The Sony Elcaset

The Sony ElcasetThe Sony Elcaset Page 1 The Sony Elcaset was a cassette tape system introduced in 1976. They were very solid and durable machines of professional quality, developed to combine the high quality of open reel tape recorders with the ease of use of cassette tape recorders. During recording and playback the tape was pulled out of the cassette and guided along the mechanism inside the machine, so that the quality of the cassette shell did not influence the quality of the recording. The cassette was very solidly built. It had reel stoppers, so the tape reels were blocked when the cassette was not in the machine. The tabs to prevent erasure of the tape were sliders that could be clicked up or down, no need to break off something. It was also much bigger than a compact cassette: 15 cm wide, 10 cm high and 2 cm thick. The Elcaset used a tape 6.3 mm wide that was driven at a tape speed of 9.5 cm. There were four tracks on the tape, for two stereo programs, one on each side. Because the tape width and tape speed were twice as much as that of the compact cassette, a higher audio quality was possible. I am very happy with my Elcaset machine. Even today it sounds great, when it was introduced it was way ahead of the compact cassette machines of those days, and it isn't too long ago that cassette decks with comparable quality to the Elcaset became affordable. It was another example of the innovations Sony often introduced on the audio market. Unfortunately it was not as successful as the Walkman. Because of the very high price of the system not many were sold. The Sony Elcaset Page 2 I bought my EL-5 Elcaset machine for $ 250 with 16 cassettes from a misguided audiophile who was switching over to the CD when the CD technology was brand new, around 1985 I think it was. He actually believed that he was going to be able to buy all his records and all his cassettes on CD, so he didn't need his Elcaset and his record player anymore. He even sold me his very high quality record player and all his records too, I still have all of them today. I used to take the Elcaset machine over to friends who had already bought a CD player and CD's, and I recorded their nicest CD's which then sounded at home just as perfect as the originals :) This is the EL-7 Elcaset machine of a friend. The EL-7 has three heads, so it was possible to optimize the heads for their recording or playback function, and you could hear while recording what was being put on the tape. It also has a dual capstan/pinch roller, so it has even better control over the tape tension. The Sony Elcaset Page 3 I have been experimenting with replacing the tape in the ferro cassettes with tape from a reel-to-reel machine. 9 FeCr tapes (red tabs) and 7 SLH ferro tapes (blue tabs). The ferro tapes are unusable now. they play now just like when they were new. The FeCr tapes are still perfect though. Thanks Stewart! The EL-4 appeared a while after the EL-5 and EL-7.I have 16 tapes for my machine. It was a lower priced entry level piano key version with minimal controls. the magnetic material is flaking off the tape. it's a mess. Other machines The next two pictures I received in an email from another Elcaset owner. The Sony Elcaset Page 4 . but I never found tape that sounded right. thanks! The Sony Elcaset Page 5 . This picture was found by Raffaele Grieco. A portable version of the Elcaset was available too.The remote control box for the EL-5 and EL-7. the EL-D8. The Sony Elcaset Page 6 .Raffaele also found this picture of the top of the line EL-D9 machine. I found this picture of an Technics RS-7500 Elcaset in an Ebay auction by 'Skubo'. The Sony EL-D8 These pictures were made by Raffaele Grieco. The Sony Elcaset Page 7 . The Sony Elcaset Page 8 . The Sony Elcaset Page 9 . The Sony Elcaset Page 10 . Two years later the offered cassettes 12. The Sony Elcaset Page 11 . And you can believe it was a real sell-out. I think that US$ was in those days about 4. It happened in late 1979 and 1980 when all (?) those machines were dumped into Finland. but why not start to learn Finnish -. nowadays it's about 6 FIM. but I've been told that the major part of Sony's Elcaset decks were dumped in Finland. Quite a bargain!! Here you can see the original pages of those newspaper ads (Helsingin Sanomat) from 1979 and 1981. Of course they all are written in Finnish.) The last picture shows the result of building fluorescent VU-meters (an article for DIY-hobbyists in HiFi-lehti in september 1981)... I also scanned the brochure cover of EL-7. They sold about 2000 decks in Finland. The company even guaranteed availability of cassettes and service for 10 years.FIM and EL-7 + 25 cas.50 FIM. Here is his message: I can tell you something about the "death" of the Elcaset system.50 FIM if you buy a whole box (12 pieces). It was mentioned in the ad that plain cassettes would cost normally about 1200 FIM. who told me where all the remaining Elcaset machines ended up when Sony dropped the system.The end of the Elcaset I got a nice mail from Hanste Seppo of Finland. 795. 