Return of an Old Friend, the TEAC Z6000 Mastering Cassette Deck.

[TLS Guy]

The belt, that turns the cams under the control of the deck logic, of my TEAC Z6000 cassette recorder broke a few months ago. I bought this beautiful deck as a master recorder in 1984. They were specified as studio mastering cassette decks. I used to master my outside recordings for duplication prior to being able to produce CD in quantity in the home. I had a bulk duplicating rig, and the main use of this machine was to record the masters.

After a lot of searching I found belts. With great difficulty I replaced the belt. Unfortunately it did not work after replacement. After inspection the belt breaking had damaged a plastic cam. So I got in touch with BC electronics of Littletown PA. They specialize in TEAC open reel and cassette recorders. They will not service auto reverse models. They had a good supply of parts, in all probability the remining world supplies. This is a very rare machine with few produced. I thought it worth repairing as when I checked used sales, only two had sold as far as I could tell, one for $1000.00 and the other $2000.00. So that saved it from the recycling bin!

In this view you can see the Revox MK II and IV reel to reel machines, the switch bus for those local recorder, the Dolby unit and the dbx II tape and disc decoder.

Unfortunately when it returned, it still did not work, as the solenoid that threw the heads up to contact the tape had jammed. So I did not want to get into it again, so I returned it.
I guess FedEx had thrown it around, and caused damage despite a superb pack.

I got it back three days ago. I bench tested it, and then reinstalled it this afternoon.

This why I was not eager to wrestle with it again.

It was always a really good sounding deck, and it is back to its previous state I'm glad to say. I have never been over enthusiastic about the cassette as medium, but this unit does put its best foot forward so to speak. So it is now back in its place in the museum section. I have to say that BC Electronic were highly ethical and professional, and I can recommend them without reservation for TEAC tape machine service.

 

[3db]

Im glad things worked out in your favour Mark.

Many people here have put down the cassette medium using the same old rhetoric of tape hiss, muted highs, audible wow and flutter as issues. After I got back into cassettes again, I have to say that the rhetoric has become noise in itself. I have some very good decks myself and my friends cannot disginguish beween the CD source or the recorded version of that CD source. I dont record CDs per say as I digitize them. It was just for a demonstration purpose.

 

[Eppie]

That's a pretty special deck. The Nikko ND-1000C that I have also has a broken belt, but it's just the take up reel and tape counter belt. It will work temporarily with a thin rubber band in place of the belt but I need to find a proper replacement. Like 3dB, I have achieved near CD quality recordings with that unit. It has a computerised auto tape bias feature and is a 3 head unit, so you can monitor recordings as they record. With the proper tapes you could switch back and forth between a CD source and the tape and it was indistinguishable. The Dolby-C noise reduction was almost as good as dbx and I had a Dolby-C player in the car for compatability. With the dbx II unit I bet that Teac sounds very clean.

 

[TLS Guy]

That's a pretty special deck. The Nikko ND-1000C that I have also has a broken belt, but it's just the take up reel and tape counter belt. It will work temporarily with a thin rubber band in place of the belt but I need to find a proper replacement. Like 3dB, I have achieved near CD quality recordings with that unit. It has a computerised auto tape bias feature and is a 3 head unit, so you can monitor recordings as they record. With the proper tapes you could switch back and forth between a CD source and the tape and it was indistinguishable. The Dolby-C noise reduction was almost as good as dbx and I had a Dolby-C player in the car for compatability. With the dbx II unit I bet that Teac sounds very clean.

It does, but on this rig, you can tell it from the open reels or digital, although not easily. I used to use that deck for mastering, as that is what it is designed for. The problem with dbx II is that you really have to use it for tapes recorded on that deck. So in general Dolby C is most useful, and of course B. The issue with dbx II is that FR errors between the playback machine and the record machine are doubled.

The nice thing about that deck is that it had built in test tones for Eq, and screw driver Eq adjustment on the front panel so you could keep it in spec, or set it up for a different tape brand without taking it to the bench. It is a fully pro three motor, three head machine just like a pro reel to reel. This make the deck action very fast.

