Akai M69 Mono recorder circa 1962

Akai ST1 Stereo recorder

One of the first stereo recorders imported by Akai, the ST1 received excellent reviews for stereo reproduction of pre-recorded tapes, 

These models gained popular appeal because of their compact, appearance and good quality.  Maximum reel size was only 7" and speed change was achieved by adding or removing a capstan sleeve. Later versions added Dolby "B" noise reduction had a "D" after the model number.

Akai 2000

Akai 3000D

Akai 4000

Akai 4000, the last of the line of a range that started with the original ST1 and 2000 models. 

Akai X300

Akai X355

Akai 360D

Unfortunately, in reality they didn't live up to their initial promise, generally, Japanese recorders including the Akai range focused on quoting the widest frequency response possible, often their domestic market machines seemed to have better response than their own true professional models.

On early models, this extended frequency response was at the expensive of signal-noise ratio, and distortion as a result of the machines being under-biased. Under biasing gave higher high frequencies but lacked bass and some mid frequencies. But, they soon learned and later machines were extremely well made, reliable, versatile and had all the facilities the amateur recordist could wish for.

Akai M9

Akai M10 the last model in this style series.

Akai dominated the reel to reel market throughout the late 1960's and early 1970's.

The vertical styling & operation appealed to many tape enthusiasts. Vertical design allowed a smaller footprint even for a large machine,  and was very different to British and Continental designs.

3 Star (MONO)

The only Brenell tape deck with push button controls

Brenell 3 Star - circa 1958  Mono and Stereo versions.  The only Brenell model not to utilise the Mark 5 deck. It seemed to be phased out in the early 1960's with the advent of Mk 4 & 5 deck models.

Early Brenell production was aimed squarely at the self-build section of the market.

Their decks, amplifiers and chassis, allowed considerable scope to make up your chosen configuration.

The model illustrated on the right, was a Mk5 deck, with two tape links (Recording Preamps) mounted into a Brenell rack unit to make a stereo recorder. The deck and record/play amplifiers could be purchased separately.

This model had an auto-stop lever which was fitted for duplication machines but not initially on domestic models.

Brenell: Early 1960's.

On the left an early Brenell. This design was updated in the 1970's with the ST200/400 model.

The Mk 5 deck (left) was the cornerstone of the Brenell range, and was available separately. 

It was a fine three motor design, with choice of four operating speeds, via an interchangeable capstan sleeves. A range of non standard diameter capstan sleeves was also available. 

These were mainly aimed at the electronic or musique concrete' experimenter. Making it the first choice of the experimenter, of whom the most famous was Richard Margoschis. 

Mark 5, 1958- was a mono two head machine, incorporated Mk5 deck mechanism.  

Magic eye recording level meter.

A good solid workhorse, but not for the faint hearted, it required a certain amount of experience to use this deck, which had frightening wind and rewind speeds, and could easily destroy a reel of tape,  particularly if the spool retaining caps were omitted.

Mark 5M, same deck, but a three head model, giving "off tape" monitoring, hence the M prefix.  

A new recording amplifier was designed for this model, and a moving coil record level meter used for the first time.  

This model differed from previous decks and amps because of the grey top plate and amplifier panel, making it more up-to-date.

The STB-1 first appeared in 1963

The top of the range, the STB1-2 available with 10.5 inch spool capacity if required. This was a very rugged and versatile model, incorporating all the facilities previously associated with pro recorders.

Chilton 100S Stereo.

The metering was great being peak hold design, easy to use an very reminiscent of the Ferrograph metering system. Available as a portable unit incorporating loudspeakers, or as a chassis version for installing into an Hi-Fi cabinet.

Picture courtesy of Geoff Rosenberg (Get Reel)

The 100S (right) was designed by Tom Reps of REPS recorder fame.

This machine was a joy to use, and incorporated soft touch push buttons, off  tape monitoring, Stereo record / playback, 10 Watt / Ch amplifiers, but sadly only 7" inch spool capacity.

One of the many models produced by REPS using Collaro mechanisms. Designer Tom Reps from whom the range derived its name, always made the point that these decks were stripped down and rebuilt before being used in their range.

Nice machines, deck a bit clunky, but fine for most uses. Always received favourably reviews.

When REPs ceased making tape recorders, due mainly I believe to the lack of suitable tape mechanisms, Collaro must have ceased production by this time. Tom Reps decided it was time to design his own tape deck on which to base his range of recorders, the result was the "CHILTON". See above

REPS R30/40 (Right)

A more expensive range, well built using the Collaro transcription deck, auto reverse, good amplifier and loudspeaker, excellent playback quality.

