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Operator's Manual
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Notes:
*
Cassette tape in photograph
not
included in standard accessories.
WARNING:
To prevent fire or shock hazard, do
not
expose this appliance to rain or moisture.
MANUFACTURED"
DISTRIBUTED
8V
AKAi
ELECTRIC
CO
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TD'/AI{AI
TRADING
CO
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lTDJAKAI
AMERICA
I..T
__
CONTROLS
CD
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@
(i)
POWER SWITCH
@ CASSETTE
RECEPT
ACLE
(with
tape
view
window)
Opens when
the
Eject Key
is
depressed.
@ PEAK!VU INDICATORS
When
the
peakjVU
button
is depressed,
the
peak
indicator
will li.ght.
If
not
depressed,
the
VU
indicator
will light.
CV
INDEX
COUNTER
AND RESET BUTTON
Tape indexing is made easy
with
this 3-digit
Index
Counter.
To
reset to
"000",
depress Reset
Button.
(§)
MEMORY
BUTTON
Set
Index
Counter
to
"000"
and depress
Memory
Button.
Automatic
Stop
at
this
setting
can
then
be
effected
from
Rewind.
*
If
the
rewind
(~)
and
play
(~
)
keys
are
depressed
simultaneously,
when
the
tape
counter
reaches
"000"
playback
will
start
auto;naticaJly.
® IPLS BUTTON
Depress this
button
for
instant
program
location.
See the IPLS
explanation
on
page
4.
,.
If
the
memory
button
is
depressed
at
the
~ame
time
as
the
IPLS
button
it will
lake
priority
and
the
rope
will
wInd
back
until
it
reaches
"000".
(j)
PEAKjVU
SELECTOR
BUTTON
Leave undepressed
for
VU and depress for peak.
® DOLBY
NR
SWITCH
Setting
the
Dolby
NR
Switch
to
ON
position
activates
the
Dolby
circuit
to
raise low level signals
[)
before
they
are recorded and lowers
them
by
precisely
the
same
amount
during
playback.
This
process eliminates
extraneous
and
superimposed
noise,
thus
also eliminating
tape
hiss.
When using
tape
recorded
with
the
Dolby
process,
it is
necessary
that
this
switch
be
set
10
ON
position
at
playback
also.
*
The
DolbY
NR
Indicator
near
the
FL
Bar
Meter
display
lights
when
the
Dolby
NR
Switch
is
depressed.
®
FL
DISPLAY
(FLO)
BAR
METERS
Show
the
recording levels
for
both
left
and right
channels.
Two
color
indication
differentiates
be-
tween
readout
above and below
"0"
dB.
@ REC MASTER
Enables Fade-in
and
Fade-out
recording
techniques
without
altering
the
optimum
recording level. When
not
in use
se
t to lO. See page 4.
@
RECORDING
INDICATOR
LAMP
Lights
when
the
Recording
Key
is
depressed.
@ LINE
RECORDING
LEVEL
CONTROLS
(left +
right)
Controls
line
recording
input
levels. Adjust while
observing
left
and
right
FL
Bar Meters. The inner
knob
controls
the
left
channel
and
the
outer
ring
controls
the
right channel.
They
can be
adjusted
separately
or
simultaneously.
@ MICROPHONE
RECORDING
LEVEL
CONTROLS
Controls
microphone
left-.)-right
recording
input
levels.
Adjust
while observing left and
right
FL
Bar
Meters. The inner
knob
controls
the
left
channel
and
the
outer
ring controls
the
right
channel.
They
can be adjusted separately
or
simultaneously.
@
LEFT
AND
RIGHT
MICROPHONE JACKS
For
stereo
recording,
connect
one
microphone
to
the
left
microphone
jack
and
one
to
the
right micro-
phone
jack.
For
monaural
recording,
connect
one
microphone
to
the
left
microphone
jack
MIC L
(MONO).
