SONY TC-KA7ES (1994)

 

Released in 1994, the Sony TC-KA7ES was the flagship model of Sony's final ES Series cassette deck lineup and the company's last true high-end cassette deck. Designed as a no-compromise audiophile recorder, it combined an advanced closed-loop dual-capstan, quartz-locked direct-drive transport with a 3-phase brushless slotless (BSL) motor, oversized precision capstans, and sapphire-supported Lapis bearings to achieve exceptionally stable tape handling and an ultra-low wow and flutter figure of just 0.022%. Its three-head configuration featured Sony's renowned laser-formed amorphous recording/playback head, wound with ultra-pure 6N oxygen-free copper wire and enhanced by a pad pressure reduction mechanism that minimized tape modulation while improving contact accuracy. The carefully engineered midship drive layout isolated the transport, power supply, audio circuitry, and control sections to reduce interference, while separate recording and playback amplifier boards, a 210 kHz Super Bias system, low-impedance output stage, and premium single-crystal ESC-OCC copper wiring ensured outstanding signal purity. Mechanical construction was equally impressive, with a copper-plated FB chassis, vibration-damping eccentric insulators, dual R-core transformers housed in shielded resin cases, a rigid ceramic composite cassette holder, aluminum cassette door, Sorbothane stabilizer, and delayed-action tape clamping system all working together to suppress resonance and maintain precise tape alignment. The TC-KA7ES also featured comprehensive recording tools, including Dolby B, Dolby C, Dolby S, Dolby HX Pro, and an advanced 3-point recording calibration system for optimizing bias, sensitivity, and equalization to suit virtually any cassette formulation. A fluorescent peak level meter, linear time counter with time remain function, and the supplied RM-J701 wireless remote completed the package. Widely regarded as Sony's ultimate cassette deck, the TC-KA7ES delivered the powerful, refined sound that defined the ES Series while showcasing the company's most advanced analog recording technologies. Production ended in 2001, marking the end of Sony's high-end three-head cassette deck era. Specifications: 3-head Laser Amorphous |  Motor: Linear Torque BSL DD Motor:1 DC Motor:2 | Signal to noise: 57dB (EIAJ, Dolby NR off, metal tape) 80dB (Dolby NR S, peak level, metal tape, auditory correction) | Frequency response 15Hz–22kHz ±3dB (EIAJ, -20dB recording, metal tape) 15Hz–16kHz ±3dB (-4dB recording, metal tape) | Wow and flutter (EIAJ) ±0.04%Wpeak 0.022%WRMS | Dimensions: Width 430 x Height 135 x Depth 380 mm | Weight 12kg | Original sale price in Japan ¥120,000

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SONY TC-K555ESR (1988) | High BIAS

 