D36

F36

Really the main competitor to the Revox models, which attracted many enthusiasts because of the facilities offered.

Revox D36, One of the first Revox recorders available on the British market. 10 inch maximum spool capacity, two speeds electronically switched, identified by the central magic eye recording level

All the Revox range from the B to the F had push button controls, and lack of pressure pads. Excellent facilities and recording quality.  Intended more as a static Hi - Fi deck.

Easier to create sound-on-sound recordings. Built in mono 6 Watt amp and speaker, could replay from left channel, right channel or both.

Drawbacks, almost impossible to edit on this machine.  

The F36 had a twin bar-graph, record level indicator.

The G36 or 736, a logical progression from the previous model, introduced the 10.5" NAB reel option, rather than the 10" of previous ranges. Tape handling was excellent, the Revox could handle small reel on one side and large reel on the other without throwing a loop when stopping the tape.

Recording quality was superb and features like sound on sound and echo effects were available at the turn of a switch..

Drawback, like all Revox all inputs and outputs were on phono plugs (RCA Cinch Jacks-in the USA).

 Revox A77 - the first all transistorized Revox.  

Vertical operation, and 10.5 inch spool capacity.  Similar features to the earlier valve models except matching for low impedance microphones.  

A full width flap hid the tape path and heads, and access was still restricted making the unsuited to editing.  Early versions suffered from a high pitched whine from the capstan motor control, and rather slow start-up, and lack of torque in the wind / rewind motors, when going into wind or rewind.  

On A77 & B77' speed switching was electronic. and utilsed a Papst capstan motor, the shaft of which was extended to form the capstan.  No idlers or couplings to wear, or create noise.

Thanks to C.J. Adams for the above illustration of the A77/B77 capstan motor.

One useful feature found on these newer Revox was "Varispeed" which allowed the speed to be adjusted on Record or Play, to accommodate tapes recorded at non standard speeds, or for creating special effects.

B77

A700

Revox A700 - A more professional model. The deck was raised level with the amplifier panel to provide easy access to the heads for editing & cleaning. Built in mixing via slider controls, and slightly larger recording meters, although still VU types.  A much more robust transport.  

But very much more expensive than the standard model. Plus all the features associated with a recorder of this type, sound on sound, stereo/mono and monitoring off tape.

The company also produced a matching mixer unit for recording enthusiasts.

But, later they made use of the Collaro Mk3-4 Transcription tape deck as shown in this Spectone 151.1958

Great sound, good quality, easy operation. Like Ferrograph, Tandberg kept faithful to a good design for many years.

Model 11 

Battery portable with lip sync facility and with the lid off, 7" spool capacity. Heavy, but excellent quality recording. 

Tandberg Series 6

In the early 60's this machine revolutionized tape recording.

Tandberg  were the first to get quality recording from the quarter 

track format and were often purchased for the quality of the recording 

possible at low tape speeds. 3 speed operation, with 7" spool capacity, 

the main joystick control continued for many years without change.

Tandberg 3000X

The new look, same design, only cheaper made, lightweight, good quality.

The Tandberg range was very extensive, catering for mono, stereo, tape deck or portable recorders. Many of the older valve models were used in language laboratories because of their robust construction and simple operation.

Tandberg 9200 XD

This model incorporated soft touch logic controls, 

which was a major shift by Tandberg, abandoning 

the famous joy-stick.

Top of the range, 10.5 inch spools, mixing, sound on sound and echo facilities.

Truvox R2  1958

A mono recorder, with solid state amplifiers, although the tape deck had been slightly restyled it still had the drawbacks of the older range. 7" spools,  noisy transport mechanism, and heavy controls, although a big improvement on previous models.

TRUVOX PD204 STEREO

Stereo Tape unit (quarter track)

Every tape recording enthusiast had their favourite machine.  Machines appealed for a variety of reasons.  Some were neat and unobtrusive, blended in with the domestic environment without too much fuss. Others were more like industrial machines, built to last, not for cosmetic looks. Some which had slow recording speeds and quarter track operation  would record for hours on a single tape. 

If you wanted to edit tapes, by actual cutting and splicing, meant that machines had to give the user easy access to the replay head, but most of all they had to be robust to withstand the constant stop/start, and few machines would stand this for long. 

Ferrograph, Vortexion, and some Clarke & Smith recorders used the Wearite Tape Deck. Which was ideal for editing and robust enough to stand the strain.