Þ Audio Magazine, November 1972

Þ High Fidelity, November 1972

Þ Stereo Review, August 1972

Þ Rolling Stone Magazine, October 12, 1972

Þ HiFi Buyer's Guide, Fall 1972

Copyright, 1972
by North American Publishing Co.
Reprinted by permission from the November 1972 AUDIO MAGAZINE

Whatever we said about the original Revox A77 in October, 1968, could well be repeated here, except that this model is better-being Dolby equipped. There are a few minor differences in appearance and a few in the mechanism itself. The upper portion of the unit-behind the tape reels-now has a stainless steel front over the plastic main panel, whereas the original was dark gray plastic. The lower portion of the first model was brushed stainless steel, while the, current model has a dark gray plastic panel. There are two toggle switches below the controls-the one on the left switches the Dolby circuit in or out in both record and play modes, and the one at the right switches in or out a filter to eliminate interference from stereo multiplex circuitry.
The original machine had a pair of push-push switches to cut off power to the spooling motors and to disconnect the input to the power amplifiers (when included). These have been eliminated and in their place are the two Dolby calibration controls. The monitor-selector switch formerly had three positions for INPUT, tape (NAB) and tape (IEC). The IEC position has been replaced by a CAL position which turns on the calibration oscillator for the Dolby circuitry and enables the adjustment of the proper levels for correct Dolby operation.
The solid tape guide post has been replaced by a springloaded guide post to further eliminate flutter due to varying tape tension in the feed reel, and the left tape guide-formerly a solidly fixed non-rolling roller-is now actually a roller. The right tape guide is still fixed.
The space provided in the earlier model for plugging in the two output amplifiers is now occupied by the Dolby processors, so the unit can not be used to drive speakers, and of course, the cut-off switch is not needed. Brake tension has been reduced to permit editing while the machine is in the stopped position.
But enough of this comparison with the older machine most readers will not have access to the October, 1968 issue, so it is desirable to start from scratch in describing - the machine.
Transport operation is controlled by five pushbuttons at the left side of the control panel-FAST REWIND, FAST FORWARD, PLAY, STOP, and RECORD, the latter a red button which must be depressed at the same time as the PLAY button to put the machine into the record mode. Below these are two controls combined with concentric switches. The left knob controls playback level, the right one the balance. The left switch, actuated by a clear plastic disc at the base of the knob, has four positions - STEREO, CH I, CH II, and MONO. The right switch is marked TAPE, INPUT, and CAL
At the right are the two VU meters, flanked by two red push-push switch buttons to select the channel to be recorded, and below the meters are two more knob/switch combinations. The knobs control the recording levels for the two channels while the five-position switches select the source-two impedances for microphones, radio, auxiliary, and a cross-feed position for introducing echo or for sound-on-sound recording. To the far right is a switch operated by a bar knob to control power and speed, with two positions for each speed to compensate for different reel sizes. Above this switch is a power-on pilot light, not actually necessary since the meters are illuminated continuously when power is on, with a red light in the meter scale to indicate the channel(s) recording.
Between the two sets of controls are three phone jacks-one for headphone monitoring with conventional (but high impedance) phones, and the other two for microphones for the two channels. Above the control panel is the tape-path shield-a plastic strip which swings down out of the way for threading. The reel turntables are at the upper part of the front panel, with spring-loaded sleeves which hold the reels in place on the splined spindles. Between the reels is a 4-digit counter, which resets by a pushbutton.
Along the top at the rear are the connectors for inputs and outputs-a 10-terminal DIN socket for the remote control, with its dummy plug, two holes where the speaker jacks were in the original model, a pair of phono receptacles for AUX inputs, another pair for microphone inputs, (duplicating the phone jacks on the front panel), a 5-terminal DIN socket for RADIO input and output for direct connection to many amplifiers and receivers, and another pair of phono receptacles for outputs. These are followed by a receptacle for the power cord.
The unit is constructed on two cast end trusses which provide a remarkable solidity to the chassis. The several modular plug-in boards are secured along the lower part of the rear with all adjustable controls accessible from the bottom through a cover plate in which all the holes are punched for access, but covered by a paper on which the controls are labeled. The playback modules each have two adjustments-one for output level, and one for the bias trap. The record amplifiers each have five adjustable controls-equalizations for the two speeds, level, meter calibration, and bias trap. The oscillator module has four adjustments-bias for the two speeds on channel I, and the same for channel II.
Above the electronics modules is the relay panel on which are located the three relays which control tape motion. The capstan motor is further to the left (viewed from the rear), and the Dolby processing circuit boards are at the left of the motor. Above are the two spooling motors and the brake System, and between them is the power transformer and the regulating panel. One additional relay is located on the module which contains the dummy load that replaces unused heads to maintain a proper load on the oscillator when recording on only one channel. The Dolby processing circuit boards apparently have no servicing adjustments.

