Description
DUAL C 844Hi-Fi Stereo Cassette Deck 3 HEADS -- 2 MOTORS -- 2 SPEEDS -- Direct Drive In beautiful new condition, in good (full tested) working order.The tape recorder has been completely renovated, maintained and serviced. The last picture shows the replaced defective or very worn, out-of-spec parts.The pictures show the product for sale. AC 230V, 50/60Hz, 50Watts (European standard) International shipping:Write to me about shipping fees and costs. Contact me. Attention!Pictures are better than words. My pictures show exactly the offered item. If there should be more, it will be mentioned in the description. Ive written everything about the product. I accept no liability for damage resulting from transport. The shipping company is responsible for any damage resulting from shipping.The customs costs incurred must be paid by the buyer. The authority of the buyers country provides information on customs costs. I do not accept complaints. I will not buy back the product sold! Only buy if you accept my terms! If you have any questions, please ask. Because this item is used / it will show minimum to moderate cosmetic wear and may have some noticeable, scratches, scuffs, dust, and other wear. We would also advise viewing each of the pictures to get a better idea of condition specifics.Private seller, no warranty, no return, no repurchase. SpecificationsType: 3-head, single compact cassette deckTrack System: 4-track, 2-channel stereoTape Speed: 4.75, 9.5 cm/sHeads: 1 x combination record/playback, 1 x eraseTape Type: type I, FeCr, CrO2, MetalNoise Reduction: B, CInput: 100mV (line)Output: 0.58V (line)Accessories: remote control DUAL C-844 (1981) - The Dual Speed Dual (1001 Hi-Fi Info) The Dual C844 is a two-speed, three-head cassette deck introduced in October 1981. The C844 is equipped with a 2-motor solenoid operated 2-speed Dual-Capstan mechanism in an open cassette mechanism called by Dual Direct Load & Lock Mechanism. The cassette mechanism also features two infrared light barrier that will stop the cassette, the moment you reach out for the tape and after reinserting the tape, playback will start automatically. There is also a transparent head cover that opens automatically the moment you switch the unit on. The deck is using Sendust heads in a 3-head configuration and it can handle all known tape types featuring a 6-position manual tape selector. The deck is factory adjusted for the following tapes: Fe position for BASF Super LH, FeI position for Maxell UD-XL I, Cr position for BASF Chromdioxid II, Cr II position for Maxell UD-XL II, FeCr position for SONY Fe-Cr and Met position for 3M Scotch Metafine tape. Obviously, any quality tape from established manufacturers can be used with great success. The highlight of the Dual C844 is the possibility to make recordings at a speed of 9.5 cm/s (double of the standard speed) for greater dynamics, extended frequency range and low drop-out rate. In this case the manufacturer published a 20-24000 Hz frequency response with all tape types and an overall 2 dB increase in signal-to-noise ratio. At standard speed (4.75 cm/s) the frequency response is as follows: Standard tape 20-17000 Hz, Chrome tape 20-18000 Hz, FeCr tape 20-19500 Hz and Metal tape 20-20000 Hz. The C844 incorporates both the normal Dolby-B and the more effective Dolby-C noise reduction systems and an MPX filter for recording from FM Stereo broadcasts. The beautiful large display section features a 4-digit Digital counter with two memory setting and two large VU-meters complemented by 4 LED peak level indicators. Further comfort functions include, music search, repeat, variable fader and separate input level control for source (line/DIN) and microphone with front microphone inputs. A very rare infrared remote-control system also existed. This system consisted of the RE 122 infrared eye that had to be connected to the deck and the RC 144 hand-held unit. This system is not even mentioned in the user manual and it was actually manufactured by German company Teladi. This deck was replaced first by the slightly modified and updated to Direct Drive motor C846 in 1985, while the last version was the CC 1462 from 1986. Both models still featuring the double speed operation. Technical data: Wow and Flutter for 4.75 cm/s: 0.07% (DIN)/0.035% (WRMS) and for 9.5 cm/s 0.04% (DIN)/0.02% (WRMS) | Dimensions: 440x112x355 mm | Weight: 9kg | Original sale price in Germany: 1,198 DM | While Dual is a German company this deck was Made under Dual Specifications in Japan Dual C844 Cassette Deck Review (HiFi classic) Dual C844The Dual Model C844 is a two-speed, three-head cassette deck that incorporates both the normal Dolby-B and the newer, more effective Dolby-C noise-reduction systems. Its solenoid-operated transport uses a dual-capstan drive to minimize wow and flutter, and its six bias/equalization switch positions accommodate virtually any cassette tape without requiring the user to make special or individual bias-optimizing adjustments.Loading cassettes