Pioneer RT-1050 Half Track High Speed Reel to Reel -

I first seen a Pioneer RT-1050 had a friends house.  Audio nut, and high-end audio salesman Steve Weber.

Steve had one of the finest sounding systems I have ever heard.  He sold high end audio as a profession, but his personal preference for hi-fi was Phase Linear.  He had first become a Phase Linear advocate with the original 4000 preamp and 700 amplifier.  Now, Phase Linear had been purchased by Pioneer and the Series Two gear had come out.  He used a Series Two 4000 preamp, two Dual 500 amplifiers powering the front channels, and one Series Two 400 amplifier powering the rear for this Phase Linear 600 Digital delay.  His main Speakers were Acoustic Research model 9’, being bi-amped by the Dual 500’s.  A Phase Linear cassette deck (a Pioneer’s CT-A1 in Phase Linear clothing), and a Pioneer RT-1050 reel to reel.  He also used a Phase Linear Spectrum analyzer to set up his Phase Linear Parametric Equalizer.  The Sound?  Second row center of any rock concert you could imagine.  Mind blowing, clean and silent (no noise, no hiss, just music) is the only description that can accurately describe what Steve had set up.

Oh, he also used a Phase Linear turntable (a Pioneer PL-L1000 in Phase Linear Clothing) and an Audio Technical AT-9 Moving Coil cartridge.  No digital sources for Steve, he was all analog.

Steve had a large collection of reel to reel tapes, including some masters.  If you have never heard a master tape, well this is an experience everyone should have.  

Studios would often retain the two-inch multi-track tape and sell off the well used mixed-down master when they were no longer needed.  You had to be in the know to be on a list of those who would purchase these tapes.  I have been lucky enough to now own three which I purchased from collectors.

At the time, I was using an Akai GX-625 reel to reel, which I had purchased new from Steve.  The Akai had capstan motor problems and intermittent playback issues.  When I sent it out to Akai in California for repair, I bought a used TEAC SX-3300 and used that.  When the Akai came back, I gave it to a friend.  The TEAC just sounded better and was a joy to use.

Wanting a half-track machine I ended up buying a ReVox B-77 half-track, but I made a mistake.  The high speed was only 7.5 ips, and what I needed was 15 ips.  I also didn’t realize that the ReVox only had NEC playback equalization where the Pioneer not only had the high speed, but switchable eq, NEC, or IEC.

The Pioneer also had multiple bias settings, where the ReVox did not.  Listening to them side by side, the Pioneer was just better sounding.  Stronger running, had more professional features and I had seen them used in Chicago radio stations and Chicago recording studios as mix down and playback decks, so I knew they were good.  

They also had something I had never seen before.  Plug-in, interchangeable head-stacks!  Remove three screws and you could remove this existing head-stack and plug in a new set of heads.  The whole process took about 3 minutes.  Wow!  Studios loved this, radio stations loved this.  

Running at 15ips all day long for weeks, even months at a time you’re going to experience head wear.  When high’s begin to fall off, you would have to have a tech come in, desolder to remove your tape heads and send them out for re-lapping.  If you had money, a new set would be installed at this time, while the worn set of heads was being re-lapped. 

Here, you could send in the old set for re-lapping, and plug in a new set without having to pay a tech to come out.  Anyone could do this, and I mean anyone.  It was so easy.  

Pioneer’s commitment to Open Reel tape in the 1970’s was unparalleled.  More so than Akai and as much as TEAC.  Pioneer made excellent electronics and their machines were built on an all steel metal frame, they were meant to be used.  

A carrying handle and a front cover meant that you would see these decks at jazz, rock and classical concerts recording on-site, creating master tapes right off the sound board.  They were amazing machines, and without question my favorite reel to reel deck of all time.  

For those who had a collection of quarter track tapes, Pioneer also offered quarter track heads and even quadraphonic four-track head stacks for those who had quad tapes from back in the day.

I have owned three RT-1050’s.  I sold off two that were absolutely pristine and still have a ‘road’ machine.  This deck, has an ugly, beat up outer case from its years of recording rock concerts at a popular Chicago venues.  Other than the ugly case, it’s in superb condition.  With the front cover off and setting on the floor of my living room, it looks absolutely new.  

