A major plus of all big AKAIs are the glass-film-heads that can last quite some years longer than that of other brands, which won’t be serviceable by any means if heads are worn down. Perfect mechanical adjustion is a basic, that’s true. Some tell the sound of a MK 2 deck is promising from the start, some even tell this can be a quite good one when proper pimped and well mechanically and electrically adjusted. AKAI GX95/95 MK2 has a decent, rigid, low W&F transport with long-life heads.
#Akai tapedeck gx 95 manual
Please open your MK2 service manual or take a screwdriver for to conclude: This is at least what can be done to a 30%-AKAI, before discussing OP-amps or sound of a max4066 compared to a I‘m familiar with the right topic „MK2“. And it is done with a correct mindset of what PS do. Nothing special, not what I do with my HiFI, it is just designed to work, the normal 100%. There you see simple or normal, WORKING power supplies with a correct amount of parts, technics and results. Take a look in SM of well scored decks like big Nakas, Tandberg or NAD. This lack of PS design is typical for almost all Japanese consumer electronics (with some rare exceptions), because IMO this always was handelnd as a money issue by industry and (as a result?) a just-measure-and-disbelieve-in-your-ears-issue by technicians. The AKAI GX75 never was a expensive deck, so some of it’s construction is just for show or for SELLING, many things are done very well and some are just cheap and improper done, like the power supply. Please some more discussion about ringing LM317! *bravo* The PCB is even layouted like the PB/REC preamp regulator, but the 2 additional parts for basic filtering are not mounted. This is the very basic 3-part-regulator: bias-resistor, zener, transistor. (Which I will change soon, too.)Īt the Dolby-regulation stage, even the line-side filtering of the transistor‘s base/zener cathode like at the PB/REC-regulator vanished. It would have needed only one more resistor and some different values and configuration to lower noise some 20-30db. At the regulator, the noisy zener is put direct between GND and base of the transistor without any decoupling, impedance change or filtering. The rectifier-loading-cap-stage produces additional switching peaks half the cycle in the AKAI-configuration. Sorry, but this reg is noisier than any standard Lm317/337 with only input-output-caps, it only outclasses a 317 by its high 200Hz-ripple. (Of course, I am able to measure GND correctly close to regulation). Start with the 5-part-per-voltage-regulation for the PB/REC-preamp.
#Akai tapedeck gx 95 free
Now to the PS: Be free to take a look on the V-regulation of this AKAI or measure it for your own, as I did. I’m still amused about all these people keeping almost 30 years old, dry caps while restoring all the rest with high effort. The AKAI GX75 MK2 power supply is still a bad joke The power supply board needs to be replaced for a more adequate one (separate, regulated supply rails for all DC, new tordorial transformer). So recapping with Panasonic FM/FC and Nichicon Muse BP is a MUST DO.Ģ. After more than 27 years, I trust these little yellow AKAI branded caps as far as my dustbin is close to my desk. So this has real potential IMHO.įor me, there are two things more to do in addition to all the great changes, all of you mentioned: *bigthumbup*ġ. But these regulators cost a fortune in a tapedeck designed to cost some 1000$ (correct me with the 1992 price).Īnd indeed, the unserviced Mk2 is worlds apart in sound from a fully serviced, recapped and recalibrated Mk1. Something you never have with a Lm317/337 regulator, you see in so many British good-old-days high-end devices. But you still see some ripple on the regulated supply rails +/-9V DC for Dolby or PB/Rec amp on the 10mV oscilloscope screen. Unregulated, you have a double-saw with some 0,45Vpp on 20V DC. The Mk2s supply -although more simple- is technically much better, but still not at a level, I have seen at any real or potential „high-end“-device. Sorry, I recently bought an MK 2 and you‘re right.
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