Nice video.. you know most cassette have a little extra room than just the standard 30 minutes. I have and still are making tapes for over 45 years. I have a number of Walkmans and Cassette Decks.
The hiss is a side-effect of all the amplification needed to bring the signal to line level, rather than imperfections in the tape going by the head. It'll make that sound with no cassette in the deck, if you have a model that will run with no cassette inserted.
When you mentioned EQ I couldn't help but try to explain. This is going to get a little technical, but hopefully I can summarize it. Magnetic recording inherently requires EQ adjustment. Due to Faraday's law, as the frequency picked up by the play head increases, the voltage induced increases proportionally. (In calculus terms, the voltage induced is proportional to the derivative of the magnetic flux.) This means that without playback EQ, there will be little bass and the treble will be greatly emphasized. It gets a little more complicated, though. Due to the limitations of current magnetic recording (the magnetic field around the recording head is arc shaped), the higher frequencies have trouble getting recorded onto the tape. This phenomenon is called "spacing loss". In compact cassette, the turnoff point is about 1326 Hz (time constant of 120 microseconds). This means that the downwards sloped playback EQ is applied only for frequencies below 1326 Hz. The frequencies higher than that rely solely on Faraday's law for reproduction. But even that is not enough for flat frequency response during playback. Most component tape decks will apply a pre-emphasis EQ during recording to boost the treble. This is why it is easy to saturate tape with loud, high frequency content (Dolby HX-Pro helps with this, but that's a different topic). High bias tapes are usually recorded and played back with the IEC Type II/IV standard of 70 microsecond EQ. The tapes that conform to IEC Type II/IV usually have less modulation noise and a higher maximum output level. The 70 microsecond EQ requires a more aggressive pre-emphasis, but I think the engineers decided this because these tapes could take it and the result is 3 to 4 dB in noise reduction.
I really appreciate you taking the time to explain it, I have been having hard luck with forums. It sounds like at it's simplest, high frequency sounds have a greater (denser?) voltage, and it will overpower lower frequencies if it's not equalized for? I have made a habit of comparing my records and cds to my tapes, I always wondered why it sounded like there was a little less room in the treble, I think that explains it. Also I'm curious, time constant refers to the tape's speed, yes? or a constant of the frequency itself? And if I'm understanding it correctly, the frequencies being recorded get EQed down to make less treble saturation overall, except above 1326 Hz, because anything higher has trouble being recorded due to the shape of the magnetic field. The pre emphasis sets the stage for this. Am I correct so far? Ah, so high bias tapes having a different formulation have a different application of frequency equalization. I'd love to know more.
@@OfficialSoundtracker Yeah, its pretty much correct, but the "EQing down" is done during playback. The troublesome high frequencies are emphasized during recording to ensure a flat frequency response. In theory, we could "EQ down" the entire frequency spectrum, but that would require a ridiculous pre-emphasis during recording; so instead we stop "EQing down" at 1326 Hz. Faraday's law pretty much says that the voltage induced in a coil of wire is proportional to the change of magnitude (I believe magnitude) of the magnetic field. So, imagine moving a magnet through a coil of wire to light up a bulb. The bulb won't light up unless you move the magnet, and the quicker you move the magnet, the brighter the bulb gets. As the frequency of the signal on the tape increases, so does the voltage induced in the playback head. The time constant is an electrical engineering term and it's related to frequency. In short, it tells the time at which a capacitor with a resistance takes to charge a certain amount. It is the product of capacitance (C) and resistance (R). This is useful in electronics because it tells engineers what capacitance and resistance values are needed to build the EQ filter. The corresponding frequency is calculated by 1/(2*pi*R*C). So, for example, let R*C be the 120us time constant. R*C = 120*10^-6. Therefore, 1/(2*pi*120*10^-6) = 1326.3 Hz High bias tapes don't necessarily NEED the 70us EQ, but engineers decided on this, maybe to make the IEC Type II-IV standards more appealing because of the noticeable noise reduction. I mean, sure, lots of high bias tapes like chrome have finer, needle-shaped particles to resist the spacing loss phenomenon, but it doesn't help much. Interestingly, there are many pre-recorded cassettes on chrome tape with 120us equalization.
Cool video, I love cassettes. I know this is a video for beginers but you should have some emphasis about 3 heads single tape decks which are nowadays not so expensive or hard to find (if you obviously avoid nakamichi , revox or other "cult" brands and models). And if they need to be fixed, actualy almost all need some work, (belt change and speed adjustment, usualy) it's the same as in low quality double decks ones. Maybe less as if this is a double deck you have twice the work for lower quality. And you get 3 heads (monitoring) and the bias adjustment.