1295.FIM. I don't know how many decks Sony manufactured. A Finnish company won the auction (by Sony international) and later sold those machines with 25 cassettes at a very low price: EL-5 + 25 cas. And about the sound quality: I need headphones to be able to hear the tape noise when monitoring the difference on source (CD) and tape. This is a Sony EL-7 test in the Finnish magazine Hifi-lehti from 4/79. The Sony Elcaset Page 12 . but I solved that with silicone liquid (same liquid as for car-door's rubber profiles).no problems. which I have enlarged via buying old cassettes (about 2 $ piece and the old machine as bonus). Nowadays recording to CD-R has come also familiar to me and use of Elcaset has decreased.dying oddity or replacing reel-to-reel". The only minor problem is that sometimes cassettes get stuck due to drying of lubrication. The article is titled "Tape format competition: Elcaset . I've been very satisfied in my Elcaset system.I have used my EL-7 now over 20 years and it still runs like a train . tape monitoring... Dolby calibration and lots of connections. Five months later the dumping of those decks happened at "a very reasonable price". Maybe the price was too high (5700. The Sony Elcaset Page 13 . Wow and flutter. Rewind time. more than the average salary per month in those days)... And the rest is history. The very few negative things were high price and rather slow VU-meters. S/N-ratio. high operational responsibility. They measured Frequency response. Total Harmonic Distortion. To me the frequency response curve is quite convincing compared to compact-cassette decks.FIM.They find the positive things: excellent audio performance. In the table they compare what Sony announced and what the test shows. The Elcaset The Elcaset was a consumer audio format introduced in 1977 designed to offer both the convenience of the compact cassette and the high sound quality of open-reel tape. The actual dimensions are 152 x 106 x 18 mm (6 x 4-1/8 x 3/4 inches) To give some perspective. the Elcaset was about the size of a Betamax video tape (another failed format championed by Sony). The Sony Elcaset Page 14 . but apparently some were produced under the Technics brand name. The Elcaset was quite a bit larger than the compact cassette. but it's hard to make out the numbers. The picture below is supposed to give you the dimensions of the Elcaset tape. Here are a few pictures of the Elcaset tape itself: All the blank tapes I have seen are Sony. This picture shows the tape used in an Elcaset compared to that of a standard compact cassette. The Sony Elcaset Page 15 . also resulted in achieving the excellent signal-to-noise figures open-reel tapes were able to obtain.5 cm/s (3 ¾ ips. as opposed to the 1-7/8 ips for the compact cassette).The tape itself was 6.3 mm (1/4 inch) wide and driven at a tape speed of 9. which was almost twice that of the compact cassette and nearly equal to the four-track open-reel tapes. This resulted in extended frequency and wider dynamic ranges (noticeable in the higher audio range) than those of the compact cassette. The four-track tape width in the Elcaset. characteristics such as wow and flutter. modulation noise.With a conventional compact cassette. but it is automatically pulled out by the transport mechanism of the recorder. Another problem with the compact cassette is that a multi-head (3-head) system has been difficult to use successfully since heads of recorders are put into the very limited space of a cassette. The first picture demonstrates an Elcaset tape being played on a two head machine (like the Sony EL-5). As a result. cross-talk and level changes are also remarkably improved. the tape was guided by a tape guide pin in the cassette itself. and the accuracy of tape travel was very much dependant upon the precision of the cassette shells. This has been an obstacle in achieving high performance with the compact cassette. They show how the tape was actually pulled up outside the shell to come into contact with the heads. In the Elcaset. there is no influence over stability of tape travel by the lack of precision in cassette shells. tape is in a case. These next pictures show the tape path in the Elcaset. Therefore. while the other The Sony Elcaset Page 16 . There was also a pair of "control" tracks running down the middle of the tape. This picture shows the track pattern on the Elcaset. but there was speculation that they could have been used for slide synchronization. separating the two tracks of side one from those of side two. the format died before that ever happened).pictures demonstrate a three head machine (like the Sony EL-7). each side permitting 2-track stereo or monaural recording and playback. Each control track is less than half the width of an elcaset audio track. This means the tape was divided into two halves for side A and side B. or even selection finding in next-generation decks (unfortunately. The Elcaset had the same tape format as the compact cassette. The Sony Elcaset Page 17 . The purpose of the control tracks was never made clear. cueing. Thus. Protectors are opened automatically by the tape deck for threading tape when the Elcaset is inserted and a function button is depressed. When the Elcaset is out of the tape deck. This picture shows how an Elcaset tape was handled and loaded. Here is a close-up of the top of the Elcaset shell which shows the tape protectors. The next two pictures show the hole pattern in the Elcaset shell which indicates the type of tape used. Elcaset tapes required more careful handling than a standard compact cassette. protectors are closed to protect the tape. They also came in three different types: TYPE I had the feature of low noise output (called SLH tape by Sony). and it is fairly exposed. TYPE III was the equivalent to CrO2 tape. TYPE II had the same performance as FeCr tape by Sony. The Elcaset has tape protectors at left and right front ends. Elcaset decks had a tape selector switch which should be set to match the type of tape used. the tape runs along the top of the shell. The Sony Elcaset Page 18 .Elcaset tapes came 60 and 90 minute lengths. Nevertheless. The first picture below indicates where the sliding tabs are located.The Elcaset also had reel stoppers which would lock the rotation of a reel hub to prevent tape from coming loose when the Elcaset is out of the deck. the protection is achieved by sliding tabs. recorded tapes are protected from accidental erasure by removing a tab on the cassette shell. With the