@ HEADPHONE JACK
\
Accommodates
stereo
headphones
of
8 ohms im-
pedance
for
monitoring
or
private
headphone
listen-
ing.
@
OUTPUT
LEVEL
CONTROL
Adjusts
output
volume
and
headphone
output
level.
@ BIAS
ADJUSTER
Changes the
amount
of
bias at
each
tape selector
switch
position
by a
maximum
of
±I0%. When
the
reference tape is used please
set
to the
chck
position
O.
@
TAPE
SELECTOR
This
control
should be
positioned
to
correspond
with
the
tape
being used.
That
is, for low-noise
tapes,
position
it
to
LN, for low-noise,
high-output
tapes
to
LH, for
chrome
tapes
to
Cr02
and
for
metal
tapes
to META L.
•
Refer
to
STANDARD
REFERENCE
AND
RECOM-
MENDED
TAPES.
@
MONITOR
SWITCH
To
monitor
recorded
signals
or
for
playback,
set
to
T
APE
position.
To
monitor
program
source,
set
to
SOURCE
position.
Switching
to
and
from
TAPE
and
SOURCE
positions
during
recording
enables
the
operator
to
compare
signals
just
recorded
with
the
program
source.
®
REC
MUTE WITH
INDICATOR
When
the
REC
MUTE
Switch
is
held
depressed
during
recording,
the
recording
amp
circuit
will
be
brought
into
a
NO-SIGNAL
mode.
No
recording
will be
made
on
the
tape
during
this
period.
Convenient
for
excluding
commercials
when
record-
ing
broadcasts
and
sound
of
the
needle
dropping
onto
th~
record.
®
OPERATING
KEYS
This
deck
features
auto-play
when
the
play
key
is
depressed
at
the
same
time
as
the
rewind
key.
While
in
the
play
mode
it is also possible
to
depress
the
fast
forward
or
rewind
keys
for
program
searching.
When
the
tape
finishes
the
full release
auto
stop
is
activated.
By
separating
the
head
block
from
the
tape
and
capstan,
the
tape
is
protected
and
pinch
wheel
wear
is
prevented.
STOP/EJECT
KEY
Functions
as
a
Stop
Key
during
operating
mode,
and
as
an
Eject
Key
during
stop
mode.
RECORDING
(REC)
KEY
Depress
this
key
and
while
holding
it
depressed
depress
the
Play
Key
to
effect
recording
mode.
'"
The Recording
Key
must always
be
depressed first.
REWIND (
..........
)
KEY
Rewinds
tape
at
high
speed.
• If the
IPLS
button
is
depressed and autoplay
is
to begin
when the desired selection
is
reached
by
rewinding,
ensure that the
play
(
..
)
key
is
depressed
at
the same
time_
PLAY
(
..
)
KEY
Advances
tape
for
playback
and
recording
modes.
FAST
FORWARD
(~)
KEY
Advances
tape
at
high
speed.
•
If
the lPLS button
is
depressed
and
autoplay
is
to begin
when the desired selection
is
reached
by
fast
forward-
ing, ensure that
the
play
(
..
)
key
is
depressed
at
the
same time.
PAUSE
KEY
Depress
to
momentarily
suspend
tape
travel
during
recording
or
playback.
Convenient
for
tape
editing.
This
key
must
be
depressed
during
absentee
record-
ing
and
timed
playback.
'"
Pause
Control does not functiou during
Fast
Forward
or Rewind.
@
LINE
INPUT
JACKS
(left
and
right)
Connect
to
tape
outputs
(or
Rec.
outputs)
of
ex-
ternal
source.
®
LINE
OUTPUT
JACKS
(left
and
right)
Connects
to
tape
inputs
of
external
amplifier
or
.
tape
recorder.
TAPE LOADIN
The
numbers
in
the
photograph
indicate
the
order
of
cassette
loading
procedure.
BEFORE OPERATING
'"
To obtain the
very
best performance from your deck,
we
urge you to read this manual thoroughly before attempting
operation. Please keep this manual handy for further
reference.