Thanks, I appreciate it :) I'm on the lookout for a 3 head deck, I'd like to have one to show if I'm gonna talk about it. I do have a nakamichi deck, but not in a 3 head configuration, so I'm curious what can be found for a good deal. And yeah, I've run into a lot of decks that need at the very least some basic maintenance, I'd like to learn to do more in depth repair to them to keep them working. I'd like to try out a good 3 head deck and see what it can do, any you recommend?
@@OfficialSoundtracker I'm not a cassette guru, just a regular amateur, so I can't realy recommend anything, I can just talk about what I have. I personnaly own a Denon DR-M3 bought for 80€ on my local "craigslist" which is great and needed nothing and an older Kenwood kx1060, bought for cheap as well, in my vintage hi-fi set which needed new belts and a slight motor speed adjustment.
Dolby S was common on the higher end Sony and Pioneer three head units. It wasn’t as widely available because it came out as the CD had gained prominence and S can bring a cassette, especially type II or IV very close if not identical to the source, particularly CD recordings. That tape you showed had the S encoding but said Digalog of which S NR was common for those to make them sound identical to the CD.
It's pretty fascinating, I have never come across an S type deck but I'd like to see how they sound in comparison from my own system, perhaps make an S recording as well. Digalog I have done a little reading on, it's pretty interesting to me that they used digital masters to make copies at the time. That combined with Dolby S must have set it at a high standard, even if it fell out of favor to CDs
@@OfficialSoundtracker this isn’t my channel, but this guy has the same deck I use and has a few different videos with the sound. ua-cam.com/channels/0C5d3GMmbB692ZkBYGHNvg.html
Hello Soundtracker, I watched a few UA-cam videos concerning cassette types of Dolby noise reduction and how it works I had only one DBX machine it was a Yamaha, unfortunately the head was completely worn out so the quality was a bust for recording. I will attempt to be brief but sometimes I can get a long keyboard so my apologies if it happens to be a bit long. I suppose I should start with the tape hiss. You would actually be surprised it doesn't actually come from the tape. For clarity push play on your machine and note the level hiss (if the machine doesn't activate without a tape, you'll have to find the tape detection switch push it and then the functions should work, some machines have that "tape inserted" logic circuit. Yours may not have that simply test push play and see if it goes into play. Anyway take note of the hiss level. Now play the new tape and notice the hiss level. The final test record on the tape (no Dolby), wind it back and listen again note the hiss level. You should notice a dramatic increase in hiss. The increase is because of the BIAS added during the recording process and that is why the tape becomes so hissy. Another test you can do to find out how effective the erase system works is to block the rec/play head (a tiny peice of paper towel or toilet tissue will keep the BIAS signal off the tape during the recording process, now remove the paper and listen again, if it is really good then it will have the same level of hiss as the brand new (virgin) tape level. Now about Dolby (B), C and S. The original Dolby focused on the area of hiss our ears detect it the most, I forget the exact frequencies but it was 13 or 14 kilohertz to the highest range the deck could effectively record most decks around 17k to 18k. Dolby C lowered the range to around 1k and up. Dolby S covered the entire range the deck was capable of and sadly came to market too late as CDs had already had a really good hold in sales. I know I don't have to tell you about how convenient CD was no winding and no audible hiss or WOW or flutter either. Dolby (B), C and S are particular in the alignment of the deck heads (particularly the azimuth) think of this as twisting the head like rolling a pencil in your fingers if you don't know the term or what it does. That is CRUCIAL for Dolby to work properly, if it is off in the slightest Dolby will sound like you hung a set of pillows over your ears and it makes itself known if the tape head is worn out too. DBX noise reduction is even worse if the machine is out mechanically or has a worn out head. The effect is for lack of a better description "breathing" notably when the trebles stop like a high hat or cymbals you'll briefly hear a hiss and then it will go away. Similar effects for Dolby (B), C and S. Very noticeable with Dolby C, azimuth is EXTREMELY CRITICAL with Dolby C. The Dolbys are also actively controlling the levels during recording AND during playback. To give an analogy think of it like a typewriter. A line is typed the page is then removed and placed back in the typewriter attempting to type the same sentence in the same spot. It isn't likely the strikers will hit the exact same spot the 2nd time. This is the same with Dolby encoded tapes even the same tape in the same machine won't play exactly as the previous time. Cassette doesn't have the most accurate tape path control anyway. Now on to digalog it was a superior way of duplicating mass quantity of tapes. The source was indeed digital and during the recording process the tape was recorded at 80 times the normal speed that is significant because the BIAS I mentioned before wasn't needed as the music signal itself acted as a BIAS signal. It just occurred I didn't explain what BIAS does, BIAS is a high signal almost like a carrier wave its purpose is to energize the magnetic particles on the tape to accept the audio signal we listen to it also allows the signal to deeply penetrate into the particles. Hopefully this helps curb or perhaps launch futher study into this awesome recording format that enabled MANY folks to listen to music anytime, as well as what they wanted to hear.
