NAD 6300

[overmodulated]

Good evening everyone, I hope you’re all well. I just purchased an NAD 6300 cassette deck on eBay. I obviously didn’t learn my lesson yet buying off of that website lol. Actually I’ve had pretty decent luck on there, and items that were not as advertised I always ended up getting my money back. So I saw this supposedly lightly used NAD deck, and I’ve been watching it for several days and I snagged it tonight. I’m hoping it looks better in person than it does in the pictures but my first thoughts are… she ain’t winnin no beauty contest haha. But it’s what’s under the hood that counts, and I was really intrigued by the Dolby HX Pro and Dyneq combination. I have the HX pro on one of my decks, and I use it exclusively, I just think it does a great job when recording.

The downside of the new deck is that the bias is supposed to be set by ear from what I’m reading in the manual. I’ve read all the threads on Tapeheads about this deck, and most are saying after some practice it makes some pretty great recordings. Playback is supposed to be stellar also. The play trim button is not original, I’m going to have to find one of them because there’s a red button on there now and it just doesn’t look good. Maybe paint it black for now like the rest of the knobs.

Does anybody have any experience with this deck and can you offer me any tips? I’m used to decks with more control ability while when recording, although it sounds kind of fun experimenting.

Thanks I appreciate it.

 

[Elite-ist]

Here is a start, if you don't plan to use additional equipment such as a tone generator, external meter, etc.


1) Load the selected cassette into the recorder and fast-wind the tape forward for a few seconds to get past the blank leader tape at the beginning.

2) Set the Play Trim control to "0" (the detented position at the middle of it's range).

3) Set the Tape Selector to match the type of tape.

4) Set the Dolby NR switch to "C" and switch the MPX filter on. (Even though you may be planning to make a recording with Dolby B-type NR, it is best to use Dolby C-type NR while adjusting bias because it enhances the audibility of any response errors caused by over- or under-biasing.)

5) Set the Bias fine-tuning control to 0 (i.e. to the detented position at the center of it's range), unless you have reason to prefer a different trial setting.

6) Record a brief sample of music at low recording levels (approx. -15 dB). For best results the music should have obvious high-frequency content. A convenient alternative, especially when the most accurate results are desired, is to record interstation hiss from an FM tuner (with it's muting off) at a level of about -20 dB.

7) Using the INPUT MONITOR button, compare the tonal balance of the recording versus that of the input signal.

8) If the recording sounds duller than the original sound, raise the setting of the Bias fine-adjust control (move it toward the + symbol) to obtain brighter highs.

On the other hand, if the trial recording sounds bright, edgy, or distorted, reduce the setting of the Bias fine adjust control (move it toward the - symbol) to obtain smoother highs.

9) With metal-particle tapes (Type IV), you will find that the effect of bias change is relatively subtle, and you may have to move the Bias fine-tuning control all the way to the end of it's range to produce an audible change in tonal balance. But with normal tapes (Type I) a modest change in bias usually produces an obvious change in tone quality.

10) After you have discovered the Bias setting that yields the best results with a particular brand and type of tape, write it down (perhaps on the cassette label). then the next time you make a recording using the same brand and type of tape, you can easily re-set the Bias control to the optimum position. If you use a single brand of tape regularly, it will be convenient to leave the Bias fine-tuning control at the optimum setting for that tape. But if you record on a variety of tapes, you may want to compile a list of the optimum bias settings as you discover them. and post them on a card located near the recorder for convenient reference.

11) Remember, the Bias fine-tuning control affects tapes only while the recording is being made. It cannot be used to improve the quality of tapes after they are recorded.

Additionally, don't push peak recording input levels beyond lighting the first amber on the display.

Nando.

 

[overmodulated]

Here is a start, if you don't plan to use additional equipment such as a tone generator, external meter, etc.


1) Load the selected cassette into the recorder and fast-wind the tape forward for a few seconds to get past the blank leader tape at the beginning.

2) Set the Play Trim control to "0" (the detented position at the middle of it's range).

3) Set the Tape Selector to match the type of tape.

4) Set the Dolby NR switch to "C" and switch the MPX filter on. (Even though you may be planning to make a recording with Dolby B-type NR, it is best to use Dolby C-type NR while adjusting bias because it enhances the audibility of any response errors caused by over- or under-biasing.)

5) Set the Bias fine-tuning control to 0 (i.e. to the detented position at the center of it's range), unless you have reason to prefer a different trial setting.

6) Record a brief sample of music at low recording levels (approx. -15 dB). For best results the music should have obvious high-frequency content. A convenient alternative, especially when the most accurate results are desired, is to record interstation hiss from an FM tuner (with it's muting off) at a level of about -20 dB.

7) Using the INPUT MONITOR button, compare the tonal balance of the recording versus that of the input signal.