Building upon its predecessor, which set a new standard for decks in the digital age with an innovative approach that re-examined the fundamentals, this new model (555ESR) further refines sound quality, including improved high-frequency resolution. In addition, it features side wood panels, giving it an even more premium design. It features a midship drive system that pursues the ideal weight balance and rigid structure. To increase the rigidity of the deck and thoroughly eliminate unwanted vibrations that degrade sound quality, weight balance is a crucial point—and this new perspective led to the development of the Midship Drive System. The mechanical deck and power supply are positioned in the center of the chassis, while the control system and audio circuits are separated to the left and right sides. This achieves excellent weight balance, with the weight distributed almost evenly across the four legs. Furthermore, the inside of the chassis is divided into approximately three equal parts by a U-shaped inner chassis, further increasing overall rigidity. This results in an extremely vibration-resistant rigid structure, while also eliminating electromagnetic interference between each block and suppressing sound quality degradation. | Quartz-locked D.D. for stable tape transport & Closed-loop dual-capstan system. Sony was one of the first to apply open-reel deck technology to cassette decks with its closed-loop dual-capstan system. This system stabilizes tape transport, improving wow and flutter characteristics, reducing modulation noise, and ensuring stable head contact, among other benefits. Moreover, the capstan drive uses a new 3-phase linear motor system with extremely low rotational fluctuations. Direct drive powered by a BSL motor. Furthermore, a quartz-locked servo provides excellent wow and flutter characteristics of 0.025% WRMS and precise tape speed. | Super bias. The bias frequency has been significantly shifted up - 210kHz. This expands the frequency difference with the music signal, reducing beat noise and intermodulation distortion, while greatly improving high-frequency resolution. It makes a difference in the ability to reproduce subtle nuances. | LC-OFC wound laser amorphous head. The 555ESR features a discrete 3-head system. Sony's unique discrete three-head system ensures precise azimuth accuracy for each recording and playback head, while also providing uniform head contact. It fully utilizes the capabilities of the laser amorphous head, which employs LC-OFC windings for minimal signal transmission loss, vividly capturing the quality of digital sources. The recording and playback amplifiers are placed on separate circuit boards and arranged in two tiers, one above the other, with sufficient distance between them. This more precisely suppresses interference between the recording and playback amplifiers, and the entire system uses L/R twin mono DC amplifiers. The design also eliminates interference between channels. This is meticulous attention to protecting the purity of the sound. | Equipped with a calibration function that allows for precise adjustment of recording bias/recording level using a built-in oscillator. The meter also switches to adjustment mode. | Wireless remote control allows tape operation from the listening position. Other features include: Wireless remote control RM-99 for K555ESR. Three-stage switchable high-frequency characteristics for the recording equalizer; simultaneous display of peak hold and real-time peak values; wide-range peak program meter for enhanced readability; linear electronic counter with remaining time function; Dolby NR B-C type; memory stop/play function; TYPE I/II/IV auto tape selector; REC MUTE with auto space; tape slack prevention mechanism during cassette loading; continuous unattended recording/playback with optional timer; gold-plated headphone jack (with volume control); side wood trim included; soft eject. Main Specifications - Heads: Erase 1, Record 1, Playback 1 | Motor: Linear Torque BSL D.D. Motor 1, DC Motor 1 | S/N Ratio: 56dB (Dolby OFF, METAL-S Cassette), 73dB (Dolby NR Type C, Peak Level, METAL-S Cassette) | Frequency Response: 20~20,000Hz±3dB (METAL-S Cassette) | Frequency Range: 15-22,000Hz (METAL-S Cassette) | Wow and Flutter: ±0.04% Wpeak, 0.025% WRMS | Distortion: 0.5% (METAL-S Cassette) | Dimensions: 470 (W) × 125 (H) × 350 (D) mm | Side wood removable (Width 430mm when removed) | Weight: 10.5kg | Original sale price in Japan 105,000 yen (RM-99 with included remote control)

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SONY XK-700 (1984) | MegaCosmos

 

The XK-700 computer controlled feather touch deck fully incorporates Sony's advanced technologies, including a dual battery mirror system. A battery mirror system that uses a single car battery to create two power sources. This unique Battery Mirror system overcomes the limitations of car batteries—single polarity and low voltage. By creating symmetrical positive and negative dual power supplies from a single battery, it becomes possible to design circuits equivalent to those used in home audio systems, doubling the dynamic range. It also features a dual-adjust head mechanism that makes the playback frequency characteristics identical in both forward and reverse directions. The dual-adjust head mechanism adjusts the head tilt to the optimal state for both normal and reverse playback, maintaining accurate azimuth at all times. Nearly identical frequency characteristics are achieved for tape playback in both directions. A microcontroller controls multiple functions. Operation is as light as a feather touch with your fingertips. Power Loading System: Simply insert the cassette into the slot and press the play button, and it will automatically slide in and set in the correct position. To remove it, simply reverse the process for a soft and smooth ejection. Repeat function allows you to listen to the same song over and over again with a single touch. AMS allows you to quickly jump to the beginning of the current song or the next song. Muting (-20dB) is convenient for temporarily lowering the volume. Switching the tape direction is also done softly with a single touch. Key-off eject mechanism automatically ejects the cassette when the engine key is turned off. Built-in Dolby NR Type B to reduce tape hiss noise ● 2-position tape selector for Metal tape playback compatibility ● Large peak program meter for visually checking tape levels ● Unique bass/treble tone controls. Basically the XK-700 was part of Sony's modular reference system "MegaCosmos" designed for those seeking the best possible sound in car audio. It boasts exceptional sound quality and ease of use, and is also compatible with CDs. As part of this "700 system" the XM-700 power amplifier employs large-capacity flat-type electrolytic capacitors, achieving high power of 80W + 80W, a wide dynamic range, and a low distortion rate of 0.005%. The speakers are a 3-way system using square flat-panel APM speakers born from Sony's audio technology. The CDX-R7 was the "FM/AM Compact Disc Player" that completed this Hi-Fi car audio system. Frequency response: 30-20.000 Hz | Size 178x50x150 mm | Original sale price in japan 59.800 Yen