The tape is threaded over the spring-loaded post and under the guide roller, then between a light and a lightdependent resistor. When the tape is in place, the light is shaded from the LDR and operation is normal. When the end of the tape is reached, the light energizes the cell and that acts on a two-transistor circuit which opens the holding circuit for any relay that happens to be energized. The complete relay circuit is rather complicated, but well protected against noise getting into the signal circuits (from making or breaking contacts) by numerous diodes.
The record switching makes it possible to mix two inputs onto one channel in mono, or to record on either channel alone, or on both in stereo. In addition, the output from one channel may be fed to the input of the other for sound-on-sound recording or for echo effects if desired, The output switching provides for the output of either track onto both outputs, or of both tracks onto both outputs (mono), or with the two tracks separate, for stereo. The machine is thus exceptionally flexible in operation and all controlled from the front panel.
The electronic speed control for the capstan motor employs nine Transistors. The last stage - a power type - varies its shunting effect across a bridge rectifier in the a.c. line feeding the motor depending on the frequency of a signal picked up by a Tachometer head (similar to a recording head) which ."reads" the frequency of a series of notches milled into the external rotor of the capstan motor. This frequency is 1600 Hz at 71/2 ips (800 at 33/4) and feeds a discriminator controlling the power transistor, which varies the motor voltage from about 60 to 100, and thus acts to maintain exact speed by this very fast-acting servo Arrangement. (It requires one and a half pages in the service manual, together with three small diagrams and a two-page full schematic, to describe the operation of the motor control circuitry. Suffice that it does work, and that the motor voltage can be traversed between 0 and 130 volts with only a 3-Hz change in the 1600-Hz Tachometer frequency. Line-voltage variations of 20 per cent will cause a speed change of less than
0.04 per cent, and changing the supply frequency from 60 to 50 Hz will cause a motor-speed change of less than 0.05 per cent.
The spooling motors operate on 55 volts in the large-reel position of the power switch, and on 42 volts in the small reel position. (The feed reel actually operates on 6 volts less than those values.) Both operate on 105 volts in the fast-wind positions.

The average recorder user knows little and cares less about the "innards" of his machine, but this more or less detailed description of the Revox is given to show the reader the precision with which the machine has been engineered and built. But still, perfection in design and construction must be reflected in performance or the user will not be satisfied with his purchase.
As we said about the original A77, it was one of the finest machines we had ever encountered. We could also say that about the Dolby B model. We ran a number of frequencyresponse curves on the machine at levels from 8 dB below indicated "0" to 40 dB below. (It is standard practice to run frequency response curves at least 20 dB below the indicated 0 to avoid overloading at the frequency peak of the recording equalization.) This variation was done to determine how the Dolby system functioned. At none of these levels did the deviation from "flat" exceed the specifications - a remarkable feat, in our opinion. With the Dolby and filter switches off, the response at 71/2 ips was within
1.5 dB from 20 to 20,000 Hz at the -20 recording level. At -8, there was a definite rolloff above 15,000 Hz, but only to 5 dB at 20 kHz. With Dolby and filter switches in, response was equally flat at -20 except for a rolloff above 17,000 Hz, probably due to the action of the filter. With only the Dolby switch on, there was never a variation more than 2 dB from flat from 20 to 20,000 Hz at any level from -15 to -40. Superb performance in frequency response. Since the machine was indicated as being adjusted for Scotch 203, that is the tape we used for all measurements.