I'm 14 years old and I enjoy hearing and recording cassette Tapes. I have a technics m13 Tapedeck and with my good BASF Type 2 Tapes it Sounds great. And good cassettes from BASF is really easy to get in Germany
That's awesome, how long have you been recording tapes? I've heard BASF make the best tape you can get, but I haven't tried it yet. German engineering is remarkable :)
HX pro is an incredible technology, It's amazing all of the little enhancements that went into making tape sound better over the years. I have plenty of tapes with HX pro but I don't think I've encountered a deck yet with it built in.
Great video. I love tape decks despite the fact they are so problematic sometimes. You heaven't mentionned about the best in my opinion noise reduction system - dbx.
Thanks very much! As do I, and I agree about them being problematic on occasion. this one in the video I couldn't find idler tires for, so I needed to find a rubber restorer to clean the idler. I've heard about DBX, though I haven't found an encoder/decoder yet. It's on my list of tech to try out. how has it worked for you?
@@magnificussonus2669 I'd love to take a look at a deck with it built in, what's a good model for it? I have also heard there are standalone decoders for LPs, the decode tape DBX as well?
@@OfficialSoundtracker A fiew deck models have a 'disc' function.I have never used standalone decoders , but I assume they are good .It is hard to recommend a particular model.They are old machines with complicated mechanizms and it is harder now to find one in good condition. However I would look for Technics models M and B series from early 80's as long as it is possible to find one in good shape for not much money. I have RS M-235X ( with disc function ) and quite happy with it. You can check video with it playing on my channel. Regards.
I record off my vinyl on to chrome tapes. then blast them on my portable player. its nothing to me as ive been doing this since the 1980s! the sound is amazing!
That's awesome, what do you use to record, and for a portable player? I have one that needs a little work, but I'd like to get it up and running so I can take some tapes on the go.
@@OfficialSoundtracker yamaha kx330 and the portable is just junk i found at thrift store. it stopped working so had to tear it appart. not the greatest but nice clear sound. in the 1980s i had an aiwa 4spker player very nice but tape stopped working and i didnt know how to fix it. been tempted to get a jvc from the era. too expensive. besides i have too many componants as it is.
I do have a Sony cassette player TC-WR90ES. After I have replaced new belts, the sound coming is like 2x. I wonder you have any suggestion for me to fix the issue. Here is the link to view it ua-cam.com/video/ihFb22vUxSU/v-deo.html. Thanks
I have had this happen before, I don't know why but every once in a while with a belt change the motor just has an increase in speed. I am sure there is a better reason for it than that, but look either on the main board of the deck or the back of the tape transport. (I don't have a service manual for that deck but it's a late 80s early 90s deck, they usually have things written on the board.) There will be a section saying "speed" with two little bits (one for deck A and one for deck B) that look like they fit a Phillips head screwdriver. They should adjust the speed of the transport mechanism. If it is not on the main board, on the back of the motor driving the capstan there should be a little hole that is blacked out. Use a flat head screw driver, you should feel it connect, and you can adjust the speed from that point. Hope this helps!
@@OfficialSoundtracker Thank you. I already look at that. It isn't the issue. Just learn it a moment ago about pinch roller, another place cause the tape speeding up.
Nice video.. you know most cassette have a little extra room than just the standard 30 minutes. I have and still are making tapes for over 45 years. I have a number of Walkmans and Cassette Decks.
I have a few that are longer in length, I've heard that to fit more space they had to make the tape thinner? What are some of your best mix tapes?
The hiss is a side-effect of all the amplification needed to bring the signal to line level, rather than imperfections in the tape going by the head. It'll make that sound with no cassette in the deck, if you have a model that will run with no cassette inserted.
When you mentioned EQ I couldn't help but try to explain. This is going to get a little technical, but hopefully I can summarize it.