I purposely kept this one deck, because it has  history, and character and has been used to record, the bands Chicago, Styx, Kansas, Bad Company, REO Speedwagon, Aerosmith, Foreigner, The Knack, Rick Springfield, Queen, The Talking Heads, The Babies, The Eagles, Glen Frey, Joe Walsh, Sammy Hagar, YES, RUSH, Jethro Tull, and the Tubes, that I know of and not to mention the list of "B" acts that would come through Chicago.  I purchased it from a Chicago recording studio for almost nothing when they began to record concerts digitally.  The studio had four machines, I purchase number ONE.  This is the deck that was primarily used, the others were back ups and in much better physical condition.  I paid $200.00 for this piece of history and the only thing I have done is swap out the head stack for a new one. 

I too have a small collection of master tapes, and I have also used my Pioneer to record some of my favorite albums and CD’s.  Arranging many in a more listenable sequence and eliminating tunes I don’t want to hear.  I almost always use the half-track format and at 15ips.  

Over the years I have amassed a collection of NOS head-stacks in case I ever wear one out.  To date, I never have.

I know that ReVox is praised by many.  I have owned both the A77 MkIV and the B77 MkI.  I can say this, they sound good, work well are robust but their tape heads wear quickly.  I would purchase an Akai, TEAC, or Pioneer or SONY before I would ever own another ReVox.  I will blog about my experience with both the A77 and B77 in another post.

This machine is highly recommend.  You can expect to pay up to $3000.00 for a restored machine, and as little as $500 for one in working condition.  Have them serviced and you will have the finest in reel to reel at a fraction of the cost of a new deck today.  Yes, you can play any Tape Project tapes  or Hirsch House with this deck.  There are now many others high speed music tapes available aside from these two well known sources.   

Highly recommended!  More to come!

ReVox B215 Cassette Deck -

Absolutely the worst tape deck experience of my life.  

ReVox’s answer to the Pioneer’s CT-A1 cassette deck.  I was so excited to purchase this machine.  I have absolutely Zero images of it in my system.  Just this one here one I shot on my art table to sell it.  Having a conscience, I listed all the problems I had with it, but reaffirmed that it had been repaired and was still under warranty.  There were no takers.  I traded it in for a ReVox B77 half track reel to reel.

Where to begin?  I had been using my Nakamichi 600, which I spent a ridiculous amount of money on having it restored.  This included new tape heads, motors, recapping, and of course set up.  Still not happy with it, and seriously thinking of getting another Pioneer CT-1250 (which I did after the ReVox), I was reading a review of this fabulous machine in Audio magazine.  Deciding, that this is the deck to own, I drove out to UpScale Audio (not the real name) =) in Hinsdale to check it out.

“We only have the floor model left as the 215 has been discontinued”.  What?  Really?  Oh, and since this is the last one, we’re asking a premium, which was just a tad over $2,000.00.  Sure enough, the deck had been discontinued and I couldn’t locate a new one anywhere in the United States, or at least that’s what it felt like at the time.  When the salesman asked what I was using, I told him my favorite deck was the Advent 201A, but I was recently using a Nakamichi 600.  He laughed, and made a comment like “this is in an entirely different league” and dismissed them.  He was right about an entirely different league, this league of “your expensive tape deck will spend months and months in the shop”.

“Can I listen to it again?  Oh no need, we already boxed it up after you called and asked we hold it for you”.  Our tech has gone completely through it.  The ReVox is perfect.

Swipe my card and I am off.  Quickly setting it up, popping in a tape and listening while reading the spiral bound owners manual.  About 20min later the music stops.  Oh no, my tape broke (or so I thought).  Pop another tape in and now just ten minutes later the music stops.  Another broken tape.  What?  I try one more and I watch, and I see smoke coming from the tape to the right of the head stack just before the tape stops.  It appears that the ReVox uses an LED to detect the tape, when the light passed through the leader the machine shuts off.  However my LED had a thermal problem.  It was getting red hot, and burning my tapes.

Back to UpScale Audio.  “Oh, no problem we will have out tech check it out and call you when it’s ready”. Two weeks later, I pick up the deck.  The tech replaced the LED.  Ok.  Back home and now I am recording an LP.  I notice that the back lighted LCD meters wasn’t working.  Really?  Back to UpSacle Audio. 

“Well, that’s the strangest thing isn’t it?  You know we had that problem with several of these decks.  I will order a new meter strip for you, It should be here in three weeks or so, meanwhile you can still use the deck, as that doesn’t effect performance and you can still easily see the meters.”  Okay, I thought, and took my deck back home.

Pouring a drink, I set it back up and continued recording.  Loved the auto biasing feature, loved the three head design.  Yes, it does sound better than my old Pioneer CT 1250… or does it?  Wow, was an awesome machine!  Up all night recording when you guessed it, my music stopped.  My Maxell UDXLII was burned in two.  Boxed the machine back up and took it to UpScale Audio the next day.