compact cassette. This picture shows the location of the notch indicating whether Dolby was used.in both play and record mode. with the Elcaset. And finally.5 cm/s (3 ¾ ips) 6. The stoppers were automatically unlocked by the deck when the Elcaset tape was loaded. ELCASET specifications Tape speed Tape width Time constant The Sony Elcaset 9. Page 19 . But once the tab is removed. the Elcaset decks could automatically sense tapes on which Dolby noise reduction was used in the recording. +70 micro-sec.3 mm (1/4 inch) 3180 micro-sec. By contrast. the cassette cannot be erased or rerecorded without covering the broken slot. Most Elcaset decks could automatically sense the tape leader that existed at both ends of the tape and thereby initiate an automatic shut off . III Dimensions 152 mm x 106 mm x 18 mm Much of the above overview came from the description of the Elcaset format found in the Sony EL-7 owners manual. Click here for the original version of that overview. The Sony Elcaset Page 20 .Reference recording level 185 nwb/m Types of tape TYPE I. II. I think this must have been the low-end model. The Sony EL-5 was a two head deck (the EL-7 had three heads).Elcaset Tape Decks As far as I know. The Sony EL-4. It retailed for US$630. but it seems to be more rare than the EL-5 or EL-7. I have heard of only a couple of people who have one. Sony's top of the line deck. the Elcaset decks that were produced were as follows: Sony EL-7 Sony EL-5 Sony EL-4 Sony EL-D8 Teac AL-700 Technics RS-7500U JVC LD-777 Lo-D D-9000 The Sony EL-7. The Sony Elcaset Page 21 . Like the Sony units.The Sony EL-D8. The Sony Elcaset Page 22 . the only portable Elcaset player/recorder that I'm aware of. some of the AL-700 decks came with wood panels on the side. The Teac AL-700. The picture to the right shows how an external dbx noise reduction adapter could be connected. It may have been the most expensive Elcaset deck .it retailed for US$1100. The Sony Elcaset Page 23 . It retailed for US$650.The Technics RS-7500U. This deck is labeled as the Lo-D D-9000. Another EL-7 clone was apparently put out at the WEGA E-4950. Lo-D is apparently a brand-name used by Hitachi in some markets. or knows anything else about it. It apparently retailed for US$800.The JVC LD-777 .I don't know much about this deck. But this Lo-D deck looks identical to the Sony EL-7. please let me know. The Sony Elcaset Page 24 . If anybody has a picture of one. to the guidance of the tape as it passes over the heads is determined. From Stereo Review October 1976. Thus each cassette is a separate potential source of mechanical (and therefore sonic) variables. you first have to understand some things about the conventional cassette format.) The 1-7/8-ips playing speed is the source of a variety of interrelated technical problems: low overload margin. when compared to the reel-to-reel format. page 71 ALTHOUGH it won't be available until well into 1977. These. the cassette still suffers. and JVC." but in the audio sense it refers not to the container. its parents (Philips of the Netherlands) never thought that it would one day grow up to be a high-quality recording medium. Technics. it originated in Japan. for optimum results. there were frequent references to a "sound-camera" concept. ("Cassette" means. At the time of the cassette's birth a dozen or so years ago. known formally) was intended merely to duplicate the convenience and simplicity of the Brownie box camera. it was not designed in Mexico or in Spain-.Elcaset Articles Here are some random articles about the Elcaset format that I have found buried on the web. and the errors that do occur are. The cassette's subsequent history proves that one can make a sonic silk purse out of a sow's ear-if enough talented engineers are put on the job. not The Sony Elcaset Page 25 . and inadequate high-frequency response. from a variety of inherent technical handicaps. Nonetheless. high-frequency distortion. There is very little margin for error. "little box. and is. THE first of these is that there are just too many mechanical tape functions built into the cassette itself. rather than geographically. and. Other problems: the cassette's size and its single. However. However. it is clear that today's cassette machines work well. and as of the moment it has the support of Sony. it is frequently impossible to tell a duplicated program from a high-quality original. there was for a time some question even about whether the Dolby-B system was "compatible" enough for Philips. through the friction of the feed hubs. The "compact cassette" (as it was. for better or worse. To appreciate where the elcaset is coming from technically. to provide sonic "snapshots" of a quality no higher than the Brownie's visual ones. everything has to be close to the state of the art including the user's recording technique. slow playing speed (1-7/8 ips) are fixed: Philips has been rather rigid in refusing to license any variations on their original patented scheme. from the purist's point of view. when tape of the highest quality is individually and carefully recorded and played back on the best available machine. No.) Everything from the tape-to-head contact. Teac. together with the cassette's narrow tape and track width. but to the tape unit contained. you'll be hearing more and more over the next several months about a new tape format called the elcaset. As I remember the early ads. literally. also make a relatively high hiss level almost inevitable. Akai. (As a matter of fact. by the individual cassette and not by the machine playing it. though not visible. but that it can be edited easily." and full support to prevent skewing and help provide a smooth wind. For example. Almost all users are aware that the compact cassette has knockout tabs on the rear to prevent accidentally re-recording over an already recorded tape. as mentioned above. 