Magnetic recording inherently requires EQ adjustment. Due to Faraday's law, as the frequency picked up by the play head increases, the voltage induced increases proportionally. (In calculus terms, the voltage induced is proportional to the derivative of the magnetic flux.) This means that without playback EQ, there will be little bass and the treble will be greatly emphasized.
It gets a little more complicated, though. Due to the limitations of current magnetic recording (the magnetic field around the recording head is arc shaped), the higher frequencies have trouble getting recorded onto the tape. This phenomenon is called "spacing loss". In compact cassette, the turnoff point is about 1326 Hz (time constant of 120 microseconds). This means that the downwards sloped playback EQ is applied only for frequencies below 1326 Hz. The frequencies higher than that rely solely on Faraday's law for reproduction. But even that is not enough for flat frequency response during playback. Most component tape decks will apply a pre-emphasis EQ during recording to boost the treble. This is why it is easy to saturate tape with loud, high frequency content (Dolby HX-Pro helps with this, but that's a different topic).
High bias tapes are usually recorded and played back with the IEC Type II/IV standard of 70 microsecond EQ. The tapes that conform to IEC Type II/IV usually have less modulation noise and a higher maximum output level. The 70 microsecond EQ requires a more aggressive pre-emphasis, but I think the engineers decided this because these tapes could take it and the result is 3 to 4 dB in noise reduction.
I really appreciate you taking the time to explain it, I have been having hard luck with forums. It sounds like at it's simplest, high frequency sounds have a greater (denser?) voltage, and it will overpower lower frequencies if it's not equalized for?
I have made a habit of comparing my records and cds to my tapes, I always wondered why it sounded like there was a little less room in the treble, I think that explains it. Also I'm curious, time constant refers to the tape's speed, yes? or a constant of the frequency itself?
And if I'm understanding it correctly, the frequencies being recorded get EQed down to make less treble saturation overall, except above 1326 Hz, because anything higher has trouble being recorded due to the shape of the magnetic field. The pre emphasis sets the stage for this. Am I correct so far?
Ah, so high bias tapes having a different formulation have a different application of frequency equalization. I'd love to know more.
@@OfficialSoundtracker Yeah, its pretty much correct, but the "EQing down" is done during playback. The troublesome high frequencies are emphasized during recording to ensure a flat frequency response. In theory, we could "EQ down" the entire frequency spectrum, but that would require a ridiculous pre-emphasis during recording; so instead we stop "EQing down" at 1326 Hz.
Faraday's law pretty much says that the voltage induced in a coil of wire is proportional to the change of magnitude (I believe magnitude) of the magnetic field. So, imagine moving a magnet through a coil of wire to light up a bulb. The bulb won't light up unless you move the magnet, and the quicker you move the magnet, the brighter the bulb gets. As the frequency of the signal on the tape increases, so does the voltage induced in the playback head.
The time constant is an electrical engineering term and it's related to frequency. In short, it tells the time at which a capacitor with a resistance takes to charge a certain amount. It is the product of capacitance (C) and resistance (R). This is useful in electronics because it tells engineers what capacitance and resistance values are needed to build the EQ filter. The corresponding frequency is calculated by 1/(2*pi*R*C). So, for example, let R*C be the 120us time constant. R*C = 120*10^-6. Therefore, 1/(2*pi*120*10^-6) = 1326.3 Hz
High bias tapes don't necessarily NEED the 70us EQ, but engineers decided on this, maybe to make the IEC Type II-IV standards more appealing because of the noticeable noise reduction. I mean, sure, lots of high bias tapes like chrome have finer, needle-shaped particles to resist the spacing loss phenomenon, but it doesn't help much. Interestingly, there are many pre-recorded cassettes on chrome tape with 120us equalization.
I had that deck ... memories
It's a good unit, one I've had for a while now. It's stood up to some good use over time.
Cool video, I love cassettes.
I know this is a video for beginers but you should have some emphasis about 3 heads single tape decks which are nowadays not so expensive or hard to find (if you obviously avoid nakamichi , revox or other "cult" brands and models).
And if they need to be fixed, actualy almost all need some work, (belt change and speed adjustment, usualy) it's the same as in low quality double decks ones.
Maybe less as if this is a double deck you have twice the work for lower quality. And you get 3 heads (monitoring) and the bias adjustment.
Thanks, I appreciate it :) I'm on the lookout for a 3 head deck, I'd like to have one to show if I'm gonna talk about it. I do have a nakamichi deck, but not in a 3 head configuration, so I'm curious what can be found for a good deal.
