dsk3331/disc rider
Well-known Member
I'll be sure to take a look for a Sansui 7001 in Florida and Texas as you suggested. Thanks for the guidance.
Newbie Advice on Quad Reciever and R2R
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dsk3331/disc rider
Well-known Member
Jon, since all this is new to me I really appreciate your informative advice. I currently have a Sony STR DG1000 Multi Channel AV Receiver that is supposed to have Discrete inputs. I was going to attach the owners manual for you to look at but the file was too large. I don't want to have to purchase a vintage quad 4 channel receiver if I don't have to. Can you take a look at the Sony specs online and let me know if you think it will work with my newly-acquired Akai GX 270D SS 4 channel R2R?
Thanks much.
You can use your receiver for playback only. You do not have multichannel outputs for recording to the tape. If you are only buying prerecorded tapes, you are fine. If you want to record, you need a quad receiver.
Circular Vibes is correct. You can connect the outputs of your quad reel to the inputs shown below and play quad reels and/or 8 tracks (with a Q8 player connected to the same ports [not at the same time]) without issue. As mentioned earlier, A/V receivers with discrete inputs are hard to find these days as everything is pretty much HDMI, so you are lucky!!
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DSK3331, I have read all the posts offering invaluable advice on your 'new' adventure into surround but I would like to also caution you that NOT having the ability to include HDMI also has its consequences. A simple blu ray player which will not only output 1080p but UPCONVERT 480p DVD is, IMO, a NECESSITY. If you expect to add your Nakamichi Cassette deck and Akai QUAD Open Reel to your receiver, fine and dandy, but unless you have an ample existing collection of QUAD Open Reels, one QUAD open reel on ebay could cost more than a modern receiver....as can a single Q8 tape!
Also if you're into surround ....there are over 10K SACDs alone [mostly classical but still some very choice Pop/Rock/Jazz titles] and UK's Dutton Vocalion is still producing some brilliant QUAD SACDs for even less than used Matrix/CD~4 vinyl records and this is where a modern receiver with HDMI would be invaluable since even if your Blu Ray player had analogue outs.....you'd have to be switching RCA inputs if you choose to also play QUAD Open Reel and/or Q8 tapes.
IMO, the best SURROUND SOUND today still comes from DIGITAL sources .....not Q8 nor Vinyl Matrixed/CD~4 Records and certainly NOT from Stereo Cassettes [I have a perfectly functioning Nakamichi tape recorder which is presently sitting in mothballs].
One last tidbit: I own 2 ALL analogue Parasound P7 Pre~Amps [for my secondary/tertiary surround systems] ...... have had some issues with both of them but they sound magnificent when fed analogue out ..... but unless I add a Tate or Surround Master to the chain.....Stereo is plain Stereo and I cannot derive any DSP rear info because of a lack of HDMI inputs [I use a cheap TV monitor for navigating DVD~A and BD~V/As, DVD~V] but the output from my player is fed via HDMI 'directly' into the Monitor because my ALL ANALOGUE PRE~AMPS LACK HDMI.
So before you pluck your money down .......I would consider all of the above.
And BTW, Welcome to QQ Forum. I've been a member for a few years and still learn something new DAILY from QQ's astute posters!
Also if you're into surround ....there are over 10K SACDs alone [mostly classical but still some very choice Pop/Rock/Jazz titles] and UK's Dutton Vocalion is still producing some brilliant QUAD SACDs for even less than used Matrix/CD~4 vinyl records and this is where a modern receiver with HDMI would be invaluable since even if your Blu Ray player had analogue outs.....you'd have to be switching RCA inputs if you choose to also play QUAD Open Reel and/or Q8 tapes.
IMO, the best SURROUND SOUND today still comes from DIGITAL sources .....not Q8 nor Vinyl Matrixed/CD~4 Records and certainly NOT from Stereo Cassettes [I have a perfectly functioning Nakamichi tape recorder which is presently sitting in mothballs].
One last tidbit: I own 2 ALL analogue Parasound P7 Pre~Amps [for my secondary/tertiary surround systems] ...... have had some issues with both of them but they sound magnificent when fed analogue out ..... but unless I add a Tate or Surround Master to the chain.....Stereo is plain Stereo and I cannot derive any DSP rear info because of a lack of HDMI inputs [I use a cheap TV monitor for navigating DVD~A and BD~V/As, DVD~V] but the output from my player is fed via HDMI 'directly' into the Monitor because my ALL ANALOGUE PRE~AMPS LACK HDMI.
So before you pluck your money down .......I would consider all of the above.
And BTW, Welcome to QQ Forum. I've been a member for a few years and still learn something new DAILY from QQ's astute posters!