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SONY SL-HF1000D (1986) | Super Hi-Band - Beta Hi-Fi

 

The HF1000D combines Super Hi-Band 6.0Mhz beta-Is with Beta Hi-Fi technology in order to achieve achieve a dynamic range of 90dB. This high-band Beta Hi-Fi system aims for pure visual and pure audio. When people encounter excellent visuals and excellent sound, their eyes, ears, and hearts are filled with excitement. The HF1000D is a model that returns to the fundamentals of video production — the creation of authentic AV—and thoroughly pursues the highest quality. It features "SHB 6.0 mega-highband beta-Is", which has brought a dramatic improvement in video image quality, and Beta Hi-Fi sound. Based on this high image and sound quality, it is equipped with a variety of functions, including digital picture. In addition, a unique linear skating loading mechanism has been adopted. The amount of information that can be recorded increases, image quality inevitably improves. Building on the success achieved with the 5.6 MHz Highband, the HF1000D further upgrades the highband concept. It features SHB6.0 MHz Highband Is, which shifts the video signal carrier up by 400 kHz in Is mode. This significantly improves image quality in Is mode, which already had ample recording bandwidth. It can now faithfully reproduce the fine details of the original image, such as the subtle shading of face tones (skin tones) and the movement of wind patterns etched in the sand. Furthermore, the adoption of a newly developed dynamic color circuit improves color reproduction, reducing color noise that is often noticeable in dark areas. Achieving a dynamic range of 90dB and a flat frequency response, Beta Hi-Fi brought the reference quality to video sound. Therefore, with the HF1000D, Sony thoroughly refined every detail, building upon the excellent fundamental technologies of Beta Hi-Fi, such as the 4-carrier system and zero-sampling method. The circuit section employs a symmetrically configured, highly integrated IC for Hi-Fi audio, significantly improving characteristic changes caused by subtle circuit differences. Furthermore, Sony incorporated carefully selected parts, including high-performance HAL filters and Ceramic capacitors with excellent vibration resistance and responsiveness. In addition, it was adopted a gold-plated input/output terminal and LC-OFC circuit wiring, resulting in an overall audio-spec design that achieves a dynamic range of 90dB. Moreover, it boasts an extremely flat frequency response from 20Hz to 20kHz, achieving acoustic characteristics that can be considered a reference for video sound.

Digital picture function allows you to enjoy special playback with clear images. Five different digital still image patterns have been implemented. These functions can be freely enjoyed using the HF1000D unit and the wireless remote control. The HF1000D employs a linear skating mechanism that enhances the audio experience. The HF1000D uses the same linear skating mechanism found in CD and video disc players. Pressing the eject button causes the cassette tray to automatically pop up, making tape loading and removal smoother. Other features include: Wireless remote control with digital picture function. ● 3-week 6-program timer. ● Quick timer for easy recording. ● Index search for quick access to desired programs and index scan for convenient tape content confirmation. ● Synchro edit function for easy operation and high-quality video editing. High-speed access/picture search. ● Linear time counter with clear display of hours, minutes, and seconds. ● Independent manual recording volume for L and R channels. ● S input/output terminals for editing control. Convenient auto functions such as tape return and autoplay. Wireless remote control RMT-153 included. Insulator FW-1000 sold separately for ¥7,000 (set of 5). Side wood TAC-1000 (sold separately) ¥3,000 (set of 2) Dimensions: Width 430 x Height 95 x Depth 420 mm Weight: 12.7 kg (excluding side wood and insulators) Original sale price in Japan: ¥188,000

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SONY TA-N77ES / TA-E77ESD (1988)

Introduced in 1988 the SONY TA-N77ES was the only power amplifier ever from SONY to support large VU meters as a visual element. ​Power amplifiers are usually tested when hooked up to 8-ohm laboratory resistors. While results may look fine on a spec sheet, they simply ignore an undeniable fact. Real loudspeakers - even those nominally rated at 8 ohms - simply refuse to behave like laboratory resistors. While the resistor presents a simple impedance that's constant at all audio frequencies, the speaker presents a complex impedance that varies dramatically. A typical "8-ohm" loudspeaker can have impedance peaks higher than 30 ohms and impedance dips lower than...Read More Here

 

SONY CFD-900 (1990) | DoDeCa HORN CD

 

The Dodecahorn XL system from Sony achieves advanced sound quality performance comparable to home audio. Furthermore, it incorporates Sony's pioneering digital technology, born from its experience in CD development. A remarkably intelligent sound machine has arrived in 1990. The sheer power of the Dodeca Horn resonator produces a robust, deep bass sound. The new resonator (resonant tube) further refines the deep bass of the Dodeca Horn. Thus frequency peaks that disrupt the sound balance are ... Discover More on BOOMBOXCITY here.