7-inch openreel tape operating at 3-3/4 ips will provide 90 minutes per side. An additional. make for a larger (see photo above) cartridges 6 inches wide. Track arrangement on the elcaset is the same as for the compact cassette (two adjacent parallel tracks in each direction). use of a crossfield-bias head becomes feasible. benefit of the elcaset system is that the tape is actually drawn out of its shell during play. at least) a maximum playing time of 45 minutes per side. are not quite that clear-cut. since the back of the tape is now accessible. the projected purpose of the control tracks has not been made explicit. open-reel is still the preferred format for the reasons mentioned above and for several more as well. however. but whether those tapesters who are really concerned about recording quality are also terribly bugged by the several inconveniences of open reel. some cassette manufacturers supply another notch that provides (on some machines) automatic switching to CrO2 bias and equalization. How? First of all. 'The better cassette machines and tapes certainly fulfill the recording needs of the vast majority of home tapesters. As a prerecorded-music format. except that there is also provision for a pair of novel "control" tracks running right down the middle of the tape.800 foot. Each control track is less than half the width of an elcaset audio track. The wider recording track and the faster speed are tremendously helpful in providing greater recording-overload headroom and reducing both distortion and noise level. This means not only that the playing machine handles the tape in much the same way as open reel. precisely controllable tape-to-head "wrap. however. separating the two tracks of side one from those of side two. the elcaset appears to be ideal. The promoters of the elcaset format have it as their intention to profit (in both senses) from the shortcomings of the cassette by combining the convenience of the cassette with the technical advantages of open reel. And. then. The advantages of the elcaset as a homerecording medium. It is clear that the designers of the elcaset have fulfilled their intention to provide in one format both the technical advantages of open reel and the convenience advantages of the cassette. but they could serve for slide synchronization. The same open-reel head configurations-and the same highquality heads that have served with distinction for many years can now be built into a cartridge-format machine. Now it is up to time and the tape consumer to determine whether the elcaset is a The Sony Elcaset Page 26 . by increasing the tape width to 1/4 inch and the tape speed to 3-3/4 ips. or even selection finding if the appropriate sensing electronics are built into the player. And. is not whether the elcaset can match open-reel quality (it is safe to assume it can). As of the moment. Elcaset has these same coding slots and notches plus several more. at the moment the elcaset has a 45-minute maximum playing time per side. a standard 1. but for the purist and the live recordist. 4-1/8 inches deep. There is also accurate tape guidance. It should be far easier for a duplicator to turn out high-quality copies in elcaset form than in cassettes. and 3/4 inch thick-and (for the moment.easily edited out. including one with tabs that are labeled noise reduction. The question. some sort of automatic selection cueing signal could be recorded on the control tracks along with the music on the other four tracks. cueing. In addition. They do. following slow sales. Although the tape was stored in a plastic cartridge. The machines were pulled off the market within a couple of years. the Philips is a half-inch thick. Models actually offered for sale included the JVC LD-777 ($800). versus about four by two and a half inches for the Philips cassette.superbly designed solution to a nonexistent problem or whether it is the format breakthrough the tape world has been waiting for. Sony's Model EL-5. "Basically. the Elcaset seemed to have some appeal for serious home recording enthusiasts. four were used to store two stereo music programs. However. and the Technics RS-7500US ($650). The Elcaset runs at 3 3/4 ips [inches per second]. the other two were control tracks used to store cueing information. How do you feel about it? -Larry Klein The three elcaset units on the cover were introduced at the June Consumer Electronics Show in Chicago (see September cover story). the Philips at 1 7/8 ips. Marantz announced a line of Elcaset recorders. sturdy devices more like professional equipment in construction than most home tape recorders.e. The Sony Elcaset Page 27 . where the precision mechanism pulled it smoothly past the tape heads: "In the new format the tape transport is responsible for accurate movement of the tape past the tape heads. From: Dead Media Project. " [reference two] The Elcaset was a compromise between the all-out performance of an expensive reel-to-reel deck and the convenience of a cartridge format. external Dolby units to achieve slightly better performance. the Sony EL-5 and EL-7 ($630 and $880). tape movement accuracy is controlled by guides built into the cassette. Introduced at a time when ordinary audio cassettes could not meet reel-to-reel performance. Large cassette. The tape is 'pulled' out of the Elcaset and moved between guides built into the transport. when it was inserted in a player a loop of tape was drawn into the workings of the machine. Machines used a form of Dolby noise reduction and some (like the TEAC AL 700) could use optional. Dead Media Note 06. In the Philips system. the machines were more expensive than high-end cassette units ($650-1200) and record companies never offered a catalog of recorded Elcasets. The machines were heavy. Elcaset is a king size cassette [i. but I have not confirmed that they actually were offered. top to bottom." [reference two] The tape was divided into six tracks. and the new machine from Technics. It is three quarters of an inch thick. the Teac prototype.6 Dead Medium: the Elcaset cartridge tape and player The Elcaset was a cartridge tape format introduced by several Japanese electronics firms in the late 1970s for use in high fidelity audio home systems. hence the name] measuring about six by four inches. They are. the TEAC AL-700 ($1100). which has been difficult to attain with the Compact Cassette. This has been an obstacle in achieving high performance with the Compact Cassette. modulation noise. 