And yeah, I've run into a lot of decks that need at the very least some basic maintenance, I'd like to learn to do more in depth repair to them to keep them working.
I'd like to try out a good 3 head deck and see what it can do, any you recommend?
@@OfficialSoundtracker I'm not a cassette guru, just a regular amateur, so I can't realy recommend anything, I can just talk about what I have.
I personnaly own a Denon DR-M3 bought for 80€ on my local "craigslist" which is great and needed nothing and an older Kenwood kx1060, bought for cheap as well, in my vintage hi-fi set which needed new belts and a slight motor speed adjustment.
Dolby S was common on the higher end Sony and Pioneer three head units. It wasn’t as widely available because it came out as the CD had gained prominence and S can bring a cassette, especially type II or IV very close if not identical to the source, particularly CD recordings. That tape you showed had the S encoding but said Digalog of which S NR was common for those to make them sound identical to the CD.
It's pretty fascinating, I have never come across an S type deck but I'd like to see how they sound in comparison from my own system, perhaps make an S recording as well. Digalog I have done a little reading on, it's pretty interesting to me that they used digital masters to make copies at the time. That combined with Dolby S must have set it at a high standard, even if it fell out of favor to CDs
@@OfficialSoundtracker this isn’t my channel, but this guy has the same deck I use and has a few different videos with the sound.
ua-cam.com/channels/0C5d3GMmbB692ZkBYGHNvg.html
Hello Soundtracker, I watched a few UA-cam videos concerning cassette types of Dolby noise reduction and how it works I had only one DBX machine it was a Yamaha, unfortunately the head was completely worn out so the quality was a bust for recording.
I will attempt to be brief but sometimes I can get a long keyboard so my apologies if it happens to be a bit long.
I suppose I should start with the tape hiss. You would actually be surprised it doesn't actually come from the tape. For clarity push play on your machine and note the level hiss (if the machine doesn't activate without a tape, you'll have to find the tape detection switch push it and then the functions should work, some machines have that "tape inserted" logic circuit. Yours may not have that simply test push play and see if it goes into play. Anyway take note of the hiss level. Now play the new tape and notice the hiss level. The final test record on the tape (no Dolby), wind it back and listen again note the hiss level.
You should notice a dramatic increase in hiss. The increase is because of the BIAS added during the recording process and that is why the tape becomes so hissy. Another test you can do to find out how effective the erase system works is to block the rec/play head (a tiny peice of paper towel or toilet tissue will keep the BIAS signal off the tape during the recording process, now remove the paper and listen again, if it is really good then it will have the same level of hiss as the brand new (virgin) tape level.
Now about Dolby (B), C and S. The original Dolby focused on the area of hiss our ears detect it the most, I forget the exact frequencies but it was 13 or 14 kilohertz to the highest range the deck could effectively record most decks around 17k to 18k. Dolby C lowered the range to around 1k and up. Dolby S covered the entire range the deck was capable of and sadly came to market too late as CDs had already had a really good hold in sales. I know I don't have to tell you about how convenient CD was no winding and no audible hiss or WOW or flutter either.
Dolby (B), C and S are particular in the alignment of the deck heads (particularly the azimuth) think of this as twisting the head like rolling a pencil in your fingers if you don't know the term or what it does.
That is CRUCIAL for Dolby to work properly, if it is off in the slightest Dolby will sound like you hung a set of pillows over your ears and it makes itself known if the tape head is worn out too. DBX noise reduction is even worse if the machine is out mechanically or has a worn out head.
The effect is for lack of a better description "breathing" notably when the trebles stop like a high hat or cymbals you'll briefly hear a hiss and then it will go away. Similar effects for Dolby (B), C and S. Very noticeable with Dolby C, azimuth is EXTREMELY CRITICAL with Dolby C.
The Dolbys are also actively controlling the levels during recording AND during playback.
To give an analogy think of it like a typewriter. A line is typed the page is then removed and placed back in the typewriter attempting to type the same sentence in the same spot. It isn't likely the strikers will hit the exact same spot the 2nd time. This is the same with Dolby encoded tapes even the same tape in the same machine won't play exactly as the previous time. Cassette doesn't have the most accurate tape path control anyway.
Now on to digalog it was a superior way of duplicating mass quantity of tapes. The source was indeed digital and during the recording process the tape was recorded at 80 times the normal speed that is significant because the BIAS I mentioned before wasn't needed as the music signal itself acted as a BIAS signal. It just occurred I didn't explain what BIAS does, BIAS is a high signal almost like a carrier wave its purpose is to energize the magnetic particles on the tape to accept the audio signal we listen to it also allows the signal to deeply penetrate into the particles. Hopefully this helps curb or perhaps launch futher study into this awesome recording format that enabled MANY folks to listen to music anytime, as well as what they wanted to hear.
