountain Studios used by rock band Queen
• Remote control for Studer A800 MKIII (center left)
• Studer B67, two-track tape recorder
• Studer A820, two-track tape recorder
• Studer A80, two-track tape recorder, mastering version
• Studer audio console broadcasts on IBA Radio Kol Israel in Jerusalem

Why do people buy vintage equipment, cars, records and much more at auctions?

Radio listeners often ask me this question, and I’m finally ready for a full answer. First is the sound quality. Sound is divided into analog and digital. Digital is MP3, CD, mini disk, etc. This sound has compression, that is, it is compressed. And an analogue is a lamp (amplifiers, tape recorders, etc.), vinyl, compact cassette and reel (reel for a tape recorder). This sound has depth, transparency, and sound dynamics that are most suitable for human perception. As for vintage equipment, I would like to start with reel-to-reel tape recorders (reel-to-reel tape recorders). I think that somewhere in the late 80s - early 90s, cunning capitalists realized that it was much more profitable to make equipment not for centuries, but to put limitations on the service life into the equipment. For example, they give a guarantee for a year or two, and at exactly that time it breaks down, and you have to buy spare parts, go to workshops, etc. And after two and a half years, your device simply begins to crumble, and you throw it away and buy a new one. And when you buy a vintage device, it undergoes tuning and maintenance from a master and is ready to work as long as it is old, and it is already about forty.

When it comes to design, these devices are style icons, and many of them have their own history. I know a person who has in his collection a machine on which Mick Jagger recorded, as well as a tape recorder bought at an auction and sale of props from the Tarantino film “Pulp Fiction”, the same one that Uma Thurman poked her finger into before her sparkling dance with Travolta . There is still a market for the supply of new heads and other spare parts (thanks to the Internet), the brilliant Kulibins who can do internal tuning for your pet and give it a second life (by the way, I know one of these in Moscow, if you need contact, write to me on Facebook ), it is still possible to buy the legendary “Golden Maxwell” film (which provided a lifetime guarantee) or modern film, which is still in production (it can be bought from an official representative in Moscow), at old stocks. Not to mention the huge selection of metal reels of all sizes and brands. But now I want to recommend you the best devices that will decorate the collection of any music lover or the interior of a stylish apartment, loft, bar, etc. Show must go on…

Akai Pro-1000

In 1977, $2,000 was a lot of money and could buy you a nice car with leather and a stereo. That’s exactly what Akai pro cost - 1000, which was produced from 1977 to 1982, and was Akai’s best device in the category of semi-professional tape recorders. Two-piece, noise reduction system, built-in microphone, remote control, GX heads, three speeds, and it was sold only in Japan and the USA. Moreover, he wrote on two tracks, but played back on two and four. And for connoisseurs, I ask you to pay attention to its characteristics listed below.

Specifications and measurements

Deck model: Pro-1000 Start of production: 1977

Price new: US$1,995.00 Playback mode: Stereo, 2-track (record and playback) and 4-track (playback only) Magnetic heads: 4 GX technology Motors: One AC motor for tape drive and two for sub-reels Reel size: Maximum 265 mm (10.5″) Tape speed: 38, 19 and 9.5 cm per second Speed ​​deviation: ± 0.5% Frequency response (±3 dB): 20 ~ 24000 Hz at belt speed 38 cm/s Frequency response (±3dB): 50 ~ 20000 Hz at belt speed 19 cm/s Knock coefficient (RMS): At 38 cm/s: 0.025%, at 19 cm/s: 0 .04%, at 9.5 cm per second: 0.08% Signal-to-noise ratio: 2-track mode: 61.5 dB, 4-track: 58 dB and in tyranny mode at least 70 dB Total harmonic distortion : Less than 1%, at a frequency of 1 kHz Correction: NAB standard Operating mode: At a speed of 38 cm per second, achieved in 0.8 seconds Recording offset frequency: 150 kHz Inputs: Mic (4 pcs.) with nominal impedance: 600 Ohms ~ 10 kOhm and with minimum input signal level: 0.3 mV/-69 dB; linear (4 pcs.) with a nominal impedance: 100 kOhm and with a minimum input signal level: 70 mV/-21 dB Outputs: Linear (4 pcs.) with a nominal impedance: more than 10 kOhm: standard output below 100 Ohm: 0 dB ( 0.775V) and mixer (2 pcs.) with an output impedance of more than 20 kOhm: output level below 1 kOhm: 300 mV) Indicators: Peak response time meeting the requirements of the DIN standard: 0.01 seconds; recovery time: 0.8 seconds VU BTS Semiconductors used: 133 transistors, 94 diodes, 6 theristors and two ICs Mains voltage: 100 - 240 volts AC Current frequency: 50~60 Hz Power consumption: 115 W Transport width: 486 mm Depth transport: 284 mm Transport height: 412 mm Electronic unit width: 486 mm Electronic unit depth: 309 mm Electronic unit height: 231 mm Transport weight: 28.3 kg Electronic unit weight: 10.2 kg

Technics RS-1800

Probably one of the rarest devices in our time, a dream for collectors and music lovers, a very expensive and unique device in its mechanics. This deck has a high-performance closed-type tape drive, which provides maximum interaction between the tape and the magnetic heads. The main feature is a quartz stabilizer, speed control with a digital display that shows the actual selected speed value. A quartz stabilizer controls the belt speed, which can vary within 9.9%, and a microcomputer on the display shows the operating time in hours, minutes and seconds. In addition, there is also a constant voltage power supply circuit so that various interference (household power supply) does not interfere with the operation of the device. But finally, 76 speed, which gave incredible recording quality (the higher the signal speed, the higher the recording quality).