3 Frequency response curves for the Revox A77 Dolby B. There was no difference in response between Dolby and non-Dolby operation over a wide range of recording levels. Response drops off slightly above 15 kHz when the filter switch is on.
Wow and flutter were measured, both from a standard tape and on a record-and-play basis. Wow - that below 6 Hz - measured less than 0.02%, while flutter - between 6 and 250 Hz was 0.06% at 71/2 ips and 0.08% at 33/4
ips. Signal-to-noise measured 53 dB unweighted, and 62 dB weighted below the 3% distortion point, which was at +8 recording level (for 1000 Hz). We also measured distortion at several other frequencies and found the same figure throughout. These figures were at 71/2 ips, with only slightly differing figures for 33/4.
Using the Heathkit IB-101 frequency counter, we measured the bias oscillator frequency and found it to 122,508 Hz - close enough to the specified 120 kHz. Crosstalk between the two channels in mono was 62 dB, and in the stereo connection, 48 dB.
Input signals required for 0 recording level were noted as follows: AUX, 15 mV; LO Mic (impedance 50 to 600 ohms) 0.15 mV; HI Mic (up to 100 kohms) 2 mV; Radio, 2 mV (33,000 ohms). Outputs were measured at a maximum of 2.5 V from a source impedance of 600 ohms at the output phono jacks, and 1.22 V from the radio receptacle with an impedance of 2500 ohms.
While the Revox A77 Dolby B is not inexpensive, it must be admitted its performance is exceptional, and if one wants quality, one must expect to pay for it. There is no doubt that the machine is well designed and well crafted. And there is no doubt that its performance is close to that of professional machines. In fact, many are in use in applications where the expense of the professional machines could not be met, and their performance has been uniformly excellent. From this description it must be discerned that we like the new Revox. Try it; you, too, will like it. C G. McProud

Copyright, 1972
by Billboard Publications, Inc.
Reprinted by permission from the November 1972 HIGH FIDELITY

Comment: Some readers, accustomed to associating the Dolby circuit with cassette equipment and a price in the $300 range, may be taken aback by this unit. Since they have been told that cassettes are inherently noisier than open reel because of the slow Transport speed, they may think that only the cassette can profit from Dolby noise reduction. Not so. While Dolby processing offers demonstrably more dramatic improvements in the cassette format, Revox has traditionally designed its recorders for those who want the best that tape has to offer and, indeed, for professional as well as home use. In such a context the Dolby B offers an improvement that is both measurable and audible - and therefore significant.
In other respects the new Revox has not changed much since our report on the original A77 (June 1969). Response and distortion figures are very much the same, though IM distortion has improved markedly, while those for wow and flutter and for such things as noise (Dolby aside) and crosstalk are almost identical. The noise measurements for our Mark III test sample actually were slightly poorer than those for the original A77 because of some 60-Hz hum leakage; when the lab filtered out this hum to simulate expected normal performance the figures are better than those for the original. One change documented by the figures is in the motor drive: The present electronically governed system was unaffected by line voltage changes in the lab tests, though its good accuracy figures were more than matched by the excellent ones supplied by our original sample even at the voltage extremes.
Cosmetically the Mark III is different too, with a dark gray control panel lettered in white. The solenoid controls and the meters, flanked by record interlock buttons for each channel, are the same - as are the input selector and recording level controls for each channel, located below the meters, and the multiposition switch for power (on/off), reel size (large/small), and speed (71/2 / 33/4 ips) at the extreme right. Below the input/recording level controls a 19-kHz filter switch has been added to prevent any subcarrier leak from influencing Dolby action in recording from stereo FM. A similar Dolby on/off switch has been added at the left, below the mode/ playback-level control and the function/playback-balance control. The function control dispenses with the original's IEC playback equalization position; it now has one playback equalization (NAB) and the input position, plus one for calibration of Dolby recording levels.
The Dolby calibration controls are below the long, narrow head-cover panel, which swings out of the way behind the control panel to allow access to these controls, to the mechanical pause and cueing feature, and to the heads (for editing or cleaning). A trough in the head shroud can be used as an editing block, though it provides no razor-blade slot for automatic cut-angle alignment. (We prefer the razor-blade method to Revox's scissor method, outlined in the manual, because in our opinion the latter can too easily produce misaligned tape ends and exposed adhesive.)
On the control panel are a stereo headphone output jack and phone jacks for left and right microphones, connected in parallel to phono-type microphone inputs on the recessed jack panel. There are two microphone positions on the input selectors, which adjust these mike inputs for use with either high- or low-impedance models. Also on the back panel are phono jacks for line output and aux input, plus a DIN input/output ("radio") socket and one to accept an optional remote-control unit. On our sample the panel also was marked for speaker connections, though Revox tells us the Dolby model is not supplied with monitor amps (the Dolby circuitry uses the space originally intended for that purpose) and so will not drive speakers directly. It can, however, be bought in either quarter-track or half-track stereo configurations and in either the home model here reviewed or in a rack-mount version.
We were glad to reacquaint ourselves with the special personality of the Revox, with its somewhat complex but extremely comprehensive control panel. Typical of its design - for example, is the mode switch: separate positions for stereo, left channel only to both outputs, right channel only to both outputs, and mono mix of both channels to both outputs. Common alternative designs would require two or even three controls to set up the same functions and might even omit some (particularly the mono-mix mode). In addition, the Revox remains a fine performer even without the Dolby circuitry.
At this writing Ampex has just announced plans to issue the first Dolby-processed open-reel prerecorded tapes. Pending their availability the Dolby circuit is there for those who want to make their own - live, off the air, or from other recordings. For live use particularly the built-in Dolby system is a great convenience by contrast to the obvious alternative: a top-quality deck plus an outboard Dolby unit. In playing back Dolby off-the-air tapes (which we have been collecting via an outboard unit for some time), we worried at first that Dolby levels might not match the preset Revox playback circuitry. All levels turned out to be within about a dB of the Revox however - a negligible discrepancy and one that should give no qualms to inveterate tape swappers who would like to step up to Dolby processing.
And Dolby processing certainly is in order for longer recordings off the air (operas particularly) where the greater per-pass playing time of 33/4 ips makes it a desirable speed. The 15-kHz limit of FM reception plus the subcarrier filter prevent practical program content at frequencies above the response limitations of that speed, and we found the Dolbyized tapes to be indistinguishable from the broadcast. For live recording or where copies are to be made, we also found the added dynamic range of Dolby processing a marked advantage even at 71/2 ips.

