Best Portable Cassette Tape Recorders

EscapeVelo

Charleston, SC
Trying to build a list of the better portables.

Sony TC-152SD

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Sony TC-153SD

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Sony TC-164SD

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Sony TC-D5 / D5M / D5Pro / D5 Pro II

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Sony WM-D6 / WM-D6C

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Sony WM-D3

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JVC KD-2

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JVC KD-1635 MKII / 1636 MKII

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Technics RS-686DS Alternative Specs

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Technic RS-646DS

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Marantz PMD 430 3 Head / 420 2 Head dbx

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Marantz PMD 360

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Marantz CD 320

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Superscope CD-330

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Nakamichi 550

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I have a Marantz PMD-430 (recently restored by Superscope), and am very happy with it. Most of the other Marantz portables were only mono, and while well built were more for speech (radio news, court proceedings, etc) than music.
 
The Sony WM-6 and WM-6C plus the WM-D3 are kind of fragile compared to some of these other units, though much smaller.

I used to have a WM-6C and have used a WM-D3.
 
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There was a Panasonic about the size of the Sony WM-D6 or WM-D3 that was good for clandestine bootlegging, as it allowed you to precisely set the microphone level with a wheel knob. The RQ-7 or some such. The problem with most of the small walkman type recorders is that they used auto level circuitry for use as voice recorders or at best a few had a hi-lo switch for the microphone.
 
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The Nakamichi 550, Sony D-5 series, and the Marantz PMD 420/430 plus the Sony WM-D6 and WM-D3 were the most popular recorders at jamband concerts...until the Sony DAT machines came on the scene. Then Sony's mini-disc format arrived and portable mini-discs were also used.
 
I have a Sony TC-152SD that I bought at a flea market for $15. It needs new belts and the Dolby circuit board is cracked. I plan on getting it repaired when I have the time.

I used to own a Sony WM-D3 and a Marantz PMD 360 which looks like the Superscope CS 330. Wish I still have them.
 
Thanks! Ill put the Marantz PMD 360 in the OP.

Im sure Im missing some others as well.

I found a Philips and added it.
 
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If you say '"the best" then there is only one, the Nagra Kudelski (like the IV S model below, or one of the other Nagra Models), IMHO... :D

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One cool thing about the Marantz PMD 430 is that it has dbx circuitry.

The UHERs have sideways car stereo style cassette loading mechanisms.
 
I have a Superscope CD-320, the the 2-head brother of the 3-head Superscope CD-330 (I suspect th OP's "Superscope CS-330" is a typo). I bought it new in the 80's. The tape does not move. I suspect it needs new belts.

The Superscope CD-320 is nice little machine- most of my vintage home recording were made on this baby. It's stereo and has Dolby Noise Reduction, Tape Select Switch with separate EQ & Bias Selection, L & R MIC inputs, and a cool analog dual VU meter.

The Superscope CD-330 is very similar, but it has 3 heads and a Tape/Source Switch.

I just found the Owner's and Service Manuals online for free. :D
 
I also have the Aiwa HS-J470 Radio-Cassette recorder “Walkman” with Aiwa HP-M16 headphones and a Aiwa stereo MIC. It still works great. It's a nice portable with Doby Noise Reduction on playback only.
 
I've owned & used the Sony TCD5 & Marantz PMD430, no complaints about either but I think I miss the Marantz more overall.

I also still have an Aiwa HS-J08, an auto-reverse recording Walkman with remote control, metal tape compatibility & internal/external mic options.

je
 
There is also the Nakamichi 350 and 250, no frills, just high quality where it counts. The 350 had one small vu meter and 2 heads. The 250 had 1 head and no vu meter and did not record. The 350 was very useable.

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Nakamichi 350

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I've owned & used the Sony TCD5 & Marantz PMD430, no complaints about either but I think I miss the Marantz more overall.

I also still have an Aiwa HS-J08, an auto-reverse recording Walkman with remote control, metal tape compatibility & internal/external mic options.

je

What was it you liked about the Marantz PMD430 more than the Sony TCD5?

The Marantz has more wow & flutter than the Sony.
 
What was it you liked about the Marantz PMD430 more than the Sony TCD5?

The Marantz has more wow & flutter than the Sony.

I really can't say what it was, this was many years ago- I just grabbed the Marantz when I had the choice...I'd often record one channel off the board & one channel with a room mic near the board, so maybe the Marantz offered that option (line + mic inputs at the same time) where the Sony didn't? I don't actually remember, but I do recall passing the Sony if I had the option. This was early on when I was running sound for bands & theater shows, and didn't have a rack-mounted cassette deck.

je
 
Some honorable mentions...

