The Akai GXC-760d I have here
Looks&feels
High time for a look at the last installment of this series. Unfortunately the face-plate of mine isn't mint, it has a few little dents here and there. Still though, what a beauty right! To top-off the already slick and stylist design we are now familiair with, it has those remarkable round touch buttons in the middle. They are mesmerizingly lid in their designated colors when engaged. Akai actually developed that icon system for "play" et cetera you still find on anything from cd-players to the app you play your movies on. They developed on from there to a color-code system: green for play, red for record, yellow for ff and rew and orange for pause. No colour for stop. You will see that they consistently applied that to their many many tapemachines, in different forms. But the way they did it on the '760 is my favorite. I kind of wonder why they didn't use the same bulps&buttons unit on the GX-600-series RTR's actually.
Besides the great looks the design is also highly functional. You always immediately see what is going on with this deck. And you got those big buttons right in the middle for all the main functions, that will work at a light touch but won't be bothered if you hit'm up either. The tape compartment opens smooth, in that push-tilt fashion, but also quick. The big window and bright tape illumination allow you to actually read the etiket on the tape quite easily. The monitor button is set a little apart, so you won't confuse it with say the tape-type selector. All buttons and indicators are positioned "intuitively" and when you use the deck you will know they really thought it all out. One thing I don't like, and is also Akai standard stylo up to the 80's, is the separated record level pot's for left and right. Especially since the mic record levels come along with the line levels, it's a bit fuzzy to make subtle, even adjustments during recording. Overall though this deck is a joy to operate.
Some AKAI family shots 
The GXC-710d on the guest seat; ready for dubbing
Features
Besides the usual functions the '760 has an MPX filter, the memory-stop function, and the internal tone-generator that goes with the front panel bias adjustments. It also has a "peak level indicator" switch that set's the VU meters in an according mode. It offers tape monitoring because it is a three-head deck, an uitput level attonator, and mic inputs can be mixed with line inputs. The double Dolby amp allows for seamless monitoring. While the one Dolby amp encodes the input signal before it goes on tape, the other Dolby amp decodes the signaal that comes from the tape, in realtime. One feature I have missed on occasion is the muter, also know as "the DJ distinguisher". In general, it is just not one of those semi-editing tape machines. It is best suited for "straight ahead" recording. The whole 700 'series is from before Dolby-C and metal tape, so neither of these technologies are supported. I don't miss'm, but some might.
Perhaps the neatest features of the '760 are in it's tape transport. First of it is a double capstan model that, combined with a three-head setup and bias adjustments makes for an excellent recorder setup. Secondly, it is a three-motor setup that allows for a level of refinement not to many mid 70's decks get close to. When the door is closed, the tape is actively pulled tight bij reel motors moving in opposite directions. When playing, the take-off reel motor is steplessly and dynamically breaking from the rear. When fast forwarding or rewinding, the deck also applies dynamic braking on the supplying reel, while at the same time steplessly adjusting speed. This causes the tape to spool fast at the beginning of the tape, where most decks are slow, but then slows down towards the end, to make sure the tape is really neatly and tightly rolled up. The system also allows for direct switching between for instance ff and play. It wil slow-to-stop, and then engage the requested function. In all, an exceptional transport!
Inside the machine
Let us take a closer look at that transport. It consists of the two heavy flywheels also featured in the '740. With the same big outer rotor speed adjustable AC motor, forming the closed double capstan loop. The difference is that this motor does not drive the reels. It is not connected to any idler-wheel or clutch or other mechanical part causing either wear or vibration. The reels are each driven by their own direct drive motor. No rubber wheels, clutches or any of that. A very clean design. These direct drive motors are quite unique (don't brake them). They are stepless, and also function as dynamic brakers. So that is without the inevitabel vibrations a clutch or idler-wheel would cause. When "breaking" they generate electricity, and that in turn is used as a reel-speed sensor.
A less then perfect shot from the inside I admit, but you get the idea. The capstan motor is on the left, and right behind it the motor speed control PCB. The bleu cube sticking out is a multi-turn potmeter I put in there. I have completely overhauled this machine, and boy that was a lot of work! The brown PCB in the back is where the Akai GXC-760d holds it's magic sauce, controlling all those advanced reel-motor functions. A very elegant pre-IC or "computer controlled" system, that just negotiates the forces from both those special DD-motors to hold each other in check. The opamp is out of view, one floor down from there. It includes the two discretely built Dolby amps. The power supply and oscillator PCB is to the right, including a 5 Watt cement resistor. VU meter control is in front of/over it. In the middle-front some electronics to do with the switchboard and and there are many smaler boards around. The tramsport is out of sight here. The Head block comes up when engaged together with both capstans. To this end a truly excessieve plunger slams on a leaver with enough force to feel in thru the floor. Again, nothing is done lightly in this series of decks, and the '760 actually weighs in at 11,1 kg.
Performance
For the best possible performance, you need to treat this thing like a diva. For instance, you'll want to use either a TDK SA tapes from the late 80s or a TDK SA-X from the early 90s. Others will do, but never reach the same depth and clarity when combined with this deck. The deck has to stand exactly leveled, or the capstan-motor might start making tiny noises. You also need to warm the deck up, and keep room temperatures a bit even. Otherwise the potmeter controlling the motorspeed will drift (I'm still thinking about modifying that out - it is already better than original). However, if you take care of all that, and the cleaning and demagnetizing, and bias calibration, and careful record level adjustment and all that.. This particular deck makes absolutely baffling recordings. And that is from the very first centimeter of tape, just flawless. Especially with TDK SA-X (record with the tape selector in chrome, playback in fero-chrome) the dynamic is amazing. The sound is clear, full, and even fairly spacious. The dynamic fast forward and rewinding works very smoothly as well. In fact, it makes most other decks look rather crude and clumsy at that. While to be fair, the plunger engagement "KABLAM!" takes a little getting used to. Another thing to consider it that the deck runs fairly hot. Nearly the entire top is an air vent, so it needs a bit of breathing space. And the tapes come out a little warmer then I would prefer. LED's instead of bulbs over the tape compartment might help with that. Over all though, I am over the hills with this deck! Such a joy to use, and the sound quality it (re)produces is beyond anything I have ever heard from cassette.
Well, I hope you enjoyed this elaborate comparison!
.
at 160,- euro a set.
