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CASSETTE AND CARTRIDGE tape equipment has been cast for years in the role of David, doing battle with the open-reel Goliath. And, like David, the little cassettes and cartridges have proven themselves a fair match for their larger competitor.

Today's cassette and, to a lesser degree, cartridge units offer performance and features that make even confirmed open-reel tape fans take notice.

Noise reduction circuits, automatic reverse, solenoid controls and peak reading meters are among the quality features that you can now find on small as well as large tape machines. And there are others, such as memory rewind and automatic bias and equalization switching for chromium dioxide tape, that are available only in the smaller format.

The picture is also changing in the competition between cassette and cartridge. While cartridge units have long been the poor cousins, lagging behind cassettes in hi-fi technology, they are now receiving a fair share of attention from manufacturers. Several new cartridge machines boast noise reduction circuitry and other features offered previously only on better grade cassette units.

Blank tape makers, too, are eyeing the cartridge recording market, and low-noise blank cartridges are now appearing. So there are more options than ever to consider before you make a decision as to which type to buy.

First, let's look at what is sealed inside those little plastic cases. A cassette contains two small winding spools and a length of tape 5/32 inch wide, moving at 1 7/8 inches per second. A pair of stereo tracks can be recorded in each direction for a total playing time of 30, 60, 90 or 120 minutes, depending on the tape length.

Because it contains two reels, a cassette can be rewound. It may be used for mono or stereo recording, but not, as yet, for discrete 4-channel. Cartridges contain a continuous loop of tape on a single wind/rewind spool.

The tape is 1/4 inch wide (the same width as on open reel recorders) and moves at 3 3/4 inches per second. It will accommodate four pairs of stereo tracks for a total of eight tracks - but all in one direction as the loop cannot be reversed. Playing times are usually about 40, 60 or 80 minutes. Cartridges may be used for stereo or discrete 4-channel recording.

Next, before you select a cassette or cartridge unit, consider how you plan to use it. Decks are meant strictly for connection to a stereo system, just as you might connect a turntable. Recorders usually contain their own amplifiers and speakers.

Despite the differences in nomenclature, both decks and recorders can record and play tapes. If you want a self-contained unit for playing tapes then a recorder is the way to go. Should you decide later to buy a stereo component system you can still use your recorder as a deck, simply bypassing its built-in amplifier and speakers, to record or play tapes through the system. On the other hand, if you already have a stereo rig you probably need only a deck.

Where you plan to use your tape unit is also a factor. Home-type decks and recorders require ac current, while battery-powered portables work anywhere but generally don't match the performance or features of the best home units. Also, nearly all portable units are recorders, while the home-type category offers an ample selection of both decks and recorders.
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Mechanically, both cassette and cartridge machines are designed to move the tape past magnetic tape heads. Cassette units employ one, two or three motors; a cartridge machine needs only one because it drives a continuous loop of tape, on a single spool, in one direction.

Cassettes are essentially miniature reel-to-reel devices. In a single-motor cassette design, mechanical linkages drive the capstan and the take-up and rewind spools. Two-motor units use separate motors to drive the capstan and turn the spools.

In three-motor machines, each spool has its own motor, as does the capstan. The more motors, the better the performance. Some of the more costly multi-motor units employ a slow-speed, direct-drive capstan motor to minimize fluctuation in capstan speed (wow and flutter) and further improve performance.

Most cassette and cartridge units have record, play, fast forward, pause and stop controls. Cartridge units may also have continuous play and repeat controls, while cassette units have a reverse or rewind function. Automatic end-of-tape shutoff is also common on both formats.

Cassette machines may have two additional features that aren't possible with cartridge units, memory rewind and automatic reverse. Memory rewind lets you program the cassette machine to automatically rewind the tape to a point you've selected - for example, the beginning of a favorite song.

Automatic reverse changes the direction of the tape at the end and plays the other set of tracks. Machines of either format may have solenoid-operated controls. The real advantage of these is not so much their light touch and ease of handling, but the associated "logic" circuits included in the latest designs. They prevent tape damage even if you press the wrong button by mistake.
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While the considerations of weight and size (and their high cost) put limits on what a designer can do to the mechanical innards of a tape machine, electronic circuitry is another story. It isstill improving dramatically,and at a relatively low cost, thanks to increased miniaturization.