* Heads should
be
kept clean and demagnetized at all times.
* Before
using
a cassette tape, check to
con
firm
whether tape
slack exists.
As
tape
slack
causes the tape twist or tangle
around the pinch wheel and capstan, take
up
slack if
necessary.
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*
As
the base
of
C-120 tapes are thin and easily damaged,
they are not recommended for
use
with this maehine.
'"
Recording cannot
be
made on the leader tape. Therefore,
when using a
new
cassette tape,
be
sure to forward the tape
slightly
so
that the leader tape
is
not
in
the head path.
'"
Tapes which
have
been stored
in
a hot moist
place
for a
period
of
time
or
cassette tape with bent
cases
should not
be
used. Such tapes may curl or
have
greasy places altering
tape speed
and
preventing proper performance. Always
store tapes
in
a cool, dry place.
'"
Do
not touch the tape with your fingers
as
high
frequency
signals
cannot
be
recorded
in
places which are not
clean
on
the tape.
*
When
using
a tape recorded with the Dolby processor, it
is
necessary to depress the Dolby
NR
Switch at playback time
also.
Keep the Dolby
NR
Switch at OFF position at all
times
except during Dolby recording or playback.
* Cassette tapes are equipped with a break-out tab for both A
and
B sides.
When
these tabs
have
been
removed to protect
an
important recording,
no
further recording
can
be
made
on
the tape unless the cavities are plugged or covered with a
piece
of
tape.
CASSETTE TRACK SYSTEM
HEAD
•
SIDE B
TRACK 4
(L)
SIDEB
TRACK
3
(R)
SIDE A I
Core
I
TRACK 2
(R)
SlDEA
I
C:o~~
TRACK
1
(L)
..-
This
model
employs
a
4-track
recording/playback
system.
The
first
half
of
the
stereophonic
recording
or
playback
takes
place
on
track
1 and
2.
The
second
half
takes
palce
on
tracks
3
and
4
after
the
cassette
has
been
inverted,
Recording
and
playback
time
depend
upon
the
length
of
the
tape
(C-30,
30
minutes;
C-60,
60
minutes,
etc.).
Monaural
and
stereo
recorded
tapes
can
be
played
back
on
either
stereo
or
monaural
cassette
recorders
without
any
loss in
quality.
Because
the
total
track
width
of
the
left
and
right
channels
is
equal
to
that
of
the
monaural
track,
the
playback
head
will
scan
both
left
and
right
channels
together.
This
results
in
automatic
mixing
of
left
and
right
channels
from
the
stereo
tape
for
monaural
reproduction.
[1]
--
----
CONNECTIONS
For
RECORDING
For
PLA
VBACK
..
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..
,
-.
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STEREO
INTEGRATED
0_000
~_,O~~
§
~
AMPLIFIER
-"".~
,=-
...
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0
~~
~~
~
RECORD
PLAYER
WITH
CRYSTAL OR
CERAMIC
PICK-UP
STEREO
TAPE
RECORDER
OR
TAPE
TURNTABLE
WITH
DECK
MAGNETIC
CARTRIDG
E
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o
SPEAKERS
[II
RECORDING
Connect
desired
program
source
to
appropriate
inputs
as
shown
in
CONNECTIONS
FOR
RECORDING.
1.
Connect
power
cord and
turn
on
Power
Switch.
2. Depress
Eject
key
and
load a
tape
(new
tapes
give
best results).
3.
Set
Index
Counter
to
"000".
4. Set
Monitor
Switch
to
SOURCE
position.
5.
Set
Tape
Selector
to
appropriate
tape
type.
•
Refer
to
STANDARD
REFERENCE
AND
RECOM-
MENDED
TAPES.
6.
For
Dolby
recording, depress
Dolby
NR Switch.
7. Adjust
and
balance recording
input
level
with
ap-
propriate
Recording
Level
Controls
while observing
the
FL
Bar Meters.
•
Refer
to
TAPE
MONITORING.
