How to tell if a Nakamichi 300 BX is gear or idler tire version

[rudolfo]

I’m not sure what you mean. Nakamichi had a few auto azimuth decks, but some are for record head azimuth and others are for play head azimuth. It has to be one or the other, it can not be both. Any deck with “ZX” in the model number is record head azimuth adjust. All are automatic except the ZX-7 & ZX-9, which allow full manual adjustment of dolby level, bias, and optimum record head azimuth via built in tones and an external knob with direction & peak leds. The auto reverse dual direct drive Dragon is the only auto azimuth for the play head in both directions. The CR-7, Casette Deck One and DR-1 both have manual play head azimuth adjustment with a centering light or indicator. The CR-7 actually is an auto calibration deck that adjusts the play head automatically in record to match the fixed record head. .

Once a Nakamichi has been serviced PROPERLY they will go many years before needing anything further besides keeping the tape path clean. Proper service is not cheap. These decks are 30-45 years old. The grease has gone hard or sticky, motors wear or dead spot, certain capacitors have to be replaced, the correct belts and tires installed, etc etc. Most of the unused decks have sat many (10-20) years in a closet or unpowered so corrosion, cold flow, and drying out etc, have compromised parts. They were put away without the tape path cleaned, so the tape oxide, escaped binders and lubricants from the tapes that coats everything it touches has corroded in to the pressure rollers, tape guides, capstans and heads. The best decks are used and cleaned regularly, but not to the point of excessive physical wear.

Nakamichi made a couple of hundred thousand tape decks. Heck, they made over 30,000 Dragons alone, over an 11 years period. And probably twice as many RX-202s & BX-300s. Most/many can be restored to new or even better than original specs but others are too far gone and there is no way to tell unless $$ are spent or you know it’s history, which is fairly rare. There are no Nakamichi parts left, so donor decks are required and a bad play head can set you back $250, or may even be unobtainable like for a Dragon play head.

Most people do not want to pay todays stupid high asking online prices for an unknown condition unserviced or poorly serviced Nakamichi, only to have to shell out another $350-500 to have it serviced again. I don’t blame them. So for the average enthusiast it makes sense to stick to the most common models, like the BX-300, get it overhauled by someone that knows what they are doing and enjoy the nostalgia.

Some are inherently more reliable than others, like anything else, but most issues are well known and usually have solutions. I have customers who’s decks I serviced over 10 years ago, and still occasionally drop me a note that they still work perfectly.

Thanks for the details. Ill go for the recording auto azimuth. My recording deck is pretty good but somewhere along the way, I wanna get another one with more advanced feature.
I'd take my chance more on a machines that has lesser mileage even if theyre stored. Especially nowadays Ive seen used decks that were in-correctly worked on. I cant remember if that was a 481 or 480 anyways it was a classic transport and the deck was soaked in a wd-40 or some household oil and a lot of lithium. I was a bit upset especially when I talked to the seller. He said "Oh yeah that's the way how we do things so it wont corrode." Its very obvious he doesn't know but altleast he would have told me so I did have to buy that deck...
Anyways so CR-7 is the one you'd recommend. How much is the minimum (or beginning) service fee for these type of machines?
Thanks,

My MR1 sat for some time and the idler tire became an issue again, my tech converted it to gear drive a few months ago, works great

Congrats. The transport looks very similar to a BX-300 which are very reliable. that should serve you a long time.

 

[Grenadeslio]

Thanks for the details. Ill go for the recording auto azimuth. My recording deck is pretty good but somewhere along the way, I wanna get another one with more advanced feature.
I'd take my chance more on a machines that has lesser mileage even if theyre stored. Especially nowadays Ive seen used decks that were in-correctly worked on. I cant remember if that was a 481 or 480 anyways it was a classic transport and the deck was soaked in a wd-40 or some household oil and a lot of lithium. I was a bit upset especially when I talked to the seller. He said "Oh yeah that's the way how we do things so it wont corrode." Its very obvious he doesn't know but altleast he would have told me so I did have to buy that deck...
Anyways so CR-7 is the one you'd recommend. How much is the minimum (or beginning) service fee for these type of machines?
Thanks,