SONY WM-W800 (1985) | Double Cassette Walkman

 

The Sony WM-W800 Walkman is one of the most distinctive portable cassette players ever produced during the golden age of personal audio. Introduced by Sony in 1985, the WM-W800 stands out for its unique dual-cassette design, allowing users to carry and play two tapes simultaneously in a single compact device. Visually, the WM-W800 reflects the bold industrial design language that defined Sony’s premium Walkman lineup. Its symmetrical twin cassette doors, solid construction, and distinctive styling give the player a futuristic look. Unlike standard cassette players of the period, the WM-W800 emphasizes convenience and novelty while maintaining the high engineering standards associated with classic Sony portable audio equipment. From a technical perspective, the WM-W800 delivers the clear, dynamic cassette playback quality expected from late-generation Walkman models. The transport mechanism is carefully engineered for stable tape handling, helping preserve sound quality while minimizing wow and flutter during portable use. While the WM-W800 was constructed fairly simply (by mounting two WM-10 type mechanisms back to back) it also offered tape to tape copy...on the go if you wish... As well as being able to copy tapes, the WM-W800 could also make “live” recording using the miniature stereo microphone capsule that was included with each machine. The microphone socket included a “plug in power” connection for amplified type microphones...then there was also a FM tuner module that can be inserted in the cassette compartiment for FM Stereo radio broadcasts. Specifications: Frequency response 40-15.000Hz (Metal tape) | Size 116x88,7x38,2mm | Wight 360g

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SONY MU-D11 (1982) | Studiolabo System

 

Recording your own compositions and performances can be even more fun with the Sony MU-D11 multi-recording cassette deck. You can even record an entire quintet by yourself. Adding multi-track recording functionality to a cassette deck really expands the scope of sound play. The MU-D11 is equipped with a multi-track recording function. It allows you to play instrumental quartets and quintets by yourself, sing duets by yourself, create music using synthesizers, and create sound dramas with sound effects. The world of sound play is endlessly expanded. Of course, the basic functions are the same as a regular cassette deck. So you can play your existing cassette tapes, check recordings, and even copy tapes. Enjoy sound crafting with the MU-D11. The first step in multi-track recording is the duo. For example, if you have one guitar, you can create a simple duet by first recording the guitar to the left channel (track 1) and then recording the lead guitar to the right channel (track 2). This synchronized recording of individual tracks (sound with sound) is the easiest way to do double recording. If you play multiple instruments by yourself, it's several times more interesting. By repeatedly overdubbing (sound on sound) from track 1 to track 2 and track 2 to track 1, you can easily create multi-track recordings of three or more ensembles. By playing percussion, guitar, keyboards, wind instruments, and even vocals, you can record your own band performance on tape. Once you experience this fun, you'll never want to stop. The MU-D11 allows for multi-track recording using the same track system as a regular cassette deck or boombox. The heads for tracks 1 and 2 can be switched between playback and recording, and combined with the mixing function, you can record by yourself (or with friends, of course). After roughly locating the beginning of the tape in sync standby, the cueing mechanism rewinds the tape to just before the first sound is heard, so that the beginning of the recording is perfectly aligned. To operate it, simply press the lever lightly with your fingertip and slide it slightly to the left (opposite the direction of travel), and you will hear a clicking sound on the monitor. The studiolabo system even comprised a "Personal Recording Booth" for your home studio.

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Sony TA-F80 Integrated Amplifier (1978) | Pulse Power Hi-Fi Classic

 