It certainly is a rare valuable machine now. I do not think many were built. It certainly is worth preserving.

 

[vqworks]

Hi TLS,

I wandered on this message string yesterday and would like to know if you can post the full contact information for BC Electronic. I live in Southern California but I'm willing to ship my two Teac Z-6000s to this shop, as I do not know any really qualified shops that can handle them locally. I've tried Teac's own Montebello facility years ago and the technician surprisingly made the machine worse....to the point of no return.

The cam belt for one of my Teac Z-6000s is beginning to slip nearly every time I open the door. The other Z-6000's right playback output channel abruptly went out. Do you happen to also know the specific technician that replaced your cam belt?

Any help you can provide is greatly appreciated.

 

[TLS Guy]

Hi TLS,

I wandered on this message string yesterday and would like to know if you can post the full contact information for BC Electronic. I live in Southern California but I'm willing to ship my two Teac Z-6000s to this shop, as I do not know any really qualified shops that can handle them locally. I've tried Teac's own Montebello facility years ago and the technician surprisingly made the machine worse....to the point of no return.

The cam belt for one of my Teac Z-6000s is beginning to slip nearly every time I open the door. The other Z-6000's right playback output channel abruptly went out. Do you happen to also know the specific technician that replaced your cam belt?

Any help you can provide is greatly appreciated.

BC Electronics
2346 Bristol-Oxford Valley Rd
Levittown, PA 19057-1305

Phone: 215-547-7600
Mon-Fri 10-5:30 & Sat 9:30-2:30 E.S.T.

The Technician was Warren.

I found them to be a fantastic outfit.

 

[vqworks]

BC Electronics
2346 Bristol-Oxford Valley Rd
Levittown, PA 19057-1305

Phone: 215-547-7600
Mon-Fri 10-5:30 & Sat 9:30-2:30 E.S.T.

The Technician was Warren.

I found them to be a fantastic outfit.

Appreciate the fast reply!

Thanks,
Len

 

[vqworks]

Hi Mark,


I want to say a big "Thanks" to you for the referral to BC Electronics.

I just received my Z-6000 a couple of days ago and Warren performed an awesome job on it. Although I only requested a cam and capstan belt change, He thoroughly checked the unit out, lubricated all the bearings and even cleaned the contacts for the internal controls. Now the unit runs very smoothly and even quieter than before.

Using a voltmeter to check out the results of the capstan belt change, I can tell that the quality of the belt that was used was extremely high. Speed variation is lower than factory specs at 0.01%.

My second Z-6000 was just shipped to Warren yesterday, as its right-channel playback output just dropped out a year ago. There's no doubt in my mind that Warren can easily fix that issue.

With this model, I'm apprehensive about letting anyone else service it.

By the way, I love your system, especially with the Mark II and Mark IV Revox A77s! I'm using a

 

[TLS Guy]

Hi Mark,


I want to say a big "Thanks" to you for the referral to BC Electronics.

I just received my Z-6000 a couple of days ago and Warren performed an awesome job on it. Although I only requested a cam and capstan belt change, He thoroughly checked the unit out, lubricated all the bearings and even cleaned the contacts for the internal controls. Now the unit runs very smoothly and even quieter than before.

Using a voltmeter to check out the results of the capstan belt change, I can tell that the quality of the belt that was used was extremely high. Speed variation is lower than factory specs at 0.01%.

My second Z-6000 was just shipped to Warren yesterday, as its right-channel playback output just dropped out a year ago. There's no doubt in my mind that Warren can easily fix that issue.

With this model, I'm apprehensive about letting anyone else service it.

By the way, I love your system, especially with the Mark II and Mark IV Revox A77s! I'm using a

I don't think you finished your post. I'm glad you also got five star service from BC Electronics.

I think as a pro deck those TEAC Z6000 decks where top of the pack. The NAKs had the reputation, but I actually think the TEACs had the better build quality. They are built like a tank, and it is easy to maintain them and keep them in prime condition, with their onboard test tones, and front panel Eq and bias adjustments.

I think they were aimed at the promarket as you had to understand the physics of magnetic tape. So it did require significant knowledge and experience of the tape medium to get the best out of them.