Congrats. The transport looks very similar to a BX-300 which are very reliable. that should serve you a long time.

same deck really just the pro version with the balanced and 1/4" inputs

 

[perryinva]

Well, no, since you said you wanted auto azimuth in recording. The CR-7 is auto calibration and azimuth of the play head is adjusted. Personally, if money is no object (ok, a little bit of an object) the best all around azimuth record head recorder and playback is the ZX-9 followed by the ZX-7, then the 682zx. The ZX-7 being the least expensive now a days. A proper restore will run in the $350-500 range, depending on the problems. Finding a good matching capstan belt is part of the problem. All Nakamichi decks with belt drive are very particular about the capstan belts installed if you want to meet spec.

Don’t get me wrong, the CR-7 is a great deck. It has the exact same heads and transport as in that MR-1, but with full autocal, and some other features. The issue with the CR -7, is you have to have blind faith that the deck has calibrated the tape correctly. There is no way to verify like on the others I listed.

 

[rudolfo]

Well, no, since you said you wanted auto azimuth in recording. The CR-7 is auto calibration and azimuth of the play head is adjusted. Personally, if money is no object (ok, a little bit of an object) the best all around azimuth record head recorder and playback is the ZX-9 followed by the ZX-7, then the 682zx. The ZX-7 being the least expensive now a days. A proper restore will run in the $350-500 range, depending on the problems. Finding a good matching capstan belt is part of the problem. All Nakamichi decks with belt drive are very particular about the capstan belts installed if you want to meet spec.

Don’t get me wrong, the CR-7 is a great deck. It has the exact same heads and transport as in that MR-1, but with full autocal, and some other features. The issue with the CR -7, is you have to have blind faith that the deck has calibrated the tape correctly. There is no way to verify like on the others I listed.

Ill keep my eyes open on the zx line you mentioned. There was a time that I was recording at least 1-C90 a day or atleast every other day. My recording techniques has vastly improved throughout the years. But there's always boundary. Especially when I play the cassette deck after listening to an RTR. The other ridiculous thing is the price of the tapes from type II and up just went out of control. 35 years ago, I've never seen anyone recording on a used tape. If I ever ran out which more likely will happen along the way, I might end up doing the same. But hopefully not unless if I just use reel all the time.

 

[rudolfo]

Well, no, since you said you wanted auto azimuth in recording. The CR-7 is auto calibration and azimuth of the play head is adjusted. Personally, if money is no object (ok, a little bit of an object) the best all around azimuth record head recorder and playback is the ZX-9 followed by the ZX-7, then the 682zx. The ZX-7 being the least expensive now a days. A proper restore will run in the $350-500 range, depending on the problems. Finding a good matching capstan belt is part of the problem. All Nakamichi decks with belt drive are very particular about the capstan belts installed if you want to meet spec.

Don’t get me wrong, the CR-7 is a great deck. It has the exact same heads and transport as in that MR-1, but with full autocal, and some other features. The issue with the CR -7, is you have to have blind faith that the deck has calibrated the tape correctly. There is no way to verify like on the others I listed.

I have another question with the ZX-9, ZX-7 or 682zx just to finalize my search.. Can I bias these decks to my favorite tapes which is 4 that I use are:
Type I:
Fuji DR-1 90
TDK D-90 (High output)

Type II:
Fuji DR-II 90
TDK SA-90

Besides recording and playback on the 3 decks you mentioned, are there any improvements that I will get on playback using a BX-300 under recorded by any of the 3?
Thanks, R

 

[zedex]

Out of the 3, i would look for a zx7. The zx9 being extremely finicky as it takes a very very special belt for it to work properly being a direct drive with slave supply capstan.And its rarity jacking the price up to ridiculous levels. And the 682zx being an older deck and rarer more than likely needing a more extensive service. But its meters are supreme. Quite frankly i would avoid the zx9 like the plague.