There are several noise reduction systems available, but the Dolby "B" circuit is now nearly universal for home recording. Its function is to supress high frequency noise or hiss. Dolby noise reduction circuitry is built into most top quality cassette equipment and is now being added to many cartridge machines. Some Dolby-equipped cassette units now have a special switch to allow direct recording of Dolbyized FM broadcasts with the proper de-emphasis, while also decoding the signal that you hear during recording.

As a visual aid to monitoring the recording level, just about every cartridge or cassette machine employes VU meters, but even the best of them fail to respond fast enough to warn of distortion-producing recording level peaks. Now some units are incorporating fast-acting light emitting diodes (LEDs) to warn of such situations.

In addition, many machines have level-controlling circuits that reduce gain if excessive levels are approached. On some models the automatic recording level control is on continuously, while on others the user decides if it is needed or not.

Many of the new tapes require bias and equalization settings that differ from those used for conventional iron oxide formulations. Some cassette machines include front-panel switches to adjust the circuitry for regular, chromium dioxide or other tapes. A few cassette models switch automatically between regular ferridoxide and chromium dioxide formulas, as the lattertype is keyed by means of a slot in the cassette itself.

Deck or recorder, cassette or cartridge, home-type or portable, in every case it is the specifications explained below that are your index to performance.
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This figure tells you how much the speed of the tape varies from the norm. It is usually expressed in hundredths of one percent. The lower the figure, the more accurate the reproduction, otherthings being equal. Aflutter and wow figure of 0.2 per cent or less is generally acceptable.
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This is a measure of the level of recorded signal as opposed to the background noise level and is expressed in decibels (dB). The relative noise level may be given as a minus figure (-25 dB, for example) or without the minus sign (25 dB) as we do in our listings. Both mean the same thing. Look for a 40 (or -40) dB or higher S/N ratio. If the unit is equipped with noise reduction circuitry, figures of 50 to 60 dB are possible.
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Some advanced cassette models boast frequency responses as high as 20k Hz, thanks to new high-energy tape formulas and special equalization to compensate for the natural decrease of treble response at the cassette's tape speed of 1 7/8 inches per second. Even on the average home-type cassette machines you can expect a 30-15k Hz response or better.

With cartridge units the range is somewhat less, but they are beginning to catch up.

This figure is of concern only if you are interested in a recorder. Most recorder amplifiers produce 3 to 5 watts per channel, which is sufficient for their built-in loudspeakers. Since units claiming a power output of two or more watts per channel must conform to the Federal Trade Commission's new rating procedures, you can expect to soon see recorder output ratings changed to conform to the rules.
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Front loading is found on more and more home-type cassette machines. While it doesn't affect performance, some people find it more convenient than top loading.

Many home units also include tape motion indicators that tell you the tape is moving. Output level controls are another feature found on home-type machines in both formats, as are microphone and line inputs and mixing.

Portable units may have a microphone built in and possibly a radio tuner as well. And, because the machines depend on dry cells for their power,the VU meters of some portables also double as a battery condition indicator.