is faster on the C844 than on most decks, for it dispenses with the usual cassette-well door with rear-mounted slides. Instead, you simply press the cassette against hubs coming out of the front panel, tape opening downward. You can also remove the cassette during play simply by reaching out and grasping it by its sides. A photoelectric sensor retracts the drive mechanism the instant your fingers touch the sides of the cassette. To protect the sendust heads from dust or possible scratching, a rounded cover automatically slides into place when the power switch is turned off. (The cover may be overridden manually for routine cleaning and demagnetizing operations.) The illuminated window lets you see how much tape is left on a side.A four-digit electronic display is used for the tape counter, and the VU-type recording-level meters are supplemented by four peak-indicating LEDs. LEDs also signal the STOP, PLAY, RECORD, REPEAT, and DOUBLE speed functions. Microphone and line-level inputs may be mixed, though the playback output level is not adjustable. Memory rewind/play and timer activation are provided, as are an mpx switch (to eliminate possible problems when dubbing FM stereocasts) and an autospace button (to insert short silent spaces between selections). A music finder button works in conjunction with the fast-foward and rewind modes to skip to the beginning of the next selection or to return to the beginning of the one being played. As with a number of other Dual cassette decks, a fade edit feature is provided that will partially erase already recorded material so that the entrance and exit from the selection will sound much as it does when a professional broadcaster “fades in” and “fades out.” The rear panel of the Dual C844 contains the usual line-level input/output jacks, plus DIN connectors for European systems and an additional phono jack for a remote-control accessory.Laboratory MeasurementsThe playback frequency response of the C844 was measured with the new BASF IEC Standard ferric and Cr02 calibrated tapes, as these have the widest test range (31.5 Hz to 18 kHz) currently available. At 1-7/8 ips, as shown in the accompanying graph, all tones were well within ± 2 dB. Playback response could not be checked for the 3-3/4-ips speed since there are no calibrated tapes available for that purpose.Because of its multiple bias/equalization switch positions, tape selection was not critical, though best results were obtained with Maxell XLI-S (ferric), TDK SA-X (CrO2-equivalent), BASF Professional III (ferrichrome), and TDK MA (me(al). Almost comparable results were obtained with Lo-ran High Bias. The record-playback curves shown are for the two TDK tapes at each of the two speeds; these gave the flattest response when driven with high-level (O-dB) high frequencies. Using metal tape at the 3-3/4-ips speed produced a frequency response at this level comparable to what one would expect of an open-reel mastering recorder at 15 ips. At the customary — 20-dB level normally used for cassette-deck frequency-response measurements, the differences between the tapes were negligible out to the 20-kHz limit of the GenRad plotter, with only minor (and inaudible) wavelength-dependent effects in the extreme low-frequency region.Though the meters on the C844 are not marked with the traditional “double D” Dolby symbol, the Dolby level corresponded to 0 dB when checked with a test tape. Third-harmonic distortion at this level, using a 315-Hz tone at the higher and lower speeds, respectively, was 0.58 and 0.68 per cent for TDK MA, 0.8 and 0.86 per cent for TDK SA-X, 0.3 per cent (both speeds) for Maxell XLI-S, and 0.35 and 0.58 per cent for BASF Professional III—very good in every case. To reach the 3 per cent distortion point required increasing the recording level by a little over 6 dB at the 3-3/4-ips speed and by more than 5 dB at 1-7/8 ips.Signal-to-noise ratios, referenced to the customary 3 per cent third-harmonic distortion point and without weighting or noise reduction, measured 58.6 and 55.7 dB for TDK MA at the higher and lower speeds. The comparable numbers for TDK SA-X were 57.8 and 54.5 dB; for Maxell XLI-S, 58 and 53.8 dB; and for BASF Professional III, 60.7 and 56.3 dB. Using IEC A-weighting and Dolby-B increased the S/N to (listing the higher speed first) 70 and 68 dB (TDK MA), 69.2 and 67.1 dB (TDK SA-X), 69.8 and 65.8 dB (Maxell XLI-S), and 71.8 and 69.7 dB (BASF Professional III). Finally, using Dolby-C and CCIR weighting, the respective signal-to-noise ratios were: 83.8 and 82 db (TDK MA), 76.4 and 75.5 dB (TDK SA-X), 81.2 and 79 dB (Maxell XLI-S), and 81.2 and 79.5 dB (BASF Professional III). These are really quite extraordinary numbers for an analog cassette deck, for with Dolby-C, CCIR weighting, and metal tape they rival the specifications of a digital recorder!Dolby tracking error, using either the B or the C system, was extremely small—less than ± 1 dB up to 20 kHz at both —20- and — 30-dB levels—and there were no audible “breathing” or “pumping” side effects to mar the performance. Wow-and-flutter, measured with a Teac MTT-111 test tape, registered a very creditable 0.044 per cent (wrms) and 0.08 per cent (DIN peak-weighted). The line-level input sensitivity was 0.8 volt at 1,000 Hz, producing an output of 0.3 volt. A 0.5-millivolt (mV) input was sufficient to produce a 0-dB level, and overload of the microphone circuits did not occur until 160 mV. The VU-type recording-level meters over-registered by 2 dB when using 0.5-second pulsed tones and under-registered by 4 dB with the standard 0.3-second, 1-kHz pulses.CommentPlayback of top-quality In Sync (Connoisseur Society) and Mobile Fidelity prerecorded cassettes was excellent, and dubbing discs and FM broadcasts was a joy. Even so demanding a test as record-playback comparison of FM interstation hiss showed almost no high-end loss up to near O-dB levels when using metal tape at the 3-3/4-ips speed. This latter is, of course, a rather expensive way to record on cassettes and could only be justified by the most demanding material, but it shows what the deck can do.Interestingly, the 3-3/4-ips speed seemed to make a somewhat greater difference than did a shift from CrO2 to metal-particle tape, so if the shorter running time per side is acceptable, at current metal-tape prices the double-speed operation with Cr02-type tape might make economic as well as sonic sense. In any event, the solid construction and excellent sonic performance of the Dual C844 well justify its price. (Audio magazine, Jul. 1982) Manufacturers Specifications:Speeds: 1 7/8 and 3 3/4 ips.Wow & Flutter: 0.06% at 3 3/4 ips, 0.10% at 1 7/8 ips.Frequency Response: 20 Hz to 24 kHz at 3 3/4 ips, 20 Hz to 18 kHz at 1 7/8 ips with CrO2 tape, 20 Hz to 20 kHz with metal tape.S/N: At 1 7/8 ips, 67 to 69 dB with Dolby B NR, 74 to 76 dB with Dolby C NR; at 3 3/4 ips, 69 to 71 dB with Dolby B NR, 76 to 78 dB with Dolby C NR.Dimensions: 19 in. (48.26 cm) W x 13 in. (33.02 cm) D x 4 in. (10.16 cm) H.Price: $700.00.Duals new C844 cassette deck is one of the few models available currently to have the 3 3/4 ips speed option, and it also offers a number of other features, such as both Dolby B and C noise reduction, a monitor head, a fade/edit control, a six-position tape selector, a Music Finder system, an electronic digital counter, and provision for microphone mixing.The C844 is a sleek, modern low-profile design with the tape compartment on the left and tape-transport controls to the right, on the main panel. In addition to the usual recording and directional controls are additional pushbuttons marked Autospace, Repeat, and Double Speed. The Auto space control creates a blank space at the end of a recorded section which is used by the Music Finder to stop the tape. Underneath these pushbuttons is the six-position tape selector, the Dolby switch (C, Off, and B), the MPX switch, and the tape monitor. The dual-concentric line input control is to the right with the microphone input sockets and the microphone input control. Above the microphone sockets are three fade/edit switches. The first switches the circuit on, the second fades out the signal, and the third fades in the signal. The system works only during playback, to monitor the fade action on recorded tapes. I wish it worked on record too, such as for dubbing. A long dial at the top contains the large VU meters, peak-reading indicators, electronic digital counter, and memory switch while over to the left, on the other side of the cassette compartment, is the on/off switch, phone jack, and timer switch.The peak-reading indicators are a little unusual in that they are connected to the equalization circuit so that the characteristics are tailored to the kind of tape used. More about that later, but for now some details about the Music Finder system. Both fast-wind buttons are marked Music Finder, and if one is depressed after the Stop button is activated, the tape is wound back in that direction to the end of the tape. If either is depressed after the Repeat button is pushed, the tape is wound to the first music gap reached, and automatically switched to the playback mode.If either is pressed after Record, the tape will stop after reaching the first gap. The gap can be made deliberately, as mentioned earlier, or it can be the normal gap between bands on a disc.When the Record button is depressed, a red light appears above it, and a flashing green indicator lights up near the Repeat button. After the levels have been set, the Repeat button is depressed to start the recording process, and the flashing stops. It is thus unnecessary to use the Pause control for initial adjustments. If a speed change is made during operation, the tape stops completely for a few seconds before starting again at the required speed.The cassette compartment has no door, since a direct loading method is employed. The Dual infrared system automatically stops the drive motor and retracts the heads as soon as a hand is placed near the cassette for withdrawal. There