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dsk3331/disc rider
Well-known Member
Thanks for enlightening me on this matter. Very good info to know as I do plan to do some recording to tape from LPs and other sources directly to the Akai Quad R2R
dsk3331/disc rider
Well-known Member
One point of clarification please. Since I now am informed that I would only be able to playback pre recorded reel to reel tapes using my Sony STR DG1000 Multi Channel AV Receiver and not be able to record using my Akai Quad R2R, I have a question. I have been recording from LPs and TV to Reel to Reel tape using my Teac A-6300 tape deck. What is the difference? Thanks
That receiver back does show 5.1/7.1 pre-outs. You might want to try those feeding to your R2R but the signal level might be too low. If that's the case maybe you can find a couple of cheap pre-amps and chain them in then you'd be good to go.
dsk3331/disc rider
Well-known Member
Thanks for the recommendation Jon.
dsk3331/disc rider
Well-known Member
Still searching for a Service tech who can service my vintage audio stable. No luck finding one so far.I will chime in here. As much as I would like the reliability and warranty on new receivers, none will have surround outputs for recording to the reel deck. If you are still considering vintage, the two best affordable models I know are the Sansui QRX7001 and the JVC 4VR-5456. There are higher end models but they will break the bank, or at least my bank. Unfortunately modern gear is not designed for recording, just playback. With vintage stuff expect to see a tech for ensuring its longevity. I would search your area and see who is still around and maybe stop by for a chat to see if they can meet your needs and if they desire the work. In my city there is a really good tech that lacks desire and I dropped him in favour of another who charges less, desires to work for me and does quality work. He has gotten repeat business from me and doesn't laugh if I say quad or 8 track. No matter which way you choose to go, good luck and keep asking us questions, we love to give opinions! Some may even be useful.
furui_suterioo
Quad & 70s Enthusiast
i would buy any of the lesser known top end quad receivers like the sony sqr-8750, akai as-980/pioneer qx-9900, telefunken trx-300, sanyo dcx-something etc. just for the looks
One thing you need to know about modern home theatre receivers is that MOST of them are not happy with 4 or 6 ohm speakers, even if they say that they are. Some have a switch, but that is not the best solution either. It is best to mate them to speakers that are a stable 8 ohm load. That way you won't have any nasty surprises. I have a Sony DA3100ES that has one of those impedance switches., but I only use it as a spare with 4 to 8 ohm Canton speakers when my Sansui QRX-7001 is on vacation. I don't play it loud though, and so far it has been OK. Just be careful. It can be a costly oversight.
The56Kid
2K Club - QQ Super Nova
So true. When I first mated my 4 ohm Monitor Audio Silver 8s to my Yamaha receiver and cranked it to my normal listening levels, the Yamaha really heated up to the touch. Alarmingly so. I ended up buying an Emotiva XPA-5 five channel amp to power my speakers instead. The Yamaha was stable with my older Infinity 8 ohm towers but became an oven at 4 ohms. Ironically I later found out that the Yamaha could be adjusted from 8 to 6 ohms, but by then Iād already purchased the Emotiva. No regrets though - love that sucker!!!
dsk3331/disc rider
Well-known Member
Thanks for your recommendations.If the interest is in the experience of the old tech (all the interesting parts along with any and all the shortcomings), then that's that.
But if the interest is in the actual music and seeking out and preserving it with the least generational damage...
Our modern 24 bit HD digital format and available equipment is your friend!
Computer = access to ALL digital formats in the highest quality the format is capable of. 24/96 is pretty much what comes off the mixing desk and mastering desk now. You can deliver and preserve this 1:1
The critical parts are the AD conversion going in and the DA conversion going out. Spend high dollar on those bits!
The rest in-between is shuttling ones and zeros around. Learn the system enough to do this losslessly (ie avoid unnecessary conversions or digital reductions).
Class A AD stages WILL preserve an analog signal fully and completely at 24 bit HD. Invest time up front framing and capturing that signal and then preserve it digitally with 24 bit HD.
This part obviously gets into working with older analog formats (for older music), so you'll have plenty of fun and old tech experiences along the way here!
You can kind of have everything now. HD digital can be your baseline and preservation format and you can add old analog devices to the mix for digging up old buried treasure.
It's not really analog vs digital either! Analog never went away. The AD and DA stages are exceeding critical and require precision in their analog stages. Garbage in, garbage out applies more than ever. A so-so digitization of something with consumer grade converters leaves a lot on the cutting room floor by an incomplete capture. This isn't the fault of the digital system when this happens. It's the analog stage in the AD converter lacking. On playback, a cheap DA stage means not fully hearing what's in the audio data.
Invest in a good audio interface with high quality AD and DA stages first.
Get comfortable with the computer. It really makes even just playback simple. Especially with access to literally every digital format.
Then go after older analog devices to get access to old recordings. Now you can actually hear what's on them to the highest level and preserve them.
That's what I recommend.
But again, if the aim is truly for the user experience of old tech and one is not shooting for audiophile or at least fullest fidelity possible, then carry on with that.
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