Copyright, 1972
by Ziff-Davis Publishing Co.
Reprinted by permission from the August 1972 STEREO REVIEW

When we tested the Revox A77 tape recorder several years ago (January 1969) we found it to be an outstanding machine in every important respect. The Revox A77 is still with us - a few minor bugs have been eliminated, but it is essentially unchanged - and it has earned itself a solid reputation as one of the top home or "semi-professional" tape recorders. Revox has now added Dolby B circuits to the already very quiet A77 and has released it as the A77/Dolby B. The standard machine without the Dolby circuits is still being manufactured.
A careful external examination is required to reveal the presence of the Dolby system. When the hinged cover plate is lowered to expose the tape-loading path, the two pushbuttons to the left of the heads (SPEAKERS OFF and REEL MOTORS OFF) have been replaced by two Dolby recording calibration knobs. The playback power amplifiers of the A77 have been eliminated from this version, probably to make room for the Dolby circuits.
On the standard A77, thc reel motors can be switched off for easy manual cueing and editing. In the Dolby B version, the brake tension has been reduced so that editing can be performed with the recorder in its normal STOP condition. The tape-monitor switch, operated by a clear plastic ring concentric with the playback balance control, has been modified. In thc standard A77, it provides a choice of NAB or the common European IEC (CCIR) playback equalization, plus input-signal monitoring. In the Dolby B unit, only NAB equalization is available, and the third position (CAL) injects a standard Dolby-level calibration tone into the recording circuits. The Dolby calibration controls are then set for 0-VU indications on the two VU meters, a simple operation normally required only when changing to a different tape formulation.
Below the volume and balance controls is a miniature toggle switch that connects the Dolby circuits into the recording and playback amplifiers. The only other visible difference in the new machine is a second miniature toggle switch on the right side of the panel, below the recording input selectors and level controls. this FILTER switch is used when making Dolbyized recordings from stereo FM broadcasts. It sharply attenuates frequencies above 15,000 Hz entering the recorder to prevent the 19,000Hz multiplex signal from having any effect on the Dolbysystem operation.
In all other respects, the Revox A77/Dolby B recorder appears to be identical to the original A77. It is a three-motor, three-head (quarter-track), two-speed machine operating at
33/4 and 71/2 ips, with the capacity to handle 101/2-inch reels. The motor speed is electronically controlled and is therefore independent of power-line frequency variations. The Transport is operated by five lighttouch buttons; the fully solenoid-controlled mechanism can be operated by remote control if desired. A socket on the top of the recorder will accept a remote-control unit. Inputs are provided for low- and high-impedance microphones and a high-level AUX source. A DIN connector is available for both inputs and outputs. Internal switching permits re-recording from either channel onto the other, while adding new program material. Special effects such as sound-on-sound and echo can therefore be produced without external signal-cable patching. The machine can be used horizontally or vertically.
The input and output jacks are on top of the recorder, normally covered partially by the full-width hinged carrying handle. The Revox A77/Dolby B is 145/8 inches high x 161/4 inches wide x 71/4 inches deep. It weighs approximately 34 pounds. It is attractively finished and housed in a wooden case. Price: $999.