Released in 1978, the Sony TA-F80 integrated amplifier showcased Sony’s most advanced audio engineering of the era, combining a pulse power supply, radical internal construction, and a distinctly futuristic design. The TA-F80’s defining achievement was its unique signal-flow-optimized construction. Components were positioned strictly according to the signal path, minimizing the distance between input and output terminals while eliminating signal crossover. This resulted in an exceptionally clean and direct signal route. The preamplifier and power amplifier sections were fully separated, with the preamplifier mounted on the front panel and the power amplifier housed in a shielded enclosure behind it. Volume and function switches were mounted directly on the preamplifier board, eliminating unnecessary wiring and reducing signal degradation. Even the input terminals were positioned behind the front panel, directly connected to the preamplifier board—an unconventional but highly effective layout. The power amplifier employed Sony’s in-house developed Hi-fT high-frequency power transistors, designed with fine linear patterns to dramatically reduce transient intermodulation distortion (TIM). These transistors combined the characteristics of multiple small high-speed devices into a single output element, delivering wide bandwidth, stability at high power, and excellent transient response. Unlike conventional designs where power transistors are placed far apart for heat dissipation, the TA-F80 positioned them directly along the signal path on the circuit board. Heat was transferred via high-efficiency heat pipes, offering thermal conductivity hundreds of times greater than solid metal rods. This minimized high-current wiring, reduced magnetic field interference, and further lowered distortion. The TA-F80 featured a high-gain DC power amplifier, eliminating the need for a conventional flat amplifier stage. In DIRECT mode, DC transmission was possible from Tuner, AUX, and Tape inputs all the way to the speaker outputs, significantly improving low-frequency phase accuracy. The RIAA equalizer amplifier used a molded, three-dimensional wiring structure instead of a printed circuit board, minimizing lead length and suppressing mechanical capacitor resonance. Premium components were used throughout, including non-inductive polystyrene capacitors and high-stability tantalum metal-film resistors. Cartridge load impedance was adjustable from 100–400 pF / 100 Ω to 100 kΩ, and a dedicated MC head amplifier was included. Parallel low-noise LEC transistors combined with a high-performance IC achieved an impressive equivalent input noise of –152 dB/V and a signal-to-noise ratio of 80 dB, with selectable impedance from 3 Ω to 40 Ω. Power was supplied by Sony’s signature pulse power supply, which rectified AC directly without a conventional power transformer. The resulting current was converted into a 20 kHz square wave, transformed via a compact high-frequency transformer, and rectified again. This design delivered the same capacity as a large conventional transformer while maintaining extremely high efficiency. A pulse-width-controlled voltage regulator ensured outstanding stability, with voltage fluctuation under 1% from 0 to 120 W. The pulse rectification method virtually eliminated ripple, hum, and power-supply noise. The TA-F80 also introduced a newly developed high-precision volume control, offering exceptional tracking accuracy and excellent square-wave response. Additional features included a 20-step LED level display and a peak power meter with direct readings from 0.008 W to 130 W. Specifications: 2x120W 8ohm | Frequency response 5-30.000Hz | Distortion: 0,007% | Dimensions (W/H/D) 43x16x41 cm | Weight 8,6kg | Original sale price in Germany 2.400 DM

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SONY TC-FX7 (1980) | Digic Deck Series

 

The Quartz Lock D.D. (Digic Deck) FX7, with a panel height of 70mm, marks an epoch in the slimming of cassette decks. This high-end "Digic Deck" is a bold new concept that takes on the slimming trend that has become a major trend in recent cassette decks. It achieves a panel height of 70mm, which is considered nearly the limit for an upright see-through type. It's also packed with innovative features, such as a linear electronic counter with digital (minute and second) display, fine feather touch operation, and multi-purpose remote control play. Inside the sharp design exuding the stately style of an advanced deck, it also boasts advanced basic performance, including a quartz-locked D.D. system. Slimming down a cassette deck is also extremely difficult when you add the requirement of erect perspective. This is because the cassette half is about 64mm high, and you also need to ensure space for the head. The FX7 has achieved an ultra-slim panel height of just 70mm within these constraints. Sony has developed the ultra-thin S&F tiny head, and 30 years of know-how in deckbuilding is certainly being put to good use. The electronic counter Digitally counts the tape running time in minutes and seconds. The relationship between the length of the song and the remaining tape, the relationship between the broadcast time and the remaining tape, etc. The TC-FX7 features a Quartz lock D.D. system. Direct drive capstan drive. You can enjoy three different remote controls: the optional RM-80 wireless remote control, the RM-50 wired remote control, and the RM-65 for synchronized play with the player. High-precision recording level adjustment with a width of 100 mm. A multi-function peak program meter with double indication that accurately captures peak values. Logic-controlled fine feather touch operation. 4-stage soft touch tape selector including metal position. 2-motor simple mechanism. Dolby NR. Complete IC. Auto play/memory play. Auto space. REC-MUTE timer standby switch. The TC-FX7 was the matching cassette deck for the Sony Precise slim - mini Hi-Fi system. Main photo shows the TC-FX7 with ST-JX5 tuner, RM-80 remote, MDR-FM7 wireless stereo headphones.