“Oh, that’s weird!, I changed the LED.  Can you tell me what it is you’re doing that causes this?”  “Yes!, I was using the tape deck!”.  “We’re pretty busy, did you want to leave it?”  “No, I want to take it home and burn up more cassette tapes!, of course I want to leave it.”

About three weeks later I go a pick up the machine, new LED meter strip installed and another LED for the auto shut off.  My excitement for owning the “finest tape deck in the world”, was gone.  I took it home, put it back into my system and loaded a cassette.  “You’ve got to be kidding me?”  There was some type of foreign body on the lower half of the LED meter strip, it looked like someone had picked their nose and just plopped their bugger right on the lens.  How couldn’t you not see this?  I had thoughts of opening it up myself, but my wife stopped me.  “Take it back hun”, which I did.  

 

“Oh that’s weird!  Did you get something into the machine?”  “Seriously?  You think I took this apart, picked my nose, dropped the bugger on the meter and put it back together?”  At this point, I was finding it hard to manage my composure.  I inquired about a refund.  Nope, the machine was a floor model, so they couldn’t refund me.  You can trade it in?  Okay, sounded good.  What do you mean I will get less that purchase price?

“Well, the machine has been through our repair department multiple times and cassettes are on their way out.  We can give you a credit of about 35% towards any NEW gear.”  

I had them repair the B215 yet again and then took it home, powered it up to take this one photo and I put it on Craigs list.  It was listed for months.  I couldn’t sell it so I did trade it in on a ReVox B77 half track reel to reel, at a different audio shop in up state Michigan.  I got close to retail on my trade.  

So, that’s all I can say about this deck.  The two recording’s I made I taped over with my new used Pioneer CTF 1250, which I used for about two years and ended up giving it to my daughter.  I came to my senses and put my Advent 201A back into my system where it has remained almost exclusively.  

If you’re thinking about purchasing a ReVox B215, be sure to have a good service plan for it.  More to come. 

Advent 201 - 201A Cassette Deck -

One could write a book about this simple cassette deck.  The Advent 201 is the machine that made cassette playback respectable for hi-fi.  

The Advent 200 was the first machine to use Ray Dolby’s noise reduction circuit in a cassette deck.  The Advent 201 went further, by using the indestructible commercial Wollensak transport, with its massive flywheel and idler drive system coupled with Advent’s spectacular electronics.  Now you could use a cassette deck to play solo piano, without noticing Wow & Flutter.  You could record live using their excellent stereo microphones or make tapes from your favorite source. 

Tape formulas were quickly improving and one could get a frequency response of 30-15,000hz using Chrome Tape and during the mid seventies the response improved to 28-15,500hz using the new Ferrichrome tape by BASF.  That is an amazing response from a cassette deck in the early to mid seventies.  It took years for anyone to match the overall specs of an Advent 201.  

Expensive when new, the Advent 201 listed for $359.00 in 1971 which would place the cost today at about $2951.00.  The price would only escalate and in 1977 the Advent 201A would retail for a flat $400.00 making it one of the most expensive cassette decks you could purchase at that time.

The Advent had a huge and loyal following.  It was a machine you would purchase and then keep the rest of your life, it was that good, that reliable, that well made!  I must have at least 7 Advent cassette decks and can attest to their robust and easily serviceable design.  

The cassette deck I have used more often than any over the last 50 years of listening is an Advent.  Not that I haven’t tried many others, I have.  Go to the Nakamichi 500 cassette deck post for a partial list of machines that I have owned.  

The Advent was so successful and popular that other manufacturers tried to jump on Advent’s bandwagon by using the same now familiar looking Wollensak transports for the own machines.  Wollensak offered serval decks under their own label, HeathKit offered two decks, that you could finish assembly on to save money, but they were nearly as expensive as a finished Advent 201, and the HeathKit electronics were not nearly as good sounding.  English manufacturer NEAL built the most successful Advent variant with their 102, and 103 machines.  The NEAL’s were also excellent sounding decks, nearly as good at their Advent counterparts.  They also had a well designed base, that angled the tape deck slightly making easier to use.  

Advent used to have store owners demonstrate the 201 by having live musicians in their store.  The musicians would play, while the salesman recorded their performance live using Advent microphones.  Then he would cue the musicians to stop, quickly rewind a section and play it back immediately.  Stunned, would be the word to describe anyone who experienced this.  The results were outstanding, and no other cassette deck at the time could even come close to making a quality live recording.  The Advents had gobs of headroom.

