![]() ![]() However, With CN-5 connected, it was still not perfectly in phase in REV. ![]() It was still perfect, so I did not touch it. A 4 track auto reverse that keeps azimuth in both directions mechanically with NAAC off.Īt this point I also checked the REC head azimuth. This is amazing to me, coming from Walkmans. Adjusted it slightly to perfect phase in FWD, and when I flipped the azimtuh tape over, it was in phase in REV as well! also conformed with my Teac 10K. I disconnected CN-5 (NAAC motor) to check the default azimuth. On a good deck, these two azimuth tapes always agreed with each other, or got very close. Highly Recommended, partly because whatever its failings, they’re largely benign, and partly for all the intangibles: the long term serviceability to the original spec that is probably unique to this marque.Īll the same, there are worrying signs here of resting on laurels.I got the same results from my secondary azimuth test tape, Teac 10K. What saves it, I think, is the supremely stable transport, and the excellence of the head and matching record/ play electronics. Some of these effects are quite likely to be related to sympathetic colorations caused by the way the Nakamichi drives tapes with a characteristic midband suckout irrespective of the tape used or the bias setting employed. However, there are signs this time round that the deck has been made to sound better than it really is: the bass is surely just a little too full, the treble too sweet and rounded, and the soundstage just a little too spread out and deep. Other decks are more exactingly engineered inside and out, and many others give superior technical performance in most areas, yet the 1.5, with its idiosyncrasies that no other company would allow on their decks, has an immediately striking realism that lives and breathes music in a way that simply eludes others. Nakamichi has always made cassette decks that audition better than others of comparable price now it seems to have entered a new phase where the decks continue to do so, but without any obvious reason why. This single ergonomic shortcoming is offset by an uncommonly smooth acting set of logic transport controls, which operate one of the sweetest and quietest transports you can buy. As expected, the record level meters are of fine quality, resolution and range (50dB), but the input level control is squirreled away under the flap and hard to use. The Nakamichi can be plumbed into an all Nakamichi system for remote control purposes, and headphones can be connected at fixed level only. There are precious few other facilities, but you do get Dolby B and C, a fine bias adjust control, auto or manual tape/source selection and a simple electronic tape counter with a counter search (ie return to zero) facility. The 1.5 has all the expected Nakamichi-style idiosyncrasies, most notably manual tape type switching (there are three buttons, labelled Type I, Hand IV, but you’ll have to open a flap on the facia to find them) and the absence of Dolby HX Pro (I have never been able to make Nakamichi explain why). This deck sits neatly between them, with the three head layout of the dearer model, but not the azimuth adjustment that ensures playback compatibility of previously recorded tapes. ![]() The nomenclature arises because Nakamichi already has a Cassette Deck 1 and 2. ![]()
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