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In Reply to: RE: I was in love with Tandberg TD20A... posted by Victor Khomenko on May 22, 2025 at 15:09:41
The Roberts model which I had was made by Akai. I didn't know it at the time, it just seemed like a well-made deck, much better than the Magnavox which the salesman wanted to sell to me. This was before Akai was imported to the U.S. under its own name. (1968-69.) (Schoeps microphones had a similar marketing setup - marketed in the U.S. under the Studer name, so my dual-pattern condensers which I bought in ~1979 say "Studer", which is actually kinda cool. ;) )
I later bought the A77 because my contemporary music mentor (Rainer Boesch) had two of them (with speakers) and we did all kinds of recording and sound manipulating with them. It has a few shortcomings for serious recording - no XLR inputs, and splicing/editing is a pain. The brake bands require someone with a knowledge of them when it comes time to replace them. Otherwise, it's a great and reliable deck!
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But once you look inside you know it was designed by the professional tape recorder designers, there are many elements of the pro design in it - things such as sturdy die cast construction, modular design.
Which is much more than you can say about many other "semi-pro" machines, many of them were simply slightly pumped up consumer models.
Regarding the lack of XLR's - it is better to be honest and just provide good quality RCA than cheat and create a mediocre XLR solution - like that in the PR99.
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Please don't misunderstand - I totally get the "semi-pro" aspect.
But, still, for a deck of that quality, I wish it weren't such a pain to do splicing on!!
I know, decades ago, there was a third-party modification to change the frontal design to better accommodate editing. Maybe it was good, maybe it was crap - I didn't pursue it.
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We are inclusive and diverse, but dissent will not be tolerated.
This is not a deck for editing, no argument... but look at Technics promoting their RS-1800 as a PRO model... try to do editing on THAT one. :)
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