 

[Grenadeslio]

I have another question with the ZX-9, ZX-7 or 682zx just to finalize my search.. Can I bias these decks to my favorite tapes which is 4 that I use are:
Type I:
Fuji DR-1 90
TDK D-90 (High output)

Type II:
Fuji DR-II 90
TDK SA-90

Besides recording and playback on the 3 decks you mentioned, are there any improvements that I will get on playback using a BX-300 under recorded by any of the 3?
Thanks, R

I have a Nakamichi MR1 ( pro version of the BX 300) as mentioned earlier, plus a few others, if looking for something a bit different I highly recommend Teac/Tascam.

I recently picked up a Teac C-3RX (consumer version of the Tascam 122B) and I've found there's very little difference in SQ between tape types and brands when the deck' s bias is adjusted accordingly.



as examples once adjusted I take pictures to archive the settings
Maxell UDII


Maxell UR


paid $175, they usually sell for much more

 

[rudolfo]

I have a Nakamichi MR1 ( pro version of the BX 300) as mentioned earlier, plus a few others, if looking for something a bit different I highly recommend Teac/Tascam.

I recently picked up a Teac C-3RX (consumer version of the Tascam 122B) and I've found there's very little difference in SQ between tape types and brands when the deck' s bias is adjusted accordingly.

View attachment 2348648

as examples once adjusted I take pictures to archive the settings
Maxell UDII
View attachment 2348644

Maxell UR
View attachment 2348645

paid $175, they usually sell for much more

Interesting... What do you feel this deck is closely biased to within reach?

 

[Grenadeslio]

Interesting... What do you feel this deck is closely biased to within reach?

The Tascam 122 cassette deck was the work horse of most recording/radio studios.

As for what it sounds like?, the original source.

 

[perryinva]

To answer the question, yes, the ZX-7, ZX-9, & 682zx can be perfectly adjusted to record on any tape of any manufacturer. They key on those decksnis both dolby level tones and bias tones, with scales that change resolution when switched from level to bias. (So can the Dragon, but no record head azimuth,) and the 1000zxl, 1000, 700, 700zxe/zxl all can for the most part as well, but the ZXLs are fully automatic with no real way to verify the autocal, and the 1000 & 700 are quite old (‘70s) so no metal tape, no Dolby C. In fact, the Dolby B on them is entirely discrete components, no ICs involved at all. Of course 1000zxl is uber expensive if sold serviced & working, usually kissing around $4000.

I agree with Zedex, in that the ZX-7 is the best value for the functions, fully manual, with superb specs, though I do personally prefer my 682zx for playback. It is definitely not as linear as the ZX-7, but I love the sound of those decks. While the ZX-7 is much better with troublesome tapes where L&R might have a differential in level, the 682zx has to choose a compromise between the two channels. On most all quality tapes, this is not an issue.

But both those decks do have inferior W&F to the ZX-9, and also need a very specific belt tested on the deck to assure solid performance. Lately, I have found the Russell Industries FRSP8.97 has been a solid performer on the ZX-9, giving 0.03%ish W&F. But as he alluded to, it is unique enough, that if there is a problem with the flywheels/bearings/motor etc, it can become an expensive door stop real fast, as those parts are harder to come by; almost as bad as a Dragon play head.

 

[rudolfo]

To answer the question, yes, the ZX-7, ZX-9, & 682zx can be perfectly adjusted to record on any tape of any manufacturer. They key on those decksnis both dolby level tones and bias tones, with scales that change resolution when switched from level to bias. (So can the Dragon, but no record head azimuth,) and the 1000zxl, 1000, 700, 700zxe/zxl all can for the most part as well, but the ZXLs are fully automatic with no real way to verify the autocal, and the 1000 & 700 are quite old (‘70s) so no metal tape, no Dolby C. In fact, the Dolby B on them is entirely discrete components, no ICs involved at all. Of course 1000zxl is uber expensive if sold serviced & working, usually kissing around $4000.