Sony TCS-300 (pictured) and TCS-310 Bias and EQ set for FeCr tapes only on record.

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Sony WM-R2

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Sony WM W800 Double Cassette

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Sony WM DD2

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Sony WM DD
Sony WM DDI


Play Only


Sony WM DC2
Sony WM DD100 Boodo Khan
Sony WM 5
Sony WM DD9

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Information on Sony DD series


WM-DD itself was a replacement for the WM-2, but has a disc drive, capstan servo mechanism. Wow & Flutter is 0.08%WRMS, frequency response is 40-12kHz (15kHz with type IV tape). Headphone amp output is 20+20mW.

The DDII adds Dolby B NR but doesn't come with any headphone. The WM-D3 is also a derivative based on the WM-DD's mechanism (same wow&flutter, amp output) even though you can't see the discs when you open it. The DC2 is playback-only, also uses the same mechanism (0.07% wow & flutter) and amorphous head.

Yeah, even Sony employs disc drive in its DD series, they still require two huge short belts to drive the entire mechanism... but those belts are more reliable as opposed to the thin long ones used in the conventional single motor drive system... The disc drive quartz locking capstan servo mechanism provides more accurate speed in tape playback... otherwise I don't know any other reason (probably reliability I mentioned earlier)...

Your best bet is to find a machine made on or after 1988 as most of those players use the more capable amorphous EX head, which is laser cut with 20-18,000Hz freq. response range (with the exception of the DD9 which can go upto 19,000Hz if I remember correctly with its Advanced Amorphous EX head, probably 9 micron gap)... the gap between the tape and the head is something like 10 microns for these EX heads. Aiwa also had this technology by the early 90s namly the amorphous HX head also with a 10 micron gap... Don't know about Panasonic, but generally the term "high-end" is not associated with their Mi-Jockey tape players. edit: Panasonic employs 12 micron gap in their heads... I got these info from Tina of head-fi.

Well, since we are picking nits here, D6C and the entire DD range of walkmans are NOT direct drive per-se. Direct drive system applies to capstan servo motor where the rotor's shaft is essentially the capstan shaft. In home cassette decks this is possible because a deck with directly driven capstan has several motors so one of those can be exclusively used specifically for capstan. This is not possible in the DD range for two reasons:

1) At the time the DD series was developed (Sony WM-DD in 1981), it was basically a derivative on the Sony WM-2 mechanism (belt drive). At that time there were no dual-rotor motors that worked on the basis of electromagnetic induction so the motors were larger. They had to be fitted in a way that the rotor's shaft was perpendicular to the axis of the capstan. If it was a true direct drive, the walkman would be at least 50mm thick and it would be necessary to have multiple motors which would certainly prove nearly impossible (though Sony WM-7 had 3 motors in fact but still belt driven)

2) If the motor's rotor shaft is indeed the capstan shaft, then there can't be any reduction system used that would share some of the momentum with different functions of the deck. In other words, it can only be used for that purpose if precision is to be expected. Any change in the rotational speed would be instantly noticeable in the sound not to mention that the motor would have to be frequency controlled.

However, all of this is academic because it doesn't touch the real nature why Sony chose a disc-driven capstan. In a conventional belt system, inertial forces of the capstan flywheel something that has to be dealt with. Not very complicated in a static system but in a dynamic system where movement of the unit causes significant forces (both translational and rotational) serious problems with regards to speed stability can arise. This is why Sony decided to replace the capstan flywheel with a disc. Disc is in the direct contact with the motor and rather than having flexible material which by means of axial forces (in the direction of the belt) pulls the wheel, you have the motor moment (or rather the moment of it's reduction gear). It's a basic mechanics principle where two forces of opposite directions (aka the belt forces) at a certain distance (aka the diameter of the flywheel) is replaced with one momentum that acts in a single point. If not entirely eliminated, inertial forces are minimized this way and as a result, speed stability remains the same under all conditions. So, if not really a direct drive, it is as close as it can be in a package of this size.
 
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Toshiba KT-R1 Record (R2, R3, R4)
Toshiba KT-S1 Playback (S2, S3, S4)

Akai PM-R1 Record
Akai PM-01 Playback

Hitachi CP-88R

KLH Solo S100
KLH Solo S200

Infinity Intimate RS-002
 
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