are two drive motors, one for the reels and one for the capstan, and provision has been made for remote control with a DIN-type connecting socket on the back panel.Measurements Table I--Signal-to-noise ratios, dB, A weighted, ref. to 3% THD. Fig. 1--Playback response with a standard test tape. Fig. 2--Record-replay response with TDK MA metal tape. Fig. 3--Record-replay response with TDK SA tape. Fig. 4--Record-replay response with BASF Professional I tape. Fig. 5--Distortion and headroom at 1 kHz. Fig. 6--Distortion vs. frequency, 0 VU. Fig. 7--Square-wave response at 1 kHz, 3 3/4 ips, with Dolby C NR.Playback response was within 1 dB from 40 Hz to 12 kHz using a standard test tape (Fig. 1). The first test tape used for record-replay measurements was a TDK MA metal formulation, and results are shown in Fig. 2. At 0 VU, changing from the slow to the fast tape speed extended the-3 dB point from 16 to 21 kHz, and similarly added 3 kHz to the 23 kHz response at-20 dB. With the second tape tested, TDKs SA, a high-bias 70-µS formulation, the advantages of the fast speed were even more dramatic, as can be seen in Fig. 3. At 0 VU, the-3 dB frequency was moved from 7 to 13 kHz-quite a difference! At -20 dB, the -3 dB frequencies were 21 and 25 kHz. The third tape was a ferric 120-µS type, BASF Professional I, and here again the improvement with the 33/4 ips speed was particularly effective at 0 VU. At 17/e ips, the-3 dB frequency was 8.5 kHz, but at 33 ips it had increased to nearly 16 kHz! (See Fig. 4.) The response at -20 dB was quite similar to that of the TDK, with the exception of a very slight droop above 10 kHz.Figure 5 shows the distortion and headroom at 0 VU, and Fig. 6 compares distortion for the three tapes from 40 Hz to 5 kHz for levels of 0 VU. Signal-to-noise figures can be seen in Table I; note that the fast speed increases the already high figures by 2.5 dB. Input required for 0 VU was 24.5 mV, and the output varied from 339 to 436 mV, depending on the kind of tape used. Microphone sensitivity was 0.5 mV, with a maximum handling capacity of 177 mV, which provided a better than average margin against overload. Both Dolby B and C systems tracked down to -40 dB within 1.5 dB with all three test tapes.The six equalization positions on the C844 consist of two for 120-µS ferrics, two for high-bias chromium dioxides or similar 70-µS tapes, one for FeCr types, and one for metal particle formulations. In order to reflect the differences in high-frequency headroom, the four peak-reading LEDs are marked in percentages to indicate how much headroom is available on the particular tape used. Thus, the 75% indicator lights up at 0 VU with metal tape, 100% with FeCr, and so on. This is a most ingenious idea and also takes into account the effect of the Dolby C system. The VU meters had a slight overshoot with a standard ASA 300-mS, 1-kHz pulse, but the peak indicators were very accurate, and the manufacturer rightly says that the LED display is more important than the meters.Erase efficiency was better than 70 dB, as claimed, while wow and flutter measured 0.03% at 1 7/8 ips and 0.02% at 3 3/4 ips-considerably better than the specifications. Rewind time for a C-90 was 150 seconds at 1 7/8 ips, and speed in both modes was less than 0.1% fast.Encouraged by the quite remarkable frequency response, I thought Id take a look at the square-wave performance, and the result can be seen in Fig. 7. Using TDKs MA metal tape and applying a 1-kHz square-wave signal, there was an absence of ringing together with a fast risetime-unusually good for a tape deck. ---- EQ characteristics fit the tape type used.Use and Listening TestsAs the test figures show quite clearly, the C844 is a high quality cassette deck, probably a state-of-the-art design in terms of basic performance, and it compares favorably with some open-reel models. The logic controls all worked smoothly, with a professional feeling, and mode changes can be made without danger of tape strain or breakages.The 3 3/4 ips speed, with its greater headroom, is definitely worthwhile for direct recordings made with first-class microphones (I used B & K 4134s) or for taping direct-to-disc recordings. For most purposes, the slower speed is perfectly adequate, especially if Dolby C NR is used. The Music Finder system will certainly appeal to some users, but I was more impressed with other features like the microphone mixing facility, the versatile tape selector, and the care taken to match the peak level indicators to the different tape characteristics. The electronic tape counter, with its large eye-catching green display, can be read from a considerable distance--a great improvement on the mechanical indicators that almost need a magnifying glass to read. The only criticisms I could possibly make relate to the fader controls (described earlier) and a personal preference for a variable output control.-George W. Tillett(Adapted from: Audio magazine, Jul. 1982)
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