8. When an
optimum
recording level has been
deter-
mined,
while holding
the
Recording
(REC)
key
at
depressed
position,
depress
the
PLAY
(
~
)
key
to
begin recording.
• To
monitor
recorded
signals,
set
Monitor
Switch
to
TAPE.
9.
Refer
to
the
section
on
REC
master
for professional
recording results.
10.
Automatic
Stop
will be
effected
at
the
end
of
the
tape.
To
stop
tape
during recording, depress
the
STOP
key.
Fox
Befter
Recordif\!l Results:
If
the
monitor switch is
set
to
SOURCE,
adjust-
ment
of
therecord.ir:lg level is
straightforward.
..
The
ltEC
master
should
be
~~t
at
maximu.tU, 1,0.
1.
Leave
the
peak/VU
button
undepressed
fOr
a
YU
readoul
Oil
the
bar
meter.
2,
:\djust
the
recording levels
so
that
the
readout
does
not
elCcee<lO
dB.
3. Depress,
the
peak/YU
meter
for
a peak read
out
on
the bar meter,
4. When
at
peak 0 dB
actually
means
+7
dB,
so
a~Just
the record.ing levels so
that
the
input
does
not
exceed
0
dB.
If
when
set
as
shove.
the
overall level is low
when
tape
monitoring,
you
may
adjust
thE'
level as
long as
there
is
no
distortion.
PLAYBACK
Make the necessary
connections
as
shown
in CON-
NECTIONS
FOR
PLAYBACK.
1.
Connect
power
cord
and
turn
on
Power
Switch.
2. Depress Eject
key
and load a
pre-recorded
tape.
3. Set
Monitor
Switch
to
TAPE
position.
4.
Set
Tape
Selector
to
appropriate
tape
selection.
•
Refer
to
STANDARD
REFERENCE
AND
RECOMMEND·
ED
TAPES.
5. Depress
PLAY
(
~
)
key
to
begin
playback.
6.
Adjust
Output
Level
Control
and
external
amplifier
controls.
7. Use
the
memory
and IPLS
buttons
to
repeat
a parti-
cular
programme
of
music. See
Controls
on
how
to
use
the
memory
and
the
section
on
IPLS.
«
Automatic
Stop
will
be
effected
at
the
end
of
the
tape.
To
stop
tape
travel
during
performance,
depress
STOP
key.
•
For
plaYback
of
Dolby
recorded
tapes,
depress
Dolby
NR
Switch.
(Leave
at
OFF
position
for
regular
playback.)
T
APE
MONITORING
The
three
head
system and
Tape
Monitor
Switch
facilitate
dual
monitoring.
For
precise recording level
adjustment,
set
Tape
Monitor
Switch
to
SOURCE
position
and
monitor
signals
through
headphones
(recommended
optional
accessory) while adjusting
Recording Level
Controls
before recording. Then set
the
machine
into
recording
mode.
By swit ching
the
Tape
Monitor
Switch
from SOURCE
to
TAPE
and
vice
versa,
recorded
signals can be
compared
with
the
source
signals. Confirm
that
the
program
is
positively
recorded
and
check
for
any
distortion
due
to overlevel
recordings.
Readjustment
of
Recording Level
Controls
may be necessary
due
to
variety
of
tape
qualities.
INST}!\NT
PROGRAM
LOCATING
SYSTEM
(IPLS)
The
instant
program
locating
system
detects
the
begin-
ning
of
the
programme
by
the
volume level and
the
time
constant
(the
length
of
silence).
For
this
reason,
the
intervals
between
each
musical
programme
must
be
at least
5 seconds for
the
system
to
work
effectively.
Please
keep
this
in
mind
especially
when
you
make
recordings
for
IPLS
playback.
For
the
same
reason,
classical
music
is
not
recommended
for IPLS
playback.
For
IPLS
Operation
simply depress
the
play
key
begin
playback,
and
depress
the
IPLS
button.