I'm 14 years old and I enjoy hearing and recording cassette Tapes. I have a technics m13 Tapedeck and with my good BASF Type 2 Tapes it Sounds great. And good cassettes from BASF is really easy to get in Germany
That's awesome, how long have you been recording tapes? I've heard BASF make the best tape you can get, but I haven't tried it yet. German engineering is remarkable :)
@@OfficialSoundtracker I have my Tape Deck since 3 months so I Made until how 15 Tapes. I have 18 Tapes where I can make new Mixtapes
I Made a mistake I have my Tapedeck now 4 months Not 3. Since 6th August I have my Tapedeck
To me, Dolby HX Pro was the greatest. The rear of cassette decks had the profound label, "Dolby HX Pro originated by Bang And Olufsen!"
HX pro is an incredible technology, It's amazing all of the little enhancements that went into making tape sound better over the years. I have plenty of tapes with HX pro but I don't think I've encountered a deck yet with it built in.
@@OfficialSoundtracker Yeah, I had HX Pro in cassette decks c. 1990.
Great video. I love tape decks despite the fact they are so problematic sometimes. You heaven't mentionned about the best in my opinion noise reduction system - dbx.
Thanks very much! As do I, and I agree about them being problematic on occasion. this one in the video I couldn't find idler tires for, so I needed to find a rubber restorer to clean the idler.
I've heard about DBX, though I haven't found an encoder/decoder yet. It's on my list of tech to try out. how has it worked for you?
@@OfficialSoundtracker Yes , dbx does the job in my opinion , can be found in many home decks models ( obviously that's cheaper - type II dbx ).
@@magnificussonus2669 I'd love to take a look at a deck with it built in, what's a good model for it? I have also heard there are standalone decoders for LPs, the decode tape DBX as well?
@@OfficialSoundtracker A fiew deck models have a 'disc' function.I have never used standalone decoders , but I assume they are good .It is hard to recommend a particular model.They are old machines with complicated mechanizms and it is harder now to find one in good condition. However I would look for Technics models M and B series from early 80's as long as it is possible to find one in good shape for not much money. I have RS M-235X ( with disc function ) and quite happy with it. You can check video with it playing on my channel. Regards.
When you become famous remember I was here
I have a feeling I know who's behind that username. Thanks man :)
Ahahah !!! Brilliant unwrapping !! !!
Heh, thanks. :) I appreciate it!
Nice video! Hope this will get a lot more views
Thanks, I appreciate it! :)
I record off my vinyl on to chrome tapes. then blast them on my portable player. its nothing to me as ive been doing this since the 1980s! the sound is amazing!
That's awesome, what do you use to record, and for a portable player? I have one that needs a little work, but I'd like to get it up and running so I can take some tapes on the go.
@@OfficialSoundtracker yamaha kx330 and the portable is just junk i found at thrift store. it stopped working so had to tear it appart. not the greatest but nice clear sound. in the 1980s i had an aiwa 4spker player very nice but tape stopped working and i didnt know how to fix it. been tempted to get a jvc from the era. too expensive. besides i have too many componants as it is.
@@OfficialSoundtracker also i have other tape decks too a pioneer dual deck that has tape tuning. ctw606dr
I do have a Sony cassette player TC-WR90ES. After I have replaced new belts, the sound coming is like 2x. I wonder you have any suggestion for me to fix the issue. Here is the link to view it ua-cam.com/video/ihFb22vUxSU/v-deo.html. Thanks
I have had this happen before, I don't know why but every once in a while with a belt change the motor just has an increase in speed. I am sure there is a better reason for it than that, but look either on the main board of the deck or the back of the tape transport. (I don't have a service manual for that deck but it's a late 80s early 90s deck, they usually have things written on the board.) There will be a section saying "speed" with two little bits (one for deck A and one for deck B) that look like they fit a Phillips head screwdriver. They should adjust the speed of the transport mechanism. If it is not on the main board, on the back of the motor driving the capstan there should be a little hole that is blacked out. Use a flat head screw driver, you should feel it connect, and you can adjust the speed from that point. Hope this helps!
@@OfficialSoundtracker Thank you. I already look at that. It isn't the issue. Just learn it a moment ago about pinch roller, another place cause the tape speeding up.