After careful investigation I do not regret going with that TEAC over NAK.

 

[davidscott]

I had a low/ mid-price TEAC back in the early 80's Sounded good for what it was and lasted a long time. Don't remember the model number.

 

[vqworks]

Mark,

I clicked the Preview button and somehow the rest of my post dropped off. I meant to say that I have also have an AKAI GX-747 dbx open-reel deck. It's advantage over the TEAC Z-6000 is headroom and this is to be expected, given that it runs at higher speed with wider tracks. But the TEAC is very close because we can juggle the headroom between the midrange and treble to fit the source, using the bias and EQ adjustments and built-in test tones. It can also provide a flatter overall frequency response.

I completely agree that the TEAC decks were built better despite Nakamichi's reputation. I have a Nakamichi 682ZX deck and its transport design performs well but the long-term reliability is not quite as good as the Z-6000's. The cam belt on the Nakamichi decks as well as the idlers are always the first to fail from wear and tear.

David, I actually bought a used Teac V-530X and it is extremely reliable. I've also used a V-900X (containing auto bias, level and recording EQ calibration). Both had dbx as well. But the V-530X may be the model you're referring to.

 

[TLS Guy]

Mark,

I clicked the Preview button and somehow the rest of my post dropped off. I meant to say that I have also have an AKAI GX-747 dbx open-reel deck. It's advantage over the TEAC Z-6000 is headroom and this is to be expected, given that it runs at higher speed with wider tracks. But the TEAC is very close because we can juggle the headroom between the midrange and treble to fit the source, using the bias and EQ adjustments and built-in test tones. It can also provide a flatter overall frequency response.

I completely agree that the TEAC decks were built better despite Nakamichi's reputation. I have a Nakamichi 682ZX deck and its transport design performs well but the long-term reliability is not quite as good as the Z-6000's. The cam belt on the Nakamichi decks as well as the idlers are always the first to fail from wear and tear.

David, I actually bought a used Teac V-530X and it is extremely reliable. I've also used a V-900X (containing auto bias, level and recording EQ calibration). Both had dbx as well. But the V-530X may be the model you're referring to.

I also have a NAK deck, but I don't use it much. It was given to me by someone who had no use for it.
To tell you the truth, I don't use cassette decks much, and I don't have a big collection of cassette tapes. Pre recorded cassette tapes are significantly inferior to LPs. I used to use the TEAC mainly for making masters for high speed duplication of my live radio broadcasts for the orchestra and choir members. So, in days gone by it got quite a bit of use, but not now. The live tapes were 15 ips 2 track dbx 1 master recorded on the Revox A700 and Brenell Mk 6, until 1984 and after that digital recordings on video tape.

Is your system a blend of vintage and new digital equipment like mine?

 

[vqworks]

That's a coincidence. My friend also gave me my Nakamichi. But in my case, I've only used my cassette decks because I've accumulated several thousand homemade recordings, mostly dbx-encoded but a few years ago I discovered that the azimuth on my original Teaz Z-6000 was way off so I re-adjusted the azimuth and I've decided to re-record the entire collection of cassettes (an obsessive quest). Otherwise, I would be using the cassettes much. I remember the days of dbx type I on open-reel decks and the PCM digital recordings on video tape...fun times.

Yes, my system is a mix of vintage analog and digital equipment. But I haven't purchased a high-resolution digital streamer. Somehow I never became interested. I have several consumer open-reel decks, five turntables (none are high-end), nine cassette decks, three S-VHS decks (one was used once to make a 6-hour music compilation for a wedding reception). It's a weird mix of equipment but I began as a tape-based audiophile many years ago. Your Brenell Mark 6 looks like a rugged machine.

 

[TLS Guy]

That's a coincidence. My friend also gave me my Nakamichi. But in my case, I've only used my cassette decks because I've accumulated several thousand homemade recordings, mostly dbx-encoded but a few years ago I discovered that the azimuth on my original Teaz Z-6000 was way off so I re-adjusted the azimuth and I've decided to re-record the entire collection of cassettes (an obsessive quest). Otherwise, I would be using the cassettes much. I remember the days of dbx type I on open-reel decks and the PCM digital recordings on video tape...fun times.

