Once set however, they should not need adjustment. Although found precisely set, the traps are difficult to get at. The presets can be reached easily while the machine is running with the exception of the 80 kHz bias traps on the oscillator board. Mono amplifiers are mounted immediately below the deck with the stereo amplifiers below them and below this again are the Canon XLR sockets to both the stereo and mono inputs and outputs.Īll the amplifiers are on quickly replaceable printed circuit boards. The electronics for the 2 head blocks are completely different, permitting separate tape amplifier and oscillator setting up for each block. Two head blocks were provided with the machine, the first mono full track and the second stereo with full track erase head. The main competition for this tape recorder in Europe was the Studer C37 but some who have used both, prefer this one.Įxcerpts from an Angus McKenzie review in Studio Sound September 1970 These were used extensively in radio stations in Germany and of course, recording studios. Many consider the transports on the M 10 to be as good as it gets.

Later production switched over to solid-state. The first M10 machines produced in 1957, were running quarter-inch tape and used tube/valve electronics, which relative to the American tube designs, was a bit overcomplicated and doesn’t sound as good.

Telefunken 1960 lautsprecher