Technical characteristics of the Technics RS-1800 stereo tape recorder

Manufacturer: Osaka, Japan Model: RS-1800 Track format: 2nd stereo tracks for recording and playback; 4 stereo tracks for playback only Recording magnetic head: One SX (Sendust Extra) Playback magnetic heads: Two SX (Sendust Extra) Erasing magnetic head: Dual ferrite Drive shaft drive motor: One with direct drive and quartz control Motors for cassette drives : Two with direct drive and electronic switch Belt speed: 38 cm/sec; 19 cm/sec and 9.5 cm/sec (±0.2%) Minimum reel diameter: 13 cm (5 inch) Maximum reel diameter: 26.5 (10.5 inch) 1100 m tape rewind time: Approx. 92 sec Tape winding cores: Cine or NAB adapters only Frequency response: 30 Hz ~ 35 kHz (at 76 cm/s speed); 30 Hz ~ 30 kHz (at 38 cm/s) and 30 Hz ~ 25 kHz (at 19 cm/s) Maximum knock (WRMS): 0.01% (at 76 cm/s); ±0.015% at 38cm/sec and ±0.03% (at 19cm/sec) Total Harmonic Distortion: Less than 0.8% Signal to Noise Ratio: 62dB Distortion at 1kHz Modulation: 2% Maximum (at speeds 38 cm/sec and 19 cm/sec) and 3% (at speed 9.5 cm/sec) Crosstalk (1 kHz): Stereo mode, better than 45 dB and mono mode, better than 60 dB Frequency offset (Bias): 120 kHz Mic input (LOW/HIGH): Switchable: LOW: 0.15 mV/2.2 kΩ 50 - 600 Ω (unbalanced) and HIGH: 2.5 mV/100 kΩ Radio input: 33 kΩ 2 .5 mV Line output: Maximum voltage 2.5 volts, resistance 600 ohms Radio output: Maximum voltage 2.5 volts, resistance no more than 1.2 kohms

Headphone output: Resistance 200 - 600 Ohm (without the use of electrostatic models) Remote control: Cable or infrared Power consumption: 135 W Dimensions of the transport case: Width: 500 mm; Height: 443 mm; Depth: 347 mm

Dimensions of the control housing: Width: 500 mm; Height: 223 mm; Depth: 389 mm

Transport weight: about 36 kg Controller weight: about 16.6 kg

Studer A810

In the late 60s, the Pentagon and the CIA were staffed not by laymen, but by people who had access to any information and big budget money. In 1967, the Beatles recorded their most iconic album, “Sergeant Pepper.” The question is, what could unite American intelligence and rebels from Liverpool? And here is my answer: the entire Pentagon was equipped with Studer-Revox A 77 tape recorders, and the Beatles recorded their “Sergeant Pepper” on it. All major recording studios, radio stations, and television channels were equipped with Studer equipment. I will not list all the gold and platinum discs for which the source code was written using equipment created by Willy Studer. The model I recommend is the Studer a 810, the uncrowned king of Swiss production. I won’t sing his praises anymore, but this is the right choice.

TASCAM-br-20

Well, another favorite of mine, an absolute pro, the last models were released in 1992. The Tascam company is a professional division of the TEAC company, which created impeccable quality equipment and all sound engineers and musicians were looking forward to the next new product. In essence, this model is a samurai answer to Willy Studer, who unconditionally reigned on the market at that time. The device is minimalist in appearance, packed with know-how inside, it is the only Japanese device that writes and sounds no worse, and maybe even better, than the Studer A 810. Forgive me Willie...

TEAC X2000R

Glamorous handsome man who took part in the filming of Tarantino's film "Pulp Fiction", the latest reel-to-reel camera released by TEAC, 6 cobalt-amorphous heads, DBX system, monitor, impeccable appearance, etc. If you open the “Interview” column on my project “Lazar Vinogradsky Recommends”, then the video begins right from turning on this device and Rachmaninov’s music. One of my favorite reel-to-reel players, I call him “Man in Black”

Akai GX 747 dbx

A symbiosis of Akai’s style and quality technologies, which was produced from ’81 to ’85 and was the flagship of the reel-to-reel line. Glass ferrite heads (which cannot be demolished), a through channel (for recording quality control), dbx (noise reduction system), reverse (for the lazy), space design and fantastic characteristics, all this was embodied in the Akai GX 747 dbx. With all this, the device was not professional.

Specifications and measurements of Akai GX 747

Model: Akai GX-747 Start of production: 1981

Playback mode: 4-track in stereo Motors: One AC servo motor for the tape transport mechanism and two for the reel spool Reel size: Maximum 265 mm (10.5″) Tape speed: 19 and 9.5 cm per second Knock coefficient ( RMS): At 19 cm/s: 0.03% and at 9.5 cm/s: 0.04% Frequency Response (±3dB): Frequency Response (±3dB): 25 ~ 25000 Hz at 9.5 cm/s belt speed Travel speed deviation: Less than 0.3% at 19 cm/s belt speed and 0.4% at 9.5 cm/s belt speed Signal-to-noise ratio: 65 dB Distortion: Less than 0.4% Record erase: Better than 70 dB Magnetic heads: 4 (for recording and playback) made using GX technology and two for erasing tape Rewind time: 360 m in 75 seconds Inputs: Mic 0.25 mV with a nominal impedance of 5 kΩ and line 70 mV with a nominal impedance of 100 kΩ Outputs: Line 0.775 V with a nominal impedance of over 20 kΩ and headphones 100 mV with a nominal impedance of 8 Ω DIN connections: Input 2 mV impedance 10 kΩ and output 0.3 volts with a resistance of 20 kOhm Mains voltage: 100 - 240 volts AC Current frequency: 50~60 Hz Power consumption: 140 W Width: 440 mm Height: 483 mm Depth: 256 mm Weight: 21 kg