82. the Compact Cassette of the Philips standard has been widely accepted and has been extended even to use in hi-fi recording as a result of its easy operation and advanced technical development. tape is in a case but it is automatically pulled out by the transport mechanism of the recorder. This ample headroom does make a difference in the reproduction of many recordings. for its high quality sound reproduction. open-reel tape is still strongly supported by music and audio enthusiasts. Therefore. Stable Tape Transport With a conventional Compact Cassette. pages 28.5 cm (3-3/4 ips).3 mm (1/4 inch) wide and driven at a tape speed of 9. Dave Morton IEEE Center for the History of Electrical Engineering Rutgers University d. This means tape is divided into two halves for side A and side B. cross-talk and level changes are also remarkably improved.Sources: Reference 1: Larry Zide.edu From the Sony EL-7 Owners Manual: In the audio market. Wider Dynamic Range The ELCASET tape is 6. "Will the Elcaset Make It. As a result. Another problem with the Compact Cassette is that a multi-head (3-head) system has been difficult to use successfully since heads of recorders are put into the very limited space of a cassette.org dmorton@rci. there is no influence over stability of tape travel by the lack of precision in cassette shells. characteristics such as wow and flutter. In the ELCASET. and the accuracy of tape travel is very much dependent upon the precision of the cassette shells. On the other hand. pages 48.rutgers. each side permitting 2-track stereo or monaural The Sony Elcaset Page 28 . Your "ELCASET" system not only realizes both the convenience of the Compact Cassette and the high sound quality of open-reel tape but also has the following advanced features." High Fidelity's Buying Guide to Tape Systems (1978).morton@ieee. Compatible Tape Track Pattern Between Stereo And Monaural The ELCASET has the same tape format as the Compact Cassette. This results in a more extended frequency and wider dynamic ranges (noticeable in higher audio range) than those of the Compact Cassette. the tape is guided by a tape guide pin in the cassette itself.30 Reference 2: "Elcaset" Hi-Fi/Stereo Buyers Guide volume 13 (January/February 1978). This is because the tape deck senses the leader-tape portion and activates the automatic shutoff mechanism. This track pattern assignment makes possible stereo and monaural between them. III 152 X 106 X 18 mm From: alt. match the tape selector on the tape recorder with the type of tape used. In the ELCASET. Types of Tape There are three different types of tape for the ELCASET which are indicated on the labels. When the ELCASET is out of your recorder. The reel lock is automatically unlocked by your recorder when the ELCASET is loaded. Reel Lock Device Reel lock device is also provided in the ELCASET to lock rotation of a reel hub to prevent tape from coming loose when the ELCASET is carried. Automatic shut-off with ELCASET leader tape at tape-end The ELCASET has leader tapes at both ends of the tape. Lids For Tape Protection The ELCASET has lids at left and right front ends. The lids are opened automatically by the tape deck for threading tape when the ELCASET is inserted and a function button is depressed. tape motion automatically stops at end of tape for any operating mode. the cassette cannot be erased or re-recorded without covering the broken slot. 185 nwb/m TYPE I. The four-track tape width in the ELCASET is almost twice that of the Compact Cassette and nearly equal to the four-track open-reel tapes. The Sony Elcaset Page 29 . Erasure-Proof Tabs In the Compact Cassette. recorded tapes are protected from accidental erasure by removing a tab in a cassette.7 http://www. But once the tab is removed. ELCASET Specifications Tape speed Tape width Time constant Reference recording level Types of tape Dimensions 9. TAPE III will be for the tape equivalent to CrO2 type.+70 micro-sec. the protection is achieved by sliding tabs. This also attains excellent S/N figures open-reel tapes are able to obtain.3 mm (1/4 inch) 3180 micro-sec.com/faq. lids are closed to protect the tape. When the ELCASET is used on the tape recorder having the photoelectric method. TYPE II has the same performance as FeCr tape by Sony.5 cm/s (3-3/4 ips) 6. One is called TYPE I which has the feature of low noise output (called SLH tape by Sony). II.recording and playback.html#19.collecting.8trackheaven.8-track-tapes FAQ version 1. For optimum recording and playback results. the Compact Cassette (CC) was already there and rolling up the market. They had a variety of equipment available. There was a feature planned to adapt the ELCASET on a standard reel-to-reel machine. operational. Peter H.and shared the 8-track fate. It might have been a good idea . but couldn't find one.5 cm/s which 8-tracks use.about 1979 in a HiFi-studio in Bielefeld. working and for sale but in those days I weren't interested. But: they failed. I'm searching the fleamarkets around my home-town for years now. Their