Sony Exist

[stuartypoorty]

Was playing a John Martyn selection the other night, "Solid Air" coupled with "Grace & Danger" recorded onto a Sony Metal Master and sourced from the Simply Vinyl reissues(supposedly analogue masters but probably digital).

Previously, I'd been less than impressed by the Sony's, including the Super Metal Master tapes but this was different, heaps of detail, increased low level retrieval and enhanced intimacy.

A few variables worth mentioning; I've recently replaced my old monoblocks with a Chord Electronics 1200C power amp, the Nakamichi has been serviced and the standard of source material.

As luck would have it I've been offered some other Sony tapes, namely Sony Exist which are new to me but perhaps not to fellow Tapeheads. Are they worth getting a hold of?

[Marc Hugo]

Hi Stuart,

I'm glad you're having a better result with Sony MM. It is a single layer as opposed to the double layer Sony SMM. They are both fanatastic, but the latter though remains my favourite super-metal, although, as you have possibly discovered (along with the guys at Hi-Fi World Magazine) it is not usually possible to flatten the sensitivity with normal calibration.

It is possible to check the origins on the sleeve (or other means) of the recording method for that album? It's true that many recordings since the early eighties were done digitally. However, a number thesedays are still done in analogue if the artist can afford it, because of the data density and unlimited forward compatibility.

I read somewhere that the guy that makes Chord uses RAF standard components for his amps - I think of the Chords as the "Boulders" of England. They look great and sound in the top league. Congrats. Remind me - what Nak are you using?

Marc

[stuartypoorty]

Hi Stuart,

I'm glad you're having a better result with Sony MM. It is a single layer as opposed to the double layer Sony SMM. They are both fanatastic, but the latter though remains my favourite super-metal, although, as you have possibly discovered (along with the guys at Hi-Fi World Magazine) it is not usually possible to flatten the sensitivity with normal calibration.

It is possible to check the origins on the sleeve (or other means) of the recording method for that album? It's true that many recordings since the early eighties were done digitally. However, a number thesedays are still done in analogue if the artist can afford it, because of the data density and unlimited forward compatibility.

I read somewhere that the guy that makes Chord uses RAF standard components for his amps - I think of the Chords as the "Boulders" of England. They look great and sound in the top league. Congrats. Remind me - what Nak are you using?

Marc

Hello there Marc,

I have a Nakamichi CR-7A, which as I'm sure you know was made for the US market.
I bought mine secondhand as I didn't have the means to purchase one when they were in production, had it shipped over here and B&W carried out the modifications, they do a great job, not exactly economical but highly competent and affable to deal with.

The Chord is a recent acquisition, replacing four Michell Alecto monoblocks, and the main speakers are Sonus Faber Electa Amator IIs. I changed for many reasons, good price on the Chord, ability to run another set of speakers from the amp, age of the Alectos and the S.F. speakers possess a difficult load to drive - initially underwhelmed by the Chord but getting used to the sound having lived with the Michells for such a long time. I expect further improvements when I change my speaker cables.

Recording info is fairly scant, "Solid Air" was produced late '72 at Island and Sound Technique Studios, released '73 whilst "Grace & Danger" dates from 1980, studio unknown.
I'm guessing the former was originally analogue and the latter might be digital. Simply Vinyl have a fairly chequered history, their packaging is first rate whereas some of the recordings are garbage plain and simple, not at all taken from the master tape.
The John Martyn records are excellent as are the Nick Drake pressings, maybe they located better source material for UK artists and recordings ?

The original Island releases are very collectable but probably hard to find in good condition. I know the Nick Drake titles were recently put out by Universal Japan on vinyl, are costly and quality again patchy if the postings on various forums are anything to go by.

Marc, recently got hold of a Revox B215-B with mechanical issues - can have it rendered operational once more albeit somewhat expensive (but I've had the horn for one many a long year). Worth doing in your estimation ?

Stuart

[SLA]

SONY EXIST = SONY HF-X in more fancier wrapping.

That is all. HF-X is below HF-ES and higher then HF-S tape.

[SLA]

I thing both Sony Metal Master and Sony Super Metal Master are double layer.
(well I know for fact that Sony Metal Master is double layer).

I also think Sony Metal Master is the same as Sony Super Metal Master, just
Sony Super Metal Master was released later on (~1994?) and sony just changed the name and casing.

[Marc Hugo]

I thing both Sony Metal Master and Sony Super Metal Master are double layer.
(well I know for fact that Sony Metal Master is double layer).

I also think Sony Metal Master is the same as Sony Super Metal Master, just
Sony Super Metal Master was released later on (~1994?) and sony just changed the name and casing.

Hi SLA,

I like your site - I'm assuming it's yours.

My experience on the Metal Masters is not complete, so you might have a point. However, I have heard on cassette forum that the layering was different. I think this was mentioned again on a test between the super-metals done by Hi-Fi World. What I recall was that they measured differently and calibrated differently. I'll see what I can find.


Cheers - Marc

[SLA]

Marc, site is mine thank you.

That would be great if you could find something about SM and SMM, my suspicion was SM=SMM but it may be not true! Let me know - I am certainly interested.

[Marc Hugo]

Hello there Marc,

Marc, recently got hold of a Revox B215-B with mechanical issues - can have it rendered operational once more albeit somewhat expensive (but I've had the horn for one many a long year). Worth doing in your estimation ?

Stuart

Hi Stuart,

I would say it is (depending on the sum involved). It is normally quite a durable deck. I does sound very stable and refined with very little colouration. The hassle is that it should not be the transport that gives hassles on one of those. Definitely check the credentials of the techie and get a guarantee on the work. It cost about UKS 1800 when they were new - a real Swiss price.

Keep us appraised of your next move Stuart - that could be a very rewarding project.

Cheers - Marc