Yes, my system is a mix of vintage analog and digital equipment. But I haven't purchased a high-resolution digital streamer. Somehow I never became interested. I have several consumer open-reel decks, five turntables (none are high-end), nine cassette decks, three S-VHS decks (one was used once to make a 6-hour music compilation for a wedding reception). It's a weird mix of equipment but I began as a tape-based audiophile many years ago. Your Brenell Mark 6 looks like a rugged machine.

Well, you are up on turntables on me. I have four. I have three S-video machines.

You can see some of my gear in this post.

The Brenell was a bespoke version for the US. But it also has two and four track playback heads. The record is two track. It was a machine designed for the BBC, who had most of them at one time. Unfortunately they trashed them at the digital age. So these are very rare items, with mine being unique.

I don't have a dedicated streamer either. I don't want one, although I do a lot of streaming, more and more. I have a DIY HTPC and DAW and use both extensively. I stream the Atmos BPO stream from the LG BPO app, via eARC. These devices far more access to content worldwide then any streamer could or would.

 

[MrBoat]

Im glad things worked out in your favour Mark.

Many people here have put down the cassette medium using the same old rhetoric of tape hiss, muted highs, audible wow and flutter as issues. After I got back into cassettes again, I have to say that the rhetoric has become noise in itself. I have some very good decks myself and my friends cannot disginguish beween the CD source or the recorded version of that CD source. I dont record CDs per say as I digitize them. It was just for a demonstration purpose.

I "put down the cassette medium" for my use and the reasons are valid with regard to hiss and how the SQ goes down with wear. Like anything else, though, I don't have issue or criticism with others liking them. I went from 8 track to cassette. It was at least, more portable. I preferred cassette to worn or abused vinyl back during the roommate era. Had all the available head cleaner demag methods that were available, so I at least tried.

I also appreciate tape and vinyl for making even the earliest CDs sound so clean. Was as if there was a whole other dimension of air within the music that was opened up and amounted to what still is to me, the most audible upgrade in my listening history. It was so much more noticeable before we got spoiled by digital like we are now. I simply could not go back, not once CD started to get enough recordings under it's belt.

Cassette still lingered on for me with car audio, though, as the CD anti-skip technology wasn't so refined, affordable, or even available in the early days. I remember trying to use a Discman on a stack of towels trying to make CD work in auto, at least on the roads around where I lived. I bought my last auto cassette deck back around 2001 or so. It was a marine head unit from Clarion that I adapted to my truck. It was actually quite good and worlds better than listening to the loop of top 40 on FM that has as many ads, as it does songs.

 

[davidscott]

Mark,

I clicked the Preview button and somehow the rest of my post dropped off. I meant to say that I have also have an AKAI GX-747 dbx open-reel deck. It's advantage over the TEAC Z-6000 is headroom and this is to be expected, given that it runs at higher speed with wider tracks. But the TEAC is very close because we can juggle the headroom between the midrange and treble to fit the source, using the bias and EQ adjustments and built-in test tones. It can also provide a flatter overall frequency response.

I completely agree that the TEAC decks were built better despite Nakamichi's reputation. I have a Nakamichi 682ZX deck and its transport design performs well but the long-term reliability is not quite as good as the Z-6000's. The cam belt on the Nakamichi decks as well as the idlers are always the first to fail from wear and tear.

David, I actually bought a used Teac V-530X and it is extremely reliable. I've also used a V-900X (containing auto bias, level and recording EQ calibration). Both had dbx as well. But the V-530X may be the model you're referring to.

Thanks. It definitely didn't have DBX and I think it might have been one of the A series models from the late 1970s.

 

[vqworks]

Well, you are up on turntables on me. I have four. I have three S-video machines.

You can see some of my gear in this post.

The Brenell was a bespoke version for the US. But it also has two and four track playback heads. The record is two track. It was a machine designed for the BBC, who had most of them at one time. Unfortunately they trashed them at the digital age. So these are very rare items, with mine being unique.