intention: easy handling (like the cassette) and wide-range audio features (like reel-to-reel). home-desks and portables.but wasn't. where the home machines had about the size and look of standard front-loaded CC-recorders. The first units were presented in SONYs 1973 catalogue and last mentioned in that of 1975.it is neither an 8-track nor has it the advantage of 'endless playing' but it fits into that time . saving costs (they use the same tape like 8-tracks and reels). It was too late . WHAT WERE ELCASETS? Well . In the early 70's Sony decided to roam the market with their brand new development: the ELCASET. They combined standard-1/4-Inch tape-material with a Philips-like mechanism operating at the same speed of 9. for example for studio works.de> The Sony Elcaset Page 30 . Wendt <phw@compunet. I don't know any private person who ever bought or used one.19. At least I saw one . The Sony Elcaset Page 31 . in some cases. EL-5 or EL-7). However. It appears that the EL-7 came in both silver and black. Some units came with wood side panels (actually they are particle board with a vinyl woodgrain laminate). and replacing the long screws after removing the panels can severely damage the unit. It retailed for US$880. you must be careful if you want to do this. The side screws used in the units with the panels are longer than those used on units without. the silver was apparently much more common. So be sure to shorten the screws before replacing them. The wood panels are removable and are interchangeable among any Sony Elcaset unit (EL-4. Just remove the two screws from each side of the unit. removing them can. Since the wood panels are more prone to visible damage than the metal parts of the unit.Sony EL-7 The Sony EL-7 was Sony's top of the line model. and then pull them away from the sides. slide the panels back about 2 centimeters. Based on the units I have seen. make the unit look better. LOCATION AND FUNCTION OF CONTROLS (From the EL-7 Owner's Manual. pages 4-5) The Sony Elcaset Page 32 . ) or when recording with a microphone close to the source without overloading recorder amplifier. Noise reduction system manufactured under license from Dolby Laboratories Inc. (9) LINE IN (STEREO) jack Use this stereo binaural jack as an auxiliary input for recording from another tape recorder or tuner. Be sure to set the switch to the OFF position when the timer is not used. Record button--To start recording. depress this button. (6) FUNCTION buttons Rewind button--Depress this button for rewinding the tape. While recording this tone. (See "Recording Dolby encoded FM broadcasts" on page 10. depress this button. Also. Otherwise. a plug adapter for converting to phone plug is required. The volume can be adjusted with the PHONES LEVEL control.) ON: For recording and playback with Dolby NR process.) (7)DOLBY NR switch* FM: Use this position only when recording Dolby encoded FM broadcasts. depress it again. (10) MPX FILTER switch Set this switch to the ON position only when recording FM stereo programs with Dolby NR process and Dolby encoded FM programs. To restart. etc. When a tape is fully wound in any operating mode. It cannot be depressed when the tape is in any operating mode. or will replay from rewind with the switch set at START position. for playback. The switches have no effect upon the playback. the motor will stop automatically. (5) HEADPHONES jack This jack accepts 8 . Pause button--To momentarily pause during recording or playback. *"Dolby" and the double-D symbol are trademarks of Dolby Laboratories Inc. When recording other programs. (See "Recording" on page 8. the tape motion stops from rewind mode with the switch set at STOP position. Forward button--Depress this button for playing back the tape. OFF: For non-Dolby NR processed recording and playback. The type is indicated on the label of the ELCASET.(1) POWER switch This turns the power on or off. depress the reset button (000). use this button for smooth start of recording. (8) EJECT button Depress this button to open the cassette holder lid. depress this button and the red button simultaneously. Stop button--To stop the tape motion. CAL: At this position. with the TIMER switch set at REC position. The VU meters will light when the unit is turned on. (2) TIMER switch This permits automatic recording or playback at any desired time by using a commercially available timer. set the switch to the PLAY position. the previously recorded material will be erased if the power is turned on. you can only record through this jack. For recording. set the EQ (for the correct equalization characteristics) and BIAS (for the optimum bias current) switches correctly according to the type of tape to be used. TYPE I for Sony SLH tape TYPE II for Sony FeCr tape TYPE III for CrO2 type of tape (13) MIC ATT (attenuation) switch This switch is useful for recording a large input signal on location (rock music. or to listen to playback of recorded material. For recording. Fast-forward button--Depress this button for fast winding of the tape. depress this button and the red button simultaneously. set the switch to the OFF position. (3) MEMORY switch When the cassette is rewound to "000" of the tape counter (actually "999" in order to avoid cutting off the starting point of the tape). etc. Set the switch to "l5" or "30" when the pointers of the The Sony Elcaset Page 33 . the tape sensitivity can be adjusted by setting the CAL controls so that the VU meters read "O (CAL)". Note the counter number for later reference. If your microphone is equipped with a mini plug. This switch is inoperative in playback mode. (11) MIC jacks Any high-quality low-impedance microphone equipped with a phone plug may be used. a fixed 400 Hz calibration tone is produced by the oscillator. set the switch to the REC position (the red lamp will light up). (12) TAPE SELECT switches On recording. set the switch to the ON position. The figures on the tape counter change as the tape passes. (4) TAPE counter and reset button At the start of recording. It also eliminates having to set the REC LEVEL and REC MASTER controls too far downward.32 ohm headphones to monitor the input signals being recorded. If the LINE IN jacks on the rear panel are engaged at the same time. For playback. 