Advent also marketed whole cassette albums, of Jazz and Classical music cut from masters in real time. 

I have several of these tapes and the quality is incredibly good.   I will do a blog post of quality prerecorded cassette tapes in the future and include these.

Manufacturing ended in late 1978, with machines still being available up until 1980 from stock.  By this time, TEAC, Akai, Sony, JVC, Technics, Pioneer, Sansui, Kenwood, AIWA, and of course Nakamichi were all building decks that would perform as well or better then the Advent 201A, at least on a spec sheet.  Nakamichi was the undisputed King of cassette decks, manufacturing what was arguably the finest machines in the World at the time.  Pioneer, had made an enormous commitment to all tape formats and was building remarkably good machines, easily besting TEAC, Akai and SONY.

Still, the Advent had charm, build quality and was capable of making cassettes that were nearly indistinguishable from their original source.  I personally put my Advents up against every TEAC, Pioneer, Akai, Sansui, JVC, Kenwood, Nakamichi, and ReVox decks that I owned.  Most everyone of those machines are long gone, but the Advent is still in my system today.  I became so fond of them, that I would pick them up for pennies on the dollar at garage sales, trade in’s at hi-fi stores and online auction sites.  

Easy to disable and clean, the decks are remarkably well made.  The huge 4 pole synchronous motor found in the Advent was also used by Thorens and Rek-O-Kut in their transcription turntables.  The flywheel in this machines is three or four times the size and weight found in other decks, which means speed stability is superb.  

Advent built their own electronics for the Wollensak transports and simplified the deck by including one large recording/playback VU meter instead of two.  The reasoning still makes sense today.  Use a toggle switch to set recording level for the  “A” channel, then set recording level “B” channel,  then use the meter to monitor the higher of either channel.  Which means you only need to look at one meter, as your channels have already been balanced.  Fading in and out of a recording couldn’t be easier using the master input control.  

Further, the deck had a built in 400hz calibration tone to set the Dolby record level for any tape you may use.  You could also dial in the bias and equalization settings for your favorite tape using an outboard 10k signal.  Once this was set, you never had to worry about them again. (Unless of course you radically change tape formulas)

I always likened using the Advent like using a fine manual focus film camera.  You’re in control of all the adjustments.  You needn’t worry about whether or not your soft touch solenoids would stop working, or your automatic bias, EQ, and Dolby adjustments would function, or where or not one of your puny little cassette motor bearings would call it a day.  (Many did). Because this machine was made to be used day in and day out, 24 hours a day.  Remember, this was a commercial transport designed for continual heavy duty use.  At home, this machine is on holiday.  

Of course, the deck wouldn’t have been a success if it didn’t sound good, and the sound is excellent. The bass response is deep, the midrange is perfect and the highs are never shrill.  The deck has amazing head room and sounds good with or without using the Dolby B noise reduction.  

I have had my main machine a 201A serviced once by Mike at Deltronics back in 2015.  The deck had developed a noisy transistor.  That is probably the only thing you can expect to service, aside from replacing the odd capacitor, which I have never had to do.

In addition to the 201A in my personal system, I have two 201’s that are on duty at my office and studio.  I personally like the look of the all black 201A better than the black and silver 201.  While the 201A, sports a sendust head and a peak reading meter, I acutally like the ballistics of the 201 VU meter, as it's not so jumpy when responding to high end notes.  I also have never seen a worn out permalloy tape head, which is what the 201 has.  Sonically, I have never been able to tell them apart.

Purchase a clean used one, do a minor servicing and you're good to go. You can pick these up for $50.00 in most cases.  Pristine serviced decks can run you into the hundreds.

I will occasionally swap a 201 into my system.  It really matches the Akai 4000DS, Dual 1229 turntable and the Sansui 4000 receiver.  Not only are they all from the same time period, they have the same esthetic. 

I have four other decks in storage at home and recently purchased a very early model 201 with lights to indicate Dolby on/off and Tape bias selections.  Only a few hundred were made this way and I am looking forward to going through he machine and restoring it to as new condition and using it.

If you don’t need a lot of bells and whistles, or dancing lights, and can appreciate the solidity of a fine well crafted machine that you can use over and over and over again, then this might be the perfect cassette deck for you. I have made well over 1200 recordings with my Advent 201A, some are nearly 50 years old and still sound excellent  today. It certainly is the end game for me.  I just love it!