Depress rewind
(
----
)
or
fast forward (
~
)
buttons
and
the
play
(
~
)
button
simultaneously.
Once
the
desired place is
reached
playback
will
commence
automatically_
•
When
the
IPLS
button
is
not
depressed,
the
autoplay
me-
chanism
will
rewind
the
tape
back
to
the
beginning
where-
upon
playback
wiJJ
commence
automatically
if
the
play
key (
~)
is
depressed
at
t.he
same
time.
REC
MASTER
Is a
very
convenient
feature
which enables
the
record-
ing level
to
be
altered
independently
from
the
opti-
mum
recording level
marked
with
either
the
LINE
or
MIC
recording
level controls.
The
optimum
recording
level
takes
priority
when
the
REC Master is set
to
its
maximum
position
of
10.
Try
fade-in at
the
beginning
of
a
programme
by
sliding
the
REC Master
from
where
there
will be
no
volume to 10,
the
optimum
recording
level. Similarly,
fade-out,
the
gradual decrease
of
volume
at
the
end
of
a
'programme,
can be
effected
by
sliding
the
REC Master
to
O.
EmploY it also
when
mixing
LINE
and
MIC recordings
for
the
professional
touch.
•
The
R£C
master
cannot
be used
for
independent
left
and
right
channel
alteration.
BIAS
ADJUSTMENT
This
deck
is supplied
with
a bias
adjuster
which can
vary slightly
the
amount
of
bias according
to
each
tape
selector position.
For
normal
recording
there
should
be
no
problems
if
the
bias
adjuster
is
set
to
O.
If
bias
adjustment
is
required:
I.
At
the
recording
level
position,
-20dB,
record
the
inter-station
noise
compare
the
source and
recorded
tone
quality
by
switching
the
monitor
switch be-
tween
TAPE
and
SOURCE.
2. When
the
monitor
switch is set to
TAPE,
if
the
sound
is harsh
tum
the bias
adjuster
clockwise
to
the +side
and
if
soft,
counterclockwise
to
the
- side.
3.
Repeat
step
1 and
adjust
until
the
sound
is
the
same
for
TAPE and
SO
URCE positions.
•
Even
if
the
brand
is
the
same,
(here
are
differences
between
C·60
and
C-90
tapes
due
1.0
the
thickness.
The
Dias
adjuster
does
uot
work
during
playback.
MIXING
The
input
through
the
LINE
input
and
the
MIC
input
can
be
mixed
and
recorded.
1.
Connect
the
microphones.
2.
Connect
FM
tuner
or
another
deck
to
the
LINE
input
jacks.
If
a
turntable
is
connected,
connect
via a preamplifier section.
3.
Adjust
the
level
of
the
microphone
input
with
the
MIC recording level
control
and
the
input
from
the
component
connected
to
the
LINE
IN
jacks
with
the
LINE
recording level.
ill
CONNECTIONS
FOR
ABSENTEE RECORDING
WITH
TIMER
CONNECTIONS
FOR
TIMED PLAYBACK
GX-M50 TO LINE IN
TO
LINE IN
(RIGHT)
(LEFT)
REC
REC
TO LINE OUT
TO LINE
OUT
(RIGHT)
(LEFT)
1-
_.-1-
'0
:~6
EJ'E=J
6~
-~
';6·-'
=GJ---'
TIMER
I
©
=l:J
AC
POWER SOCKET
~
FOR
ELECTRICAL HOME
APPLIANCES.
ABSENTEE RECORDING
WITH
TIMER
l.
Set the timer to
the
PQsition where
the
power
supply is continuously ON.
2. Switch ON
the
power
of
the
various
components
and prepare the deck for recording. See page 4.
Adjust the LINE recording level with
the
input
from
the
FM
tuner.
3.
Depress the STOP/EJECT key so
that
the
deck
is
in
the
STOP mode,
4. Set the timer to
the
time
when absentee recording
is
to
begin
then
to
the
auto
position. This should
switch
OFF
the
power
to
the
components.