I agree with Zedex, in that the ZX-7 is the best value for the functions, fully manual, with superb specs, though I do personally prefer my 682zx for playback. It is definitely not as linear as the ZX-7, but I love the sound of those decks. While the ZX-7 is much better with troublesome tapes where L&R might have a differential in level, the 682zx has to choose a compromise between the two channels. On most all quality tapes, this is not an issue.

But both those decks do have inferior W&F to the ZX-9, and also need a very specific belt tested on the deck to assure solid performance. Lately, I have found the Russell Industries FRSP8.97 has been a solid performer on the ZX-9, giving 0.03%ish W&F. But as he alluded to, it is unique enough, that if there is a problem with the flywheels/bearings/motor etc, it can become an expensive door stop real fast, as those parts are harder to come by; almost as bad as a Dragon play head.

Great advise and basically the recording deck is really what I'm after for. I was looking closely to the transport of the ZX-7 and it looks similar to the 480 classic transport. I have a 480 and a 481z that sounds really nice on playback.. Somewhere along the way those transport took my head for a spin at one time when it started skewing or slacking tapes. I still have those two if I really wanna listen to a high grade analog recording. But I use the BX-300 more and the 150 due to the reliability. Both has gear drive. Well I guess on my hunt for the ZX-7 and the 682zx and hopefully I'll find one that has a low mileage in it. Any tips on what I need to watch out or even how to know if everything is functioning correctly within the span of sale and return window?
Thanks,

 

[rudolfo]

Out of the 3, i would look for a zx7. The zx9 being extremely finicky as it takes a very very special belt for it to work properly being a direct drive with slave supply capstan.And its rarity jacking the price up to ridiculous levels. And the 682zx being an older deck and rarer more than likely needing a more extensive service. But its meters are supreme. Quite frankly i would avoid the zx9 like the plague.

Thanks..

 

[perryinva]

The 481z is an excellent playback deck (limited recording flexibility) and easily brought back to spec. Quite rare too. The 480 is essentially an early LX-3 in black with no key logic. A ZX-7 will record and playback better and have maximum flexibility but it will have that same family of sound. The ZX-7 uses a better capstan motor and has a metal idler arm and does not suffer the Eject issue the 48x series does.

 

[rudolfo]

The 481z is an excellent playback deck (limited recording flexibility) and easily brought back to spec. Quite rare too. The 480 is essentially an early LX-3 in black with no key logic. A ZX-7 will record and playback better and have maximum flexibility but it will have that same family of sound. The ZX-7 uses a better capstan motor and has a metal idler arm and does not suffer the Eject issue the 48x series does.

That's really great to know and atleast I got my search narrow down to close to what I need. I'm gonna try to get one that has lower mileage to avoid some surprises. Sometimes they pop out even locally here. I bought 4 midrange like a dr-2 , 2-bx-300, zX-5 and a bunch of oher bx series just kike in our area. Its good to have rich neighbors. LoL....
If you know anyone of those 2 you mentioned, just let me know, Thanks,,,

 

[Grenadeslio]

The 481z is an excellent playback deck (limited recording flexibility) and easily brought back to spec. Quite rare too. The 480 is essentially an early LX-3 in black with no key logic. A ZX-7 will record and playback better and have maximum flexibility but it will have that same family of sound. The ZX-7 uses a better capstan motor and has a metal idler arm and does not suffer the Eject issue the 48x series does.

The LX-3 is a sweet deck, very nice sound. While not the equal of my MR-1 I found it made great tapes, and just looks so sleek.



and as you most likely know if needing a 3 head deck there's the identical looking LX-5

 

[perryinva]

The LX-3 is the most under rated 2 head deck out there. Few decks by other manufacturers, if any, have a dual capstan, 2 head deck, with full head adjustment, and complete dolby level and bias calibration, yet Nakamichi made a few, the 480, 580, LX-3, and RX-303. I have all those decks and a few LX-3s, for when someone asks for a less expensive Nakamichi, and does less recording. They are still found relatively inexpensive at times, unlike the near identical sounding autoreverse RX-303. The full head adjustment means excellent channel balance, low distortion and a high end extends to 20kHz easily in both record and playback with no azimuth worries. They have a signature slightly boosted deep bass (usually 2-3dB at 30Hz,) that gives them a solid, rich sound. Most other manufacturers 2 head decks are already attenuating at 30Hz and under.

