Vintage tape deck recommendations please

[ericsdeadletteroffice]

I have a bunch of old cassette tapes from my old bands from the 90s that I want to transfer to digital so I can share them with the guys.

I gather for a reasonable price a better older model can be bought used than something new?

If that is correct than please recommend a couple models I should look for.

Thank you in advance!

Eric

 

[TLS Guy]

I have a bunch of old cassette tapes from my old bands from the 90s that I want to transfer to digital so I can share them with the guys.

I gather for a reasonable price a better older model can be bought used than something new?

If that is correct than please recommend a couple models I should look for.

Thank you in advance!

Eric

How many tapes are we talking about and of what quality?

Tape machines of all types have been problematic.

You are right, vintage machines are best, but you have to give a lot of money for the best ones. If quality is what you are after then they will need adjustment and aligning before archiving.

If these are low quality tapes made with cheap high impedance mics, it won't matter much what you use. If that is the case don't spend a lot of money.

If on the other hand these are high quality tapes, then it might be better to have someone with good equipment do the archiving for you.

Usually these tapes I get given or sent to archive are atrocious.

So more information is required to give you a reasonable answer.

 

[ericsdeadletteroffice]

How many tapes are we talking about and of what quality?

Tape machines of all types have been problematic.

You are right, vintage machines are best, but you have to give a lot of money for the best ones. If quality is what you are after then they will need adjustment and aligning before archiving.

If these are low quality tapes made with cheap high impedance mics, it won't matter much what you use. If that is the case don't spend a lot of money.

If on the other hand these are high quality tapes, then it might be better to have someone with good equipment do the archiving for you.

Usually these tapes I get given or sent to archive are atrocious.

So more information is required to give you a reasonable answer.

They range from quality studio recordings, to live shows, to live on radio performances. I understand there is a limitation to the quality of the sonic range from a cassette as well as the incremental loss transferring back, but these are the best I have. I don't want to get into some $2k Nakamichi cassette deck with azimuth. Just a good quality player that I can use to reasonably transfer them. After which I will clean them up and EQ a little in Pro Tools.

 

[ATLAudio]

This one

 

[TLS Guy]

They range from quality studio recordings, to live shows, to live on radio performances. I understand there is a limitation to the quality of the sonic range from a cassette as well as the incremental loss transferring back, but these are the best I have. I don't want to get into some $2k Nakamichi cassette deck with azimuth. Just a good quality player that I can use to reasonably transfer them. After which I will clean them up and EQ a little in Pro Tools.

That being the case then a decent machine will be worthwhile.

Do you know what codecs were used to record the tapes? Also do you know what machines they were recorded on?

Due to the very narrow tape and slow speed even very small Azimuth error causes massive HF loss.

Studios often would record and should have done a 10 KHz signal to align the playback machine to that recorder.

Now Dolby B transfers very well between machines. Dolby C less well, and using the same type of machine helps.

DBX 2 transfers between machines poorly as a rule, with nasty pumping often occurring.

The type of tape is important as ferric, chrome and metal tapes all require different playback equalization to play correctly. So you need to know a machine you purchase can play the tapes you have in terms of formulation and codec.

I would definitely purchase a three head machine. Absolutely avoid reversing decks. Also avoid dual well machines.

I would look for pro machines from NAK, TEAC, TASCAM and Revox as first choices. Yamaha also had some good three head machines.

You must make sure the machine has the codec the tapes were encoded with or results will be beyond redemption.

If there are tapes that you highly value, I can archive them for you. I have a pro NAK and TEAC machine. I have Dolby B, C and DBX 2 for cassettes. I also have the equipment to keep the gear optimal.

I can record it to WaveLAB 9 pro via my RME Fireface 802. I can make you Wav. files to send to you, or master to CD or DVD-A. I have a lot of facility here.

My latest DAW.

Are there any reel to reel masters of the studio sessions?

Finally how old are the tapes? Some tapes develop failure of the binder. They bind and shed which fouls the heads and can not be played.

I have a system to restore these to get one play to archive. That usually works but not always.

You can PM if you need any help with this. You can get good fidelity from cassette but it is not easy.

 

[ericsdeadletteroffice]

That being the case then a decent machine will be worthwhile.

Do you know what codecs were used to record the tapes? Also do you know what machines they were recorded on?

Due to the very narrow tape and slow speed even very small Azimuth error causes massive HF loss.

Studios often would record and should have done a 10 KHz signal to align the playback machine to that recorder.

Now Dolby B transfers very well between machines. Dolby C less well, and using the same type of machine helps.

DBX 2 transfers between machines poorly as a rule, with nasty pumping often occurring.

The type of tape is important as ferric, chrome and metal tapes all require different playback equalization to play correctly. So you need to know a machine you purchase can play the tapes you have in terms of formulation and codec.

I would definitely purchase a three head machine. Absolutely avoid reversing decks. Also avoid dual well machines.

I would look for pro machines from NAK, TEAC, TASCAM and Revox as first choices. Yamaha also had some good three head machines.

You must make sure the machine has the codec the tapes were encoded with or results will be beyond redemption.

If there are tapes that you highly value, I can archive them for you. I have a pro NAK and TEAC machine. I have Dolby B, C and DBX 2 for cassettes. I also have the equipment to keep the gear optimal.

I can record it to WaveLAB 9 pro via my RME Fireface 802. I can make you Wav. files to send to you, or master to CD or DVD-A. I have a lot of facility here.

My latest DAW.

Are there any reel to reel masters of the studio sessions?

Finally how old are the tapes? Some tapes develop failure of the binder. They bind and shed which fouls the heads and can not be played.

I have a system to restore these to get one play to archive. That usually works but not always.

You can PM if you need any help with this. You can get good fidelity from cassette but it is not easy.

Holy wow! Where on earth rock do you exist?