I don't have a dedicated streamer either. I don't want one, although I do a lot of streaming, more and more. I have a DIY HTPC and DAW and use both extensively. I stream the Atmos BPO stream from the LG BPO app, via eARC. These devices far more access to content worldwide then any streamer could or would.

Nice gear, Mark! Your S-Video decks must be the professional Panasonic units with TBC. Two of my S-Video decks have that circuit. It definitely helps make things look more solid and reduces chroma noise.

I noticed you also have a Revox A-700. That's a fine deck. I bet your live recordings of the orchestral and choral recordings must have been extremely good. I'm also assuming that there was no compression involved while recording. Which station did you broadcast from?

You stream the smart way. Dedicated streamers tend to be expensive. My desktop is in another room for video editing purposes so I'd need to move it the home theater to enjoy Atmos. In fact, I would first need to update my home theater receiver.

 

[vqworks]

Thanks. It definitely didn't have DBX and I think it might have been one of the A series models from the late 1970s.

The A-series decks appeared to be very solidly built. In fact, the controls are more solid than on the later Z-series. The headphone, pitch, channel balance and master controls are plasticky and springy. Fortunately, the transport and the rest of the deck was solid. I guess nothing's perfect. My friend even complained about his Nakamichi Dragon because of the same issues with its controls.

 

[davidscott]

The A-series decks appeared to be very solidly built. In fact, the controls are more solid than on the later Z-series. The headphone, pitch, channel balance and master controls are plasticky and springy. Fortunately, the transport and the rest of the deck was solid. I guess nothing's perfect. My friend even complained about his Nakamichi Dragon because of the same issues with its controls.

Sadly, I sold it in the late 80s because I wanted a deck with Dolby C. So, I picked up a lower/ mid end AIWA which honestly didn't sound as good as the TEAC with Dolby B.

 

[vqworks]

I "put down the cassette medium" for my use and the reasons are valid with regard to hiss and how the SQ goes down with wear. Like anything else, though, I don't have issue or criticism with others liking them. I went from 8 track to cassette. It was at least, more portable. I preferred cassette to worn or abused vinyl back during the roommate era. Had all the available head cleaner demag methods that were available, so I at least tried.

I also appreciate tape and vinyl for making even the earliest CDs sound so clean. Was as if there was a whole other dimension of air within the music that was opened up and amounted to what still is to me, the most audible upgrade in my listening history. It was so much more noticeable before we got spoiled by digital like we are now. I simply could not go back, not once CD started to get enough recordings under it's belt.

Cassette still lingered on for me with car audio, though, as the CD anti-skip technology wasn't so refined, affordable, or even available in the early days. I remember trying to use a Discman on a stack of towels trying to make CD work in auto, at least on the roads around where I lived. I bought my last auto cassette deck back around 2001 or so. It was a marine head unit from Clarion that I adapted to my truck. It was actually quite good and worlds better than listening to the loop of top 40 on FM that has as many ads, as it does songs.

There's no question that the cassette format is inherently hissy; no argument from me. But by the late 70s and early 80s when dbx and Dolby C were introduced, hiss was no longer an issue. I understand that a portion of tape users swore that NR had grossly audible side effects. Users who exchanged tapes often insisted on not using any NR because of Dolby mistracking issues.

The were a lot of factors that contributed to the side effects and all are due to the complicated nature of analog recording and the less-than-ideal recording method of users. The lack of azimuth (head angle) standard (contrary to popular belief that there was one), the inconsistent playback equalization between machines (Nakamichi vs. other brands vs. high-end vs. middle and lower models) and lack of calibration controls for bias and level on the average deck all lead to side effects.

To top that off, high-end machines were expensive and tended to require knowledge and experience. The average consumer wanted simplicity and low cost. Boomboxes and mini-systems ruled. All this meant that most consumers weren't aware of the true potential of the cassette format. On-line articles and the occasional news broadcast from the past several years also perpetuates that negative talking points. At its best, it can trick 90% of the population in to believing a digital source was playing...no kidding! But that kind of sound usually costs a lot of money....the most expensive cassette deck was $6000 in 1982.