25. When set to the TAPE position. (15) REC LEVEL controls These controls adjust the record level.000 Hz ±3 dB 0. the meters indicate the input level while recording. (16) MONITOR selector For playback.27. Specifications for the Sony EL-7 (From the EL-7 Owner's Manual.68 dB) for low impedance microphone Line inputs (stereo binaural jack) = 1. (17) REC MASTER control and PRESET knob This control adjusts the record level of both right and left channels simultaneously.5 cm/s (3 3/4 ips) Approx. At "O" position. the input signal is completely reduced. The LINE controls adjust the level from the LINE IN jacks on either the front or rear panel. and the record level cannot be adjusted with this control. and at "30" position.VU meters swing repeatedly over the 0 VU position even if the REC LEVEL and REC MASTER controls are set at a low level position. (14) PHONES LEVEL control This control adjusts the output level of headphones. When the REC LEVEL controls are set at "O" position.000 Hz ±3 dB With Type I ELCASET (SLH) 15 . set it to SOURCE. set the selector to TAPE.775V (OdB) at load impedance 100kohms with Total harmonic distortion Frequency response Wow and flutter Inputs Outputs The Sony Elcaset Page 34 . see "Record level adjustment" on page 8. the input level is attenuated by one fifth (15 dB).20. and the record level cannot be adjusted with MIC or LINE controls. 60 seconds (by LC-60) 4-track 2-channel stereo 160 kHz DOLBY NR OFF with Type II ELCASET (FeCr) 62 dB at peak level With Type I ELCASET (SLH) 59 dB at peak level DOLBY NR ON Improved by 5 dB at 1kHz. page 14) Power requirements Power consumption Tape speed Fast forward and rewind time Recording system Bias frequency Signal-to-noise ratio 120 V ac. the input signal is completely reduced. At "15" position. (18) RECORD indicating lamp This lamp will illuminate when the recorder is engaged in record mode. The MIC controls adjust the record level from the microphones. and for record level adjustment.22. When the REC MASTER control is set at "O" position.8% DOLBY NR OFF with Type II ELCASET (FeCr) 15 . 3 mV (. 60 Hz 43W 9. (19) VU meters With the MONITOR selector set to SOURCE. (phono jacks) = 2 sensitivity 0. the sound can be heard slightly.000 Hz 25 . l0 dB above 5kHz 0.095V (-18dB) input impedance 100k ohms Line outputs (phono jacks) = 2 output level 0.04% WRMS Microphone inputs (phone jacks) = 2 sensitivity 0. the meters indicate recorded level being played back or monitor the level while recording. The inner knob is for the right channel and the outer for the left channel. by one-thirtieth (3O dB). For correct record level setting.000 Hz 25 . Do not install the unit in a location near heat sources such as radiators or air ducts. 13. Never pull the cord itself. unplug the unit and have it checked by qualified personnel before operating it any further. For details. pull it out by the plug. or in a place subject to direct sunlight. use the supplied tape driver and take up the slack of the tape to prevent it from becoming entangled around the capstan. page 3) On safety Before operating. On installation Good air circulation is essential to prevent internal heat buildup in the unit. excessive dust or mechanical vibration. To disconnect the cord. Dirty heads and tape path cause: Loss of high frequency response Loss of sound volume Sound drop-out. etc. Unplug the unit from the wall outlet if it is not to be used for an extended period of time. Headphone output 1 suitable load impedance 8-32 ohms Approx. Suitable load impedance more than 10k ohms. Place the unit in a location with adequate air circulation. On ELCASET Before inserting the ELCASET.5 kg (29 lbs. The tape deck is designed for vertical operation only. 460 x 170 x 320 mm (w/h/d) (18-1/8 x 6-3/4X 12-5/8 inches) Including projecting parts and controls Approx. see "Maintenance" on page 12. Cleaning should be done after every 10 hours of operation. 13 oz) Connecting cord RK-74H (2) Tape winder rod (1) Head cleaning tips (1 set) PRECAUTIONS (From the EL-7 Owner's Manual. For more information on the ELCASET. be sure the operating voltage of your unit is identical with that of your local power supply. On head cleaning The best performance of your tape deck depends on your periodic cleaning of the heads and all surfaces over which the tape travels.Dimensions Weight Supplied accessories LEVEL ADJUST control turned fully clockwise. Avoid touching the tape surface or pulling it out of the tape housing. The Sony Elcaset Page 35 . Hold the ELCASET and face the tape surface up when inserting it in the tape deck. see pages 13 and 14. Should any liquid or solid object fall into the cabinet. This switch should only be placed to REC or PLAY for timer-activated operation. SWITCHED 200 W: AC power is supplied only when the tape deck POWER switch is set to ON. The control does not correspond to the VU meters. do not change the volume control of the amplifier. The red plug of the supplied connecting cord should be connected to the right channel and gray plug to the left channel LEVEL ADJUST control The output level of the tape deck phono jacks can be set to correspond accurately to the output level of other sources connected to the amplifier. While adjusting. the output level is rated 0.Other important points to remember Before depressing the POWER