Laboratory Measurements. The Revox A77/Dolby B is factory adjusted for 3M 203 tape, which we used for most of our measurements. The record/playback frequency response was impressively wide and smooth, especially at the low-frequency end, where so many recorders seem to be deficient. It was -2 dB from 20 to 24,000 Hz at 71/2, ips, and -4 dB from 22 to 21,000 Hz at 33/4 ips. We also tried other tapes and obtained very similar results with Maxell UD35-7 and Sony SLH-180 tape. By a slight margin, the best overall performance was obtained with 3M 207 tape. Its response at 71/2 ips was slightly flatter than with the 203 tape, +1 and -3 dB from 20 to 21,500 Hz. At 33/4 ips the flatness was also superior, within -1.5 dB from 30 to 15,000 Hz.
The multiplex filter cut off very sharply at 15,000 Hz. Its attenuation was about 20 dB at 20,000 Hz. As we expected from previous experience with Dolby systems, this one had no discernible effect on frequency response at any measurable level.
The playback frequency response, with Ampex quarter-track test tapes, was about --1 dB from 50 to 15,000 Hz at 71/2 ips, and +2, -1 dB from 50 to 7,500 Hz (the tape's upper limit) at 33/4 ips. The distortion of the Revox A77/Dolby B was lower than that of most high-quality home recorders we have tested. At 33/4 ips, it was about 1.3 per cent at 0 VU, increasing to 3 per cent at about +5 VU. At 71/2 ips, distortion at 0 VU was 0.7 per cent, and it reached 3 per cent between +6 and +7 VU. When the 207 tape was used, the 0-VU distortion was only 0.58 per cent, and 3 per cent was not reached until +9.5 VU.
The recording amplifiers of the A77/Dolby B have extremely high gain. Only 14 millivolts is needed at the AUX inputs for 0-VU recording level, and the high-impedance and low-impedance microphone sensitivities are respectively 1 millivolt and 42 microvolts. At maximum gain settings, the system noise increased about 10 dB, but at any realistic setting of the controls it was very low indeed. Measuring noise in a 250- to 20,000-Hz bandwidth to eliminate the effects of low-level a.c. power-line hum, we found it to be about -57 dB through any input at 71/2 ips, and -52.5 dB at 33/4 ips. With the Dolby system operating, the corresponding figures were -61 dB and -60 dB.
On the face of it, these appear to be very good, though not extraordinary, noise levels. However, when you consider that they are referred to a 0-VU recording level, they are extraordinary. For example, if the 207 tape is used and the noise level is referred to the standard 3 per cent distortion level, the signal-to-noise ratio becomes 66 dB at 33/4 ips and 70 dB at 71/2 ips. These measurements place the Revox A77/Dolby B above all other home recorders we have used in respect to signal-to-noise ratio.
The wow was unmeasurable at either speed (less than 0.01 per cent) and flutter was a very low 0.04 per cent at 71/2 ips and 0.05 per cent at 33/4 ips. Operating speeds were exact, and in fast forward or rewind the machine handled 1,800 feet of tape in about 90 seconds.