They are sensitive to the correct capstan belt, as that series uses a lighter flywheel and different capstan motor than say the RX, 680 or ZX Series. The combo head was made by Nakamichi, but does not wear as well as their 3 head heads, so some care has to be taken to be sure the head is not worn. However, unlike the 3 head heads, I have never come across a bad combo head, ever.

I personally do not like the “capstan only running in play” logic used on that deck, and do an easily reversed mod to have the capstans running correctly any time the deck is powered on, like the 303. This gives immediate correct speed at start of play or recording and better W&F.

Because of the original design, most every LX-3 & 5 has low capstan bearing and motor wear, so they usually are in great shape for restoration.

I am familiar with virtually every Nakamichi deck made and own most all of them. The ZX-5 is the Japanese market version of the BX-300. US military often bought them overseas and brought them back to the US. Care needs to taken to be sure the deck is not a 100VAC version for Japanese use. Running a 100VAC version on 120VAC will run too hot and can be a fire hazard. Those are the only 3 head BX decks, and use the identical DD (direct drive)/slave belt Sankyo based transport motor & head assembly as the CR-4, 5 & 7. They are excellent decks, easily brought back to service, but typically do suffer from the dreaded mode and/or reel motor dead spot issues found on Sankyo drives, and have a limited life small skinny idea tire, so they are often found in great shape, but not working.
All other BX models are 2 head, single capstan belt drive versions.

The DR-2 is a newer better looking version of the Cassette Deck 1.5, a 3 head, all belt drive Sankyo transport based deck. Another excellent playback deck, from the waning years of Nakamichi in the late 90s. When made, it was the only deck series made by Nakamichi at the time. Avoid the inferior but very similar looking DR-10. The DR-2 is identical to the DR-1, but with no front panel playback azimuth adjustment. It can be found as a Made in Japan or Made in Taiwan version. Unlike all earlier Nakamichi decks, that series does not allow separate choice of 70/120uS recording with any tape type and playback is just the tape type as a manual selection, so again, it has limited recording flexibility but superb playback. They also have a heavily boosted bass by design (the “ CD Sound”) but that is easily flattened mostly by 2 capacitors changed out. Ironically, those same capacitors are not uncommonly found bad, causing easily heard bass distortion. A lot of people were turned off by the orange display. I found it nice for a change, and prefer it over the featureless looking CD series. Because they came so late to market, almost all the capacitors are Nichicon, so besides the bass caps, they are electronically solid in design, very quiet, and usually found cosmetically in great shape. However, one of the cost cutting features was the use of inferior capstan & back tension belts, which unfortunately turned to goo on many of them over time, making it a mess to clean & change belts. Avoid playing that series until you have checked both belts.

 

[rudolfo]

I do / did have 1 or 2 bx-300 that has a reel issue. The other one was motor replace last year and so as the other one soon. By the way Is there any way to find and fit a slightly thicker tire on those sankyo's?

 

[perryinva]

No. The tire is limited in size, though most replacements have a slightly higher profile, which may also give poor torque, depending on the actual size. They can be converted to gear drive, but that costs a bit more than most people typically want to spend. I converted my BX-300 to gear drive when I changed out the dead spotted reel motor.

 

[rudolfo]

sadly on the tires....
do you lightly lube your idler gear drive? Lets a thin film of a plastic/silicone lube?
I was gonna ask you if you still remember, What is that spacer that looks like a nut sitting on the bx-300 reel plate for? it was just like sitting there and not even screwed on?

 

[rudolfo]

There are so many nakamichi decks out there and its amazing that lots of them still runs like a champ. I was think about messing around with one of my bx-100 or bx-2 and convert it to 2 speed. I just don't have much time for personal because of 2 jobs. If I was on the machine shop, I could easily come up in making extra parts for that project.