Hitachi D-E99 Cassette Deck Review

The Hitachi D-E99 is a three-head cassette deck with microprocessor-controlled adjustment for record bias, equalization, and tape sensitivity. It incorporates both Dolby-B and Dolby-C noise-reduction systems and uses a solenoid-operated twin-capstan drive system with one motor for the capstans and a second for the reel hubs. Its separate record and playback heads (which permit direct comparison of the input signal and the recorded result) are made of high-density ferrite and are contained within a single casing.

Cassettes are inserted, tape openings down, into slides behind the door of the illuminated cassette well. The digital tape counter reads out in conventional units (in all modes) and directly in elapsed time (minutes and seconds) for record and playback. The sixteen-segment peak-reading fluorescent level indicators, calibrated from — 30 to +8 dB, had no Dolby-level marking on the scale, but both registered —1 dB when tested with a Teac MTT-150A Dolby-level calibration cassette.

The play, record, and pause touch-buttons have illuminated LEDs, as do the four tape-type (ferric, Cr02-equivalent, ferri-chrome, and metal) selectors, the Dolby-system switches, the tape/source monitor and multiplex-filter switches, and the buttons that select either fixed (factory-set) or ATRS (Automatic Tape Response System) bias/equalization/sensitivity adjustments. The ATRS procedure takes approximately 10 seconds to complete (its operation is signaled by a flashing LED), and at its conclusion it rewinds the tape and stores the proper settings for that cassette type in its memory. The memory is retained by batteries when the unit is turned off; their condition (they should last about a year) is indicated by another LED.

Additional switches are provided for automatic rewind to stop or play, operation by an external timer, and for selection between microphone or line-level sources. The record-level controls are concentric, allowing separate settings for the left and right channels, and an output-level control is provided that simultaneously affects the output from the front-panel headphone jack and the normal rear-mounted outputs.

In addition to the regular line-level inputs and outputs, the rear panel of the Hitachi D-E99 contains a DIN-type jack for a remote-control accessory and an access door for battery replacement.

Laboratory Measurements

The factory settings for bias, record equalization, and sensitivity were made with Hitachi-brand tapes that were not supplied, so I used the ATRS system on a number of cassettes of each type. The flattest frequency response was obtained with TDK AD (ferric), Sony UCX-S (Cr02-equivalent), BASF Professional III (ferrichrome), and Maxell MX (metal) as shown in the graph, but nearly identical results were obtained (because of the ATRS system) with a wide variety of cassettes from TDK, BASF, Maxell, Scotch, Memorex, Sony, Fuji, and Loran.

Playback frequency response was measured with I EC-standard BASF calibrated test tapes, and it was exceptionally flat at the 120-microsecond (ferric) position from 31.5 Hz to 18 kHz. There was a mild rolloff (3.5 dB) at 18 kHz in the 70-microsecond (Cr02) position. At the normal — 20-dB input level the overall record-playback response was within ±3 dB from approximately 40 Hz to 20 kHz, though a 6-dB-per-octave bass rolloff was imposed on frequencies below 50 Hz. Interestingly, the response of TDK AD (ferric) essentially matched that of the metal Maxell MX at both —20- and 0-dB input levels.

With a 0-dB input level at 315 Hz, the third-harmonic distortion levels measured 0.43 per cent (TDK AD), 0.82 per cent (Sony UCX-S), 1.1 percent (BASF Professional III), and 1.5 per cent (Maxell MX). It took an additional input of 4.7, 5.2, 2.4, and 2.3 dB for the four tapes, respectively, to reach the 3 per cent third-harmonic distortion level. Unweighted signal-to-noise ratios (S/N), without noise reduction, measured 59.7, 58, 58.7, and 54 dB, respectively. With Dolby-B and IEC-A weighting, S/N improved to 70.5, 69.3, 70.3, and 66 dB; with Dolby-C, using the CCIR weighting, S/N measured 80.5, 74.7, 79.8, and 72 dB, respectively.

Wow-and-flutter, using a Teac MTT-111 test tape, measured 0.024 per cent wrms and 0.038 per cent with the DIN peak-weighted standard. Line-level input sensitivity for a 0-dB indication was 0.13 volt, with an output of 0.5 volt. Using a 600-ohm generator, microphone input sensitivity was 0.5 mV, and overload occurred at 120 mV. Fast-winding time for a C-60 cassette was an average 64 seconds.

Comment

Sonically as well as visually, the Hitachi D-E99 was a fine performer, imposing only the slightest audible high-frequency loss even with high-level inputs of interstation FM hiss (a severe test). No audible wow-and-flutter was perceptible, and there was no increase in tape background noise at any tolerable listening level when using the Dolby-C system. The Dolby-B and Dolby-C noise-reduction systems both tracked the basic deck frequency response within ± 2 dB, and the FM multiplex filter was admirably sharp in its response. In short, I found the Hitachi D-E99 to be a very good deck that is worthy of consideration by any audiophile.

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