Comment. With respect to its actual measured performance, the Revox A77/Doiby B excels in every respect. Operationally, it is smooth, bug-free, and unusually quiet (the motors are inaudible more than a few inches from the machine). In flexibility and overall applicability to serious home recording, one could hardly ask for more.
We have two minor criticisms, both of which were voiced in our review of the original A77. The tape loading path is a straight line across the heads, except for a guide pin at the left of the heads. This changes what could have been one of the easiest-loading recorders to one that requires at least some fumbling in the tape-threading process. We also noted the lack of a PAUSE control. Since the Transport buttons are easy to operate with one hand, this is not too serious a fault, but it would be a convenience to be able to stop the tape in the RECORD mode, and to start it with less of the inevitable transient "wow."
In the light of our measurements, one would expect the A77/Dolby B to have absolutely no effect on the sound of the recorded and played-back program. This proved to be the case, even when recording interstation FM hiss at 33/4 ips. We cannot imagine how the sound quality of this machine could be improved in any way. A fair question might be-why do we need the Dolby B system (at an additional cost of $200-plus) on a recorder that is already one of the quietest on the market? If you are recording from discs or FM radio, it is doubtful that any audible benefit will result from the Dolby system, since the noise in the incoming signal will almost certainly exceed that of the non-Dolbyized recorder. On the other hand, in high quality live recording, it could be considered as the frosting on an already high-grade cake. And, of course, when commercially recorded Dolbyized tapes are released, you will be able to remove most of the hiss which at present is a major drawback in high-speed duplicated tapes.

Copyright, 1972
by Straight Arrow Publishers
Reprinted by permission from the October 12, 1972

The Top "Semi-Pro" Tape Deck
If you get turned on by big bridges, German cars, Swiss watches, Leica cameras, and Computers if you had three Erector sets at the same time as a kid; if you shadowed the TV repairman and the plumber when they worked in your house; if you just know they're going to bury you with a screwdriver tucked into your shroud, a Revox tape deck would make you very, very happy.
And if you are a music maker or music listener besides, a Revox would make you ecstatic!
The Revox A77 Dolbyized deck sells for $999, and can make recordings with sound equal to million-dollar studios. It is compact enough to strap on the back of a motorcycle, and rugged enough to survive a crash. It either contains or may be combined with every imaginable feature and accessory, and is as fool-proof and easy to operate as any recorder I know of.
My tests, and reports in the hi-fi mags, back up Revox's claim that this is truly the top performing "semi-pro" tape deck available. Technical performance characteristics have seldom, if ever, been bettered by any other home machine: wide, flat frequency response; extremely low distortion; perfect speed; imperceptible wow and flutter; and noise level, even without the Dolby circuits, that matches the best studio equipment.
With the Dolby noise reduction circuits operating, the A77 is so quiet it's scary. This machine really provides sound reproduction! No person for whom I demonstrated the recorder could distinguish between live and recorded sound in A-B tests. For decades hi-fi ads have been bullshitting about "concert hall realism." The Revox really achieves it.
From across the room you could mistake it for an old $199 Radio Shack clunker: It has none of the carefully cultivated "professional" look found on current popular Japanese tape machines. But it has everything: ten-inch professional size reel capacity for hours of taping without flipping over the reels; Dolby circuits so you c n use low tape speeds without sacrificing quality, saving tape expense and further reel-flipping; three-motor Transport with electronic speed control; push-button solenoid operation with provision for remote control; spring clips built into the reel spindles to hold the tape on in any position without bothering with rubber clamps; different tape tension for each speed and reel size; safety record buttons with red signal lights for each channel; and automatic shutoff.
And individual input selection for each channel; internal track transfer; front and rear panel jacks for either high or low impedance mikes; stereo, single-channel, or merged mono output modes; output volume and balance controls; and a Dolby calibration tone generator that lets you get the noise reduction circuitry working in two seconds.
And there's a lever that pushes the tape against the heads with the motors off for editing; a high frequency filter to prevent interference from FM station multiplex signals, and a headphone jack.
Inside the machine is where the technofreaks will really get off. Rigid girders, heavy metal plates, big Pabst motors, carefully routed wiring, beautiful plug-in circuit boards, fancy connectors, the works. Everything NASA quality; built for quiet, smooth operation and long life. It's obviously a machine that should last as long as you do, and Revox guarantees it to; and from looking it over, it doesn't seem like they're going to spend much money making good on their pledge. A few parts that come in contact with moving tape (heads, pressure roller, and capstan) are only guaranteed for one year; but the heads are the bigradius professional type that should be good for many years of normal use, and roller and capstan sleeve are cheap and easy to replace.
If you can't afford the full $999 , the A77 is available without the Dolby circuits for about $200 less, and if you only plan to dub from records or radio, or record loud rock music, you may as well save the bread. Other formats and options are also available, including built-in playback amps and speakers, rack -mounting, variable speed, half-track operation, 15 ips speed, selsync, and on and on and on. I have a few bitches about the machine: the braking is slow; the meters are a bit small; and the photocell tape shutoff can be annoyingly activated by white leader tape spliced between tape sections; but I manage. I have really gotten to love the Revox A77 Dolby B. I know of nothing better.