5. Depress
the
PAUSE key,
then
the
REC
key
and
finally
the
PLAY Key.
lID
GX-M50 TO LINE
OUT
(RIGHT)
TO
LINE OUT
(LEFT)
P.B
TO LINE IN
(RIGHT)
P.B
TO LINE
IN
(LEFT)
--J
-?t~~I2
~
O~
~·o
0
doD.
"v'
STEREO
IN
AMPLIFIER
TEGRATED
10
~"'."
:
:':::
iliiiliiiiiill:
---=
:G
00
DODO
lofo
II
DDODooIDO'oi
I
~
TfMER
I©
I::GJ
AC
POWER
SO~~~l
~~~LIANCES
ELECTRICAL
~~
~~
~0
~0
GG
SPEAKERS
TIMED PLAYBACK
WITH
TIMER
1.
Set
the
timer to
the
position where
the
power
supply is continuously ON.
2. Switch on
the
power
to
the
various
components
and prepare the
deck
for playback. See page
4_
3, Depress
the
STOP/EJECT key to
put
in
the
STOP
mode.
4. Set
the
timer
to
the
time at which playback is to
begin, and
then
to
the
auto
position.
The
power
to
the
various
components
should switch
OFF,
5. Depress
the
PAUSE
key
and
then
the
PLAY key.
Fil!.A
Pull
toward
you both
lower-ends
of
holder.
HEAD CLEANING
1.
Turn
off
Power Switch.
2.
Depress Eject Key and remove cassette
tape
from
receptacle.
The
receptacle lid can be removed by
pulling
both
lower
ends
of
the
lid
toward
you.
Refer
to
Figure A.
•
Be
sure
to
use
both
hands.
3. With cassette
holder
at ejected position, clean heads
with
a
cotton
swab stick which has been dipped
in
Akai Cleaning Fluid (Akai Cleaning Kit HC-5 5
OP).
Also clean
pinch
wheel, capstan, and
other
parts
over wl!ich
the
tape
travels. Refer
to
Figure
B.
4. To replace lid
onto
holder,
hook
the
upper
part
of
the
lid
and
fit
the
lower
part
of
the
lid
onto
holder.
Refer
to
Figure D.
•
If
Akai
Cleaning
Fluid
is
not
available,
use
alcohol.
Do not
use
other
chemical
cleaners
as
the
rubber
parts
will
de-
teriorate.
•
Do
not
insert
cassette
tape
with
receptacle
lid
off.
•
The
receptacle
lid is
properly
attached
when
it
is
even
with
the
front
panel.
HEAD DEMAGNETIZING
The
steel pole pieces which form
part
of
the
recording
and
playback
heads
become
slightly magnetized
after
several recording and
playback
hours
and
as
a result,
the
tape
is partially erased at high frequencies. There-
fore, head demagnetizing is
recommended
periodically.
1.
Turn
off
Power
Switch.
2. Remove cassette
tape
from receptacle.
3. With cassette receptacle at ejected
position,
remove
receptacle
lid
as
in
HEAD
CLEANING
procedure.
4. Demagnetize heads
and
other
parts which
contact
the
tape
with
a Head Demagnetizer
by
bringing
the
prongs
of
the
demagnetizcr
close
to
the
heads
and
withdraw
by
making small circular
motions
over
the
entire
hcad
block
area. Please read
the
instructions
accompanying
the
demagnetizer carefully.
TAPE ERASING
Any signals previously recorded
on
the
tape will be
automatically
erased
as
a new recording
takes
place.
For
erasing
only,
no
plugs should be
connected
to
the
input
jacks and Recording Level Controls should be
kept
at
minimum.
For
quick and
complete
erasure,
a bulk
tape
eraser is
recommended.
LUBRICATION
Although
thiS machine has been sufficiently oiled
for
prolonged use,
for
maximum
service and
optimum
performance,
please
take
your
machine
to
your
local
authorized
AKA! agent
for
occasional
motor
lubrica-
tion.