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1. General Electric M8433
2. General Electric M-8445
3. Sony TC-85
4. Sanyo M-2211
5. Sony TC-61
6. Philips EL-3302
7. Toshiba KT-21 3
8. Panasonic RQ-416S
9. Panasonic RQ-209MS
10. General Electric M-8525
11. Panasonic RQ-413
12. Toshiba KT-21 5D
13. Panasonic RQ-316
14. Superscope C-103
15. Panasonic RQ-212
16. Panasonic RQ-432S
17. Sony TC-67
18. Crown CRC-435FW
19. Superscope CR-1000
20. Toshiba RT-294F
21. Sanyo M-241 1 F
22. Superscope CR-1300
23. Sanyo M-4420
24. Sanyo M-2420
25. JVC-Nivico 931OE
26. Toshiba KT-21 6
27. Toshiba KT-403D
28. Aiwa TPR-1 01 H
29. JVC-Nivico 1610U
30. Sanyo M-241 9N/L
31. Sanyo M-2505
32. Sanyo TRC-1 100
33. Aiwa TP-747
34. General Electric TA-700
35. Crown CRC-475FW
36. Superscope CD-301
37. JVC-Nivico 9425E
38. Aiwa TPR-601EE
39. Aiwa TP-770
40. Sanyo M-2519
41. Panasonic RS-260US
42. Panasonic RF-7100
43. Sony TC-42
44. SonyTC-146A
45. Toshiba RT-313F
46. Sony CF-320
47. JVC-Nivico 9310LS/LF
48. JVC-Nivico 9315LS/LF
49. Sanyo M-2440LZ
50. Sanyo RD-4530
51. JVC-Nivico 9403LS/LF
52. Aiwa TM-405
53. JVC-Nivico 9425LS
54. Superscope CS-200
55. Aiwa TPR-202H
56. Panasonic RQ-454
57. Pioneer CT-31 31A
58. JVC-Nivico 9407LS/LF
59. Sanyo M-2450
60. AiwaTPR-210EE
61. Aiwa TPR-203EE
62. SonyTC-92
63. Sony CF-310L
64. Superscope CD-302A
65. Sony TC-55
66. JVC-Nivico 9408LS/LF
67. Aiwa TPR-220H
68. Panasonic RS-450
69. JVC-Nivico CD-1655U
70. Akai CS-33D
71. Panasonic RQ-448S
72. JVC-Nivico ED-261U/1261F
73. Aiwa TPR-220EE
74. Sony CF-420L
75. Teac A-140
76. Sony TC-337
77. Sony TC-1 29
78. Sanyo M-2480K
79. Akai GXC-41D
80. Philips N-2509
81. 'Pioneer CT-4141A
82. Aiwa AD-1200
83. Panasonic RS-451
84. Technics RS-610
85. Pioneer CT-51 51
86. Technics RS-263US
87. Akai GXC-38D
88. Sony TC-1 24CS
89. JVC-Nivico 1667U
90. Sanyo RD-4300
91. Sony TC-1 33CS
92. Sony TC-1 34SD
93. Sony TC-1 31SD
94. Sony TC-1 26CS
95. Technics RS-271US
96. JVC-Nivico 1668U
97. Sony TC-1 65
98. Kenwood KX-700
99. Teac A-160.
100. Pioneer CT-F6161
101. Sansui SC-636
102. Akai GXC-46D
103. Kenwood KX-710
104. Technics RS-277
105. Pioneer CT-F7171
106. Aiwa AD-1300
107. Sony TC-1 52SD
108. Aiwa TPR-930EE
109. Toshiba PT-470
110. Yamaha TB-700
111. Sony CF-550A
112. Aiwa TPR-3010H
113. Sony TC-1 37SD
114. JVC-Nivico MC-1820L
115. Harman/Kardon HK-1000
116. Aiwa AD-1500
117. Sony TC-1 36SD
118. Sony TC-332
119. Teac A-360
120. SonyTC-161SD
121. JVC-Nivico 9470LS
122. Sony TC-203SD
123. Technics RS-276US
124. Akai GXC-75D
125. Technics RS-296US
126. Akai GX-510D.
127. Teac A-450
128. Sony TC-1 53SD
129. Advent 201
130. Nakamichi 500
131. Technics RS-676
132. Sanyo RD-4600
133. Tandberg TCD-310
134. Sony TC-331
135. Technics RS-279US
136. Sony TC-209SD
137. JVC-Nivico CD-1669U
138. Sony TC-1 77SD
139. Nakamichi 700
140. Nakamichi 1000
141. General Electric M-8616
142. Herton 461
143. General Electric TA-600
144. Akai CR-81D
145. Pioneer HR99
146. Dokorder MC-60
147. Weltron 2001
148. Panasonic RS-806US
149. JVC-Nivico 1260U
150. JVC-Nivico ED-1240U
151. Dokorder MC-70A
152. Skandia IC SK-308
153. Akai GXR-82D
154. Panasonic RE-8420
155. Panasonic RS-818
156. Panasonic RS-855US.
157. Akai CR-80DSS
158. Technics RS-858DUS
159. Aiwa TPR-4001H

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