Main specifications: Heads: 1 erase, 1 record/playback; Motors: 1 BSL green motor, 1 high torque motor; Signal-to-noise ratio: 59 dB (Dolby OFF, peak level, DUAD cassette); Frequency response: 20-19,000 Hz (METALLIC cassette); Speed ​​deviation: within ±0.2%; Wow and flutter: 0.05% WRMS; Distortion: 0.9% (DUAD cassette); Dimensions: 430 (W) x 80 (H) x 340 (D) mm; Weight: 6.5 kg; Power consumption: 32 W Original sale price in Germany: 1300 DM

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SONY APM-8 (1979) | Esprit APM

 

The Sony APM-8 was actually the very first Esprit branded product to be introduced to the market by Sony in july 1979. This was only preceded by the APM-9 but, that had more like a prototype status. Sony's APM-8 is a decisive step in the development of high-quality loudspeaker systems. Among the numerous special features of this unique monitoring unit, the flat, square diaphragm of the loudspeaker system stands out. It characterizes a design principle that comes very close to the goal of absolute sound fidelity. The cone shape of the diaphragms of dynamic loudspeakers has some properties that are detrimental to their radiation pattern. Partial vibrations, the limited stiffness, and the influence of the cavity in front of the diaphragm cone (cavity effect) prevent ideal, piston-like movement of the diaphragm. Making the diaphragm stiffer or heavier would mitigate the effect of undesirable vibration modes, but would not eliminate the cause. Controlling the vibration behavior is simpler with a flat diaphragm, provided the diaphragm material meets high requirements. Sony has developed a flat diaphragm through extensive research programs that allows precisely piston-like movements without frequency turbulence or partial vibrations. Analysis of the dynamic behavior show that the diaphragms of the APM-8 are approximately 500 to 1000 times stiffer than conventional paper cone diaphragms. The stabilizing element of the flat diaphragm is a honeycomb-like aluminum structure, which is welded on both sides under high pressure to a thin film of carbon fiber or an aluminum alloy. The film material, core thickness, and structural rigidity are carefully matched to the frequency range to be reproduced by the individual transducers. The typical fluctuations in the sound pressure level of conventional cone loudspeakers are thus significantly reduced. The linear excursion of the APM-8 transducers is remarkably large. Deformations are practically eliminated. And since there is no cavity effect, the delicate phase relationships of the music signal remain undisturbed. Specifications: Frequency response 25-30.000Hz | Impedance 8oHm | Power rating 150/500W Sinus/Music | Size: 648x1105x495mm (W/H/D) | Weight 92kg | Original sale price in Germany 26.000 DM!!!...the price of a Mercedes-Benz 280E/280CE

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SONY TC-K8B (1976)

 

This advanced stereo cassette deck was the very best in Sony hi-fi engineering, reaching the limits of what compact cassettes can deliver. It features a dual-motor drive system with a servo-controlled capstan, F&F recording/playback head, and a logical (feather-touch) transport control for smooth, precise operation. The deck is equipped with a dual-indication LCD Peak Hold meter that reacts instantly to fast transients—far faster than traditional VU meters. Users can choose manual or automatic peak hold, ensuring accurate level monitoring for any recording style. For optimal sound, the deck includes independent 3-stage Bias and EQ selectors, Dolby Noise Reduction, and an MPX filter for clean FM recordings. A high-torque motor handles fast winding, while the special Sony green motor ensures stable capstan rotation. Convenience features include Memory Stop/Play, REC-Mute, front Line-In jack, line/mic mixing, separate headphone level control, and auto shut-off. Full remote control is available with the optional RM-30. High-quality construction and precision electronics make this a future-oriented cassette deck built for enthusiasts seeking stable tape transport, low wow & flutter, and excellent frequency response.

Main specifications: Heads: 1 erase, 1 record/play; Motors: 1 frequency servo motor (green motor) with FG for cab stand, 1 high-torque motor for fast winding; Signal-to-Noise Ratio: 601B (Dolby OFF, peak level, dual cassette); Frequency Response: 20-18,000Hz (dual cassette); Wow and Flutter: 0.045% wrms; Distortion: 1.3% (dual cassette); Dimensions: 430(W) x 170(H) x 310(D)mm; Weight: 10.8 kg

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