switch. check to see that the TIMER switch is set at off. CONNECTIONS (From the EL-7 Owner's Manual. See "Recording Dolby encoded FM broadcasts" on page 10. Turn down the REC LEVEL controls not being used while recording. thus allowing an interspace between the recordings. At the position turned fully clockwise. Maximum consumption is 200W. The EJECT button cannot be depressed while the tape is in operating mode. Loose connections may cause hum and noise. The RM-30 features "record muting"* as well as remote control operation. Insert the plugs completely into jacks. AC OUTLET Use for the AC power supply of other audio components. The Sony Elcaset Page 36 . We recommend that you use either FM or Phono mode as a reference point.775 V (0 dB). FM CAL controls When recording Dolby encoded FM broadcasts. Gently close the lid of the ELCASET holder to its locked position to protect the tape from damage. REMOTE CONTROL connector Plug the Sony RM-30 Remote Control unit (optional) in this connector. pages 6-7) Be sure the amplifier is turned off while making connections. Place it to CAL only for Calibration Level adjustments and to ON or OFF for Dolby or non-Dolby NR recording. set the record level with these controls. Never misplace the DOLBY NR switch. * A device which is beneficial to short-circuit unwanted program sources such as broadcasting commercials. Read the RM-30 instruction manual before operating it with the tape deck. If the problem persists after you have made these checks. The amplifier controls and switches should be set correctly. The Sony Elcaset Page 37 . page 12) Cleaning of heads and tape path Generally. This is to remove tape slack when put in the tape deck. The PAUSE button is depressed. The ELCASET holder is not closed fully Recording of playback begins as soon as the POWER switch is ON. Heads. Before going through the check list below. consult your nearest Superscope Service Centers. However. FUNCTIONS BUTTONS AND TAPE PATH The EJECT button cannot be depressed. Maximum consumption is 300 W. capstans and pinch rollers should be cleaned. page 16) The following chart will help correct most problems which may occur with the unit.UNSWITCHED 300 W: This outlet is not controlled by the tape deck POWER switch. cleaning after every 10 hours of operation will be sufficient. all surfaces over which tape travels TROUBLE CHECKS (From the EL-7 Owner's Manual. Connection to the amplifier must also be firm. first pay attention to the following fundamental points. Tape does not move even when function buttons are depressed. This button is inoperative while tape is running or the PAUSE button is depressed. The power cord must be connected firmly. The TIMER switch is misplaced at either REC or PLAY. Cassette hubs turn a bit after the POWER switch is ON. MAINTENANCE (From EL-7 Owner's Manual. (See page 13. Contamination of the heads. Recording level drops when switching the MONITOR selector from SOURCE to TAPE. Push the desired function buttons approximately two seconds after the POSER switch is ON.) Too much wow or flutter.Automatic shut-off mechanism does not work.) Recording level is too high.) No playback or decrease of sound reproduction. The LEVEL ADJUST control in the rear panel is turned down. (See page 12. CAL level is too high. Erasure-proof tabs in the ELCASET are slid down. Contamination of the erase head. VU meters do not swing. CAL level is too low. The REC MASTER control of REC LEVEL controls are turned down to "0".) Contamination of the heads. Contamination of capstans or pinch rollers. The guide-pole lamp is dirty. Insufficient erasure. or drop-outs. though the function buttons are depressed. (See "Calibration level adjustment" on page 10. RECORDING OR PLAYBACK No recording or decrease of sound level. Distorted sound.) The MIC ATT switch is set to either "15" or "30" when recording from microphones. Recording cannot be made from LINE IN jacks on the rear panel. The Sony Elcaset Page 38 . (See "Calibration level adjustment" on page 10.) Tape does not move after the POWER switch is ON. The LINE IN jack (phone type) on the front panel is connected. When less than this time interval is taken. The MONITOR selector is set at SOURCE. logic-controlled function buttons do not work. (See "Maintenance" on page 12. (See "Maintenance" on page 12. adjust the tone on the amplifier in playback. though the recorder is in memory counter operation. The tape counter is reset to "000" at the leader-tape portion. HOWLING OR HUM NOISE Oscillation occurs when trying to record from the amplifier. (See "Memory counter operation" on page 11. Tape stops before the tape counter reads "000". and the non-Dolby NR processed tape at the OFF position. Magnetic build-up on the heads. The tape deck is stacked just on or below the amplifier. The TAPE SELECT switches should be in the same position in both record and playback modes.) Sound comes out a few seconds after the poser switch is ON. The microphone is too near the loud-speakers. The Dolby NR switch is set at CAL position. Hum noise.Increase of noise or erasure of high frequencies. and is not abnormal operation. Recording sources cannot be monitored in the playback mode. Oscillation occurs when trying to record from microphones. when setting the MONITOR selector to SOURCE. The Dolby NR processed tape should be played back with the DOLBY NR switch at the ON position. The Sony Elcaset Page 39 . If recorded in the wrong position. This occurs because muting circuit is provided to avoid any annoying "thump" noise. change the amplifier input selector to another position. Keep the microphone away from them or reduce the amplifier volume. If the LINE OUT jacks of the tape deck are connected to the amplifier AUX jacks and these are switched on. Unbalanced tone in higher frequency range.