Copyright, 1972
by Davis Publications, Inc.
Reprinted by permission from the Fall 1972 HI-FI STEREO BUYERS' GUIDE

How do you improve upon an already superb tape deck? If you are Revox you simply avoid gimmicks that would only complicate what is probably the easiest-to-operate mechanism - whether professional or amateur - and concentrate on squashing the tape noise through use of a Dolby B noisereduction system. The fact is, the only apparent difference between the old A77 and the Dolby A77 is the Dolby system. Well, it's the Dolby, but with a big difference. You don't get a calibration tape with the Revox because the machine is supplied so precisely adjusted you don't have to match tapes, make any corrections, or do anything other than record as you normally would.
To avoid unnecessary duplication you can look up the specs on the Revox Dolbyized A77 in the test reports; we'll get right down to basic differences. First off, the only apparent difference between a standard A77 and the Dolby A77 is two small switches at the bottom edge of the front panel. One switch is the Dolby selector, the other is the filter for the FM-stereo pilot signal, as Dolby circuits easily get "loused up" if pilotsignal leakage from a receiver rides along with the audio signal into the recorder. The only other apparent difference is the tape-monitor switch. The original A77 switch had three positions: one for NAB equalized-playback, one for CCIR equalized playback and one for source monitoring. The new tape-monitor switch still has three positions but the CCIR play equalization is now replaced by a Dolby calibration oscillator. By placing the switch in the CAL position, a tone signal is automatically applied to the recording amplifiers.
That's the whole change in external appearance. The other obvious change lies behind the dropdown strip that conceals the tape-drive path and the REEL MOTORS OFF switch on the standard A77. The Dolby A77 no longer has the reel-motor control switch. (Brake tension has been reduced to simplify threading.) in place of the switch are two controls for Dolby recording channels. In typical use you would simply set the tape-monitor switch to CAL and adjust the Dolby-level controls for a zero-VU reading on the meters. That's the whole Dolby alignment procedure.
Where did they put it? Since the Dolbyized Revox A77 has both record and play Dolby equalizers, so you can simultaneously playback the deprocessed recording, a lot of space was required under the deck. The standard A77 already had space for pre-wired sockets that accommodated plug-in power amplifiers. The sockets were also pre-wired to two speaker-output jacks on the connection strip along the top edge of the rear apron. You will find that on the Dolby model the holes for the jacks are now plugged, as the Dolby printed-circuit boards utilize the space reserved for t-he power amplifier plug-ins. This Arrangement retains all the conveniences of the standard A77 such as plug-in record and play amplifiers and complete user access to the bias and equalizer adjustments.
Performance is like WOW! The non-Dolby performance is just as it was for the standard model. superb. (Again, to save space we'll let you refer to the test report in this issue.) The only thing the Dolby does is to reduce the noise level to a rock-bottom -62 dB narrow band, which is superior to the signal-to-noise ratio of many non-Dolby full-track professional recorders. in order to obtain this excellent signal-to-noise ratio you must keep in mind that the A77 is a professional machine and has professional VU-meter calibration: zero VU is 10 dB below tape saturation (3% THD) and you need not reduce the recording level to avoid peak-signal distortion. On the A77 you ride signal peaks right up to "zero VU", and an occasional peak can go above zero VU.
Summing up. Even if the $999 price tag of the Dolby A77 is too rich for your budget, we suggest you listen to one at your local hi-fi showroom just to enjoy truly magnificent sound quality.

REVOX CORPORATION - 155 Michael Drive, Syosset, New York 11791 (516) 364-1900
REVOX CORPORATION - 3637 Cahuenga Boulevard West, Hollywood, California 90068 (213) 876-1200
REVOX SALES AND SERVICE - 580 Orly Avenue, Dorval 760, Montreal, P.Q. Canada (514) 636-9933

Form # RVI39A

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