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What is stereo?




There are now two system of high fidelity, monophonic (monaural) and stereophonic. Monophonic is a system that starts from one microphone and is fed through a single high fidelity set. Stereophonic is a double system. Two separate microphones are placed at different sides of the orchestra and two different systems are used to keep the two signals or channels separated. Two separate speakers are used, placed on different sides of you room. Stereo is much like 3-D photography, two slightly different sound reach your ears giving you a new dimension in sound.




H.H. Scott '59





Nakamichi 580 cassette tape deck

The Crystalloy SuperHead

The 580 uses the record/play SuperHead, originally introduced on the 600 II Cassette Console. The latest version of this head boasts an incredibly narrow 0,9 micron gap. This is narrower than most playback-only heads in three-head designs, and it assures distortion-free playback of the highest frequencies. Yet, during record, the amazing SuperHead magnetizes the tape as if it has a much wider gap, thanks to proprietary manufacturing techniques that virtually eliminate head core saturation. The prof. Is in the 580's remarkable frequency response, there are many three-head cassette decks on the market that cannot come close to matching this performance. The magnetic properties of Crystalloy, furthermore, are far closer to ideal than anything else currently available, including sendust to none, which means distortion is very low. And thanks to special surface "cutouts", the SuperHead lasts a long time. 

 


 

The Direct Flux Erase Head

Mast manufacturers would be very satisfied indeed with a unique device lke the record/play SuperHead. But Nakamichi's in-depth research has shown that even the best of record/play heads can be further improved by providing more complete erasure than normally available. Any noise left on the tape before it reaches the record head can be detrimental to sound quality. The noise is "modulated" by the record head signal, and the recording is thus robbed of clarity. This has been a much neglected area because most designers assume that all an erase head needs do is bring the previously recorded signal down to the level of tape hiss. But in our tests, we found that recordings made on "virgin" or bulk-erased tape sounded better and had less modulation noise than a recording made on normally erased tape. The implication was clear; an erase head should ideally do the same thing as a powerful bulk-eraser.

 


Specifications

Tape Speed:  4,8 cm/s (1-7/8 ips) ±1%

Wow and Flutter:  less than 0,1% WTD Peak 0,05% WTD rms

Frequency Response:  20 - 20,000 Hz ±3 dB (SX, EXII Tapes, -20 dB Rec. Level)

Signal-to-Noise Ratio:  better than 60 dB at 400 Hz, 0 dB, IHF-A WTD rms (Dolby  NR In. SX Tape) better than 63 dB at 400 Hz, 0 dB (SX, EXII Tapes

Total Harmonic Distortion :  less than 1,5% at 400 Hz, 0 dB (SX, EXII Tapes)

Erasure:  better than 60 dB below saturation level at 1 kHz

Separation:  better than 37 dB at 1 kHz, 0 dB

Crosstalk:  better than 60 dB at 1 kHz, 0 dB

Bias Frequency:  105 kHz

Input Sensitivity/Impedance:  50 mV/50 k

Output Level/Impedance:  1 V (400 Hz, 0 dB, (at Max.)/3,3 k

Headphone:  45 mW

Power Requirements:  100, 120, 120/220  - 240 or 240 V, 50/60 Hz

Power Consumption:  20 W max.

Dimensions (W x H x D):  500 x 130 x 350 mm (19-11/16" x 5-1/8" x 13-25/32")

Weight:  8,3 kg (18 lb 5 oz)