TROUBLE SHOOTING
The
conditions
hsted below
do
not
indicate mechanical
failure
of
your
unit.
If
your
machine exhibits any
of
these conditions, check
for
trouble
as
indicated.
Recording
Key
will
not
function
'"
Cassette is
not
loaded.
* Cassette
break-out
tabs are removed. Plug
or
cover
cavities.
Tape
will
not
run
*
Power
is
not
being supplied. Check
power
cord
and
Power Switch.
'"
Tape
slack.
Take
up
slack as
mentioned
in Operat-
ing Precautions.
Noisy
Sound
* Heads are magnetized. Demagnetize following head'
demagnetizing instructions.
Hooking Illustration
* Heads are dirty. Clean following head cleaning
instructions.
*
Connections
are
incorrect.
* Wrong
Tape
Selector Position.
Position
according
to
the
kind
of
tape
being used.
Previons recording will
not
erase
'"
Erase head
dirty.
Clean foHowing head cleaning
instructions.
Distorted
Sound
* Recording Level is
too
high.
Turn
Recording Level
down.
Playback
cannot
be effected
*
Connections
are
incorrect.
* Controls are
not
properly
adjusted
or
positioned.
Check
external
amplifier controls.
* Pause Key is depressed.
Recording will
not
take place
*
Dirty
head.
Clean following head cleaning instruc-
tions.
'"
Connections
are
incorrect.
*
Controls
are
not
properly
positioned
or
adjusted.
Check
external
source controls.
* Pause Key
is
depressed.
Should
there
be a
problem
with
your
machine, write
down
the
model
and serial
numbers
and all
pertinent
data
regarding
warranty
coverage as well
as
a clear
description
of
the
existing
trouble
and
contact
your
nearest
authorized
Akai Service
Station
or
the
Service
Department
of
Akai
Company,
Tokyo,
Japan.
[I]
TECHNICAL DATA
RECOM~tENDED
OPTIONAL ACCESSORIES
Track
System.
. . . • . . . . . • .
•.
4-Trac(
2 Channel Slereo System
Electret Condenser Microphones
...
ACM-50P
Tape . . . . . . . . . . . . . . . . • . . . Philip, Type Cassette
Tape Speed 4.76
emls
±
1.0%
(1-7/8
IpS.)
ACM-80P
Wow
& Flutter _ . . .
..
Le"
than 0.04%
WRMS,
0.14%
ACM-IOO
(DIN
45
500)
Frequency Response
25
10 15,000
Hz
± 3
dB
(-20
VU),
ACM-200
LN tape
ACM-300
25
to
17,000
Hz
± 3
dB
(-20
VU),
LH
tape
Dynamic
type
Stereo Headphones
..
ASE-7P
25
to 17,500
Hz
± 3
dB
(-20
VU),
ASE-24P
25
to 9,000
Hz
± 3
dB
(0
VU)
CID,
(SA)
tape
ASE-26P
25
to 21.000
Hz
± 3
dB
(-20
VU),
ASE-40
25
10 13,000
Hz
± 3
dB
(0
VU)
Me-tal
tape
ASE-50
Dtstortion
. . . . . . . . . . . . . . .
•.
Lc!;s
rhan
0.8%
using
LN
tape
Dynamic
type
Microphones ADM-20P
(1,000
Hz
"0"
VU)
O.S%
nsing
LH
lape
0.7$
uSlflg
CrO, (SA) tape
ADM-40P
0.6% using Metal
tape
ADM-60P
Signal to Noise Ratio Beller thon 58
dB
using
LN
tape
ADM-80P
60 dB using LH
tape
61
dB
u'lflg CrO, (SA) tape
Head Demagnetizers
AH-l5
62
dB
n~ang
Metal
tape
Cleaning Kit
HC-550P
(measured
via cape
wHh
peal:: record-
lrlg level)
Dolby
NR
,wilch ON. Irnproves up
\0
10
dB
above 5
kHz
Erase Ratio . . . . . . . . . . . • • . . . Better than 70
dB
Bias
Frequency.
. . . . . . . . . .
..
100 kHz
Bias
adjustment
••
±
10%
a
1.
each
tape
pO~llion
I
Head:!i
..••...............
(3);
Super
ex recordjrlg
head,
Super
GX playback head
and
crase
head
(3
head
system)
Motors.
. . . . . . . • . . . . . . • • . .
(l):
ElcctronicaJly
speed
controlled
D.C.
motor
F.F.
&
Rewjnd
TJrnc
90
sec. usmg a
C-60
ca~sel.te
lape
Oulpu!
J,cks
. . . . . . . . . . . .
..
LillO
(2): 410
mV
(0
VU)
STANDARD REFERENCE
AN
D RECOMMENDED TAPES
Requtred
load
impedance
more
th
an
20
"ohms
Tape
Selector
Posilion
Reeommended
Tapes
Phone
(I):
100
mV/S
ohms
Inpun.cks
Microphone (2): 0.25
mV
(Input
LN
(Low
Noise)
Position
AKAI
LN
C-60*,
C-90
impedance 4.7 koluns)
FUJI
FL
C-60,
C·90
Required
microphone
imped-
MAXELL
LN
C-46,
C-60,
C-90
ance:
600
ohms
SCOTCH
Dynarange
C-60,
C-90
Lme
(2)
70
mV
(inpul Impedance
100 kohms)
TDK
D
C-30,
C-46,
C-60,
C-90
DIN
Jack
...
, . . . . . . • . . .
..
Inpnl: 2
mV
([npul lmpedance
10
LH
(Low
Noise
High
Output)
MAXELL
UO
C-46,
C-60*,
C-90
kohms)
Outpnt.0.3V
Position
UD
XL-I
C-46,
C-60,
C-90
Dimen'ion . . _
..
_ . . . . . . . .
..
440(W) • 1.18(H) • 276(D)
mm
FUJI
FX-I
C-46, C-60,
C-90
(17.3 x 6.2 x 10.9")
SCOTCH
Master-I
C-46, C-60,
C-90
Weight
80
kg
(17.6 lbs)
SONY
HF
C-46,
C-60,
C-90
Power
Requirement
120V,
60
Hz
TDK
AD
C-46,
C-60,
C·90
..
For
improvemenl
purposes,
speciric<l.cjons lind design are
subject
to
change
wllhout
notice.
00
C-46, C-60,
C-90
..
"Dolby"
and
(he
Double
D
symbol
are
trademarks
of
Dolby
LaboratOJ'ies
(Manuractured
under
lice.nse
from
Dolby
Laboratories.)
Cr02
(CHROME)
Position
TOK
SA
C-4S,
C-60*,
C-90
MAXELL
UO
XL-II
C·46,
C-60,
C-90
STANDARD ACCESSORIES
SCOTCH
Master-II
C-46,
C-60,
C·90
Connection Cord .
FUJI
FX-Il
C-46,
C-60,
C-90
Operator's Manual
Metal
Position
SCOTCH
Metafine
C-46
TDK
MA·R
C-46,
C-60
When
playing
back
FeCr
tapes,
put
to
CrO,
position
or
MET
AL
posilion
Standard
reference
tape
........•....
MANUFACTURED
&
DISTRI
BUTEO
BY
AI(AJ
A
RICA.
LTD.
AKAI
ELECffilC
CO.,
lTD.
2139
E. Del
Arno
Blvd.,
Compton,
Calif.,
90220,
U.S.A.
TELEPHONE:
(213)
537-3-8BO
AKAI
TRADNG
CO.,
LTD.
TELEX:
67-7494
12-14, 2-chome,
Higashi-Kojiya,
P,~~ii~i;~~
Ohta-ku.
Tokyo,
Jap~n
®
540520B2
540618-1
/