8) If the recording sounds duller than the original sound, raise the setting of the Bias fine-adjust control (move it toward the + symbol) to obtain brighter highs.

On the other hand, if the trial recording sounds bright, edgy, or distorted, reduce the setting of the Bias fine adjust control (move it toward the - symbol) to obtain smoother highs.

9) With metal-particle tapes (Type IV), you will find that the effect of bias change is relatively subtle, and you may have to move the Bias fine-tuning control all the way to the end of it's range to produce an audible change in tonal balance. But with normal tapes (Type I) a modest change in bias usually produces an obvious change in tone quality.

10) After you have discovered the Bias setting that yields the best results with a particular brand and type of tape, write it down (perhaps on the cassette label). then the next time you make a recording using the same brand and type of tape, you can easily re-set the Bias control to the optimum position. If you use a single brand of tape regularly, it will be convenient to leave the Bias fine-tuning control at the optimum setting for that tape. But if you record on a variety of tapes, you may want to compile a list of the optimum bias settings as you discover them. and post them on a card located near the recorder for convenient reference.

11) Remember, the Bias fine-tuning control affects tapes only while the recording is being made. It cannot be used to improve the quality of tapes after they are recorded.

Additionally, don't push peak recording input levels beyond lighting the first amber on the display.

Nando.

Nando you are the man, and I was hoping that you would see this. Thanks very much that is a great start! Much appreciated my friend.

 

[overmodulated]

Here is a start, if you don't plan to use additional equipment such as a tone generator, external meter, etc.


1) Load the selected cassette into the recorder and fast-wind the tape forward for a few seconds to get past the blank leader tape at the beginning.

2) Set the Play Trim control to "0" (the detented position at the middle of it's range).

3) Set the Tape Selector to match the type of tape.

4) Set the Dolby NR switch to "C" and switch the MPX filter on. (Even though you may be planning to make a recording with Dolby B-type NR, it is best to use Dolby C-type NR while adjusting bias because it enhances the audibility of any response errors caused by over- or under-biasing.)

5) Set the Bias fine-tuning control to 0 (i.e. to the detented position at the center of it's range), unless you have reason to prefer a different trial setting.

6) Record a brief sample of music at low recording levels (approx. -15 dB). For best results the music should have obvious high-frequency content. A convenient alternative, especially when the most accurate results are desired, is to record interstation hiss from an FM tuner (with it's muting off) at a level of about -20 dB.

7) Using the INPUT MONITOR button, compare the tonal balance of the recording versus that of the input signal.

8) If the recording sounds duller than the original sound, raise the setting of the Bias fine-adjust control (move it toward the + symbol) to obtain brighter highs.

On the other hand, if the trial recording sounds bright, edgy, or distorted, reduce the setting of the Bias fine adjust control (move it toward the - symbol) to obtain smoother highs.

9) With metal-particle tapes (Type IV), you will find that the effect of bias change is relatively subtle, and you may have to move the Bias fine-tuning control all the way to the end of it's range to produce an audible change in tonal balance. But with normal tapes (Type I) a modest change in bias usually produces an obvious change in tone quality.

10) After you have discovered the Bias setting that yields the best results with a particular brand and type of tape, write it down (perhaps on the cassette label). then the next time you make a recording using the same brand and type of tape, you can easily re-set the Bias control to the optimum position. If you use a single brand of tape regularly, it will be convenient to leave the Bias fine-tuning control at the optimum setting for that tape. But if you record on a variety of tapes, you may want to compile a list of the optimum bias settings as you discover them. and post them on a card located near the recorder for convenient reference.

11) Remember, the Bias fine-tuning control affects tapes only while the recording is being made. It cannot be used to improve the quality of tapes after they are recorded.

Additionally, don't push peak recording input levels beyond lighting the first amber on the display.

Nando.

Don’t push the peak recording level up into the red lighting?

Usually I’m up anywhere from 0 to +6 with metal tapes.

What is the reason not to push up any farther than the first amber light? Almost sounds like the meters are not telling the truth. I appreciate your input.

 

[Elite-ist]

It has been a long time since I last used my NAD 6300 - like more than five years ago. I may pull it off the shelf and get it back into circulation.

An old cell phone video:

Nando.

 

[Elite-ist]

You will get better results by keeping your peak recording input levels at 0 to +2dB. You will avoid tape saturation. Also, leave the CAR processor off, if you intend to use the recorded tape for home use.

Nando.

 

[overmodulated]

You will get better results by keeping your peak recording input levels at 0 to +2dB. You will avoid tape saturation. Also, leave the CAR processor off, if you intend to use the recorded tape for home use.

Nando.

Thanks for for the tips Nando.

Do you do this on all of your decks or is it just this deck that you’re suggesting I don’t go past +2dB?

Not that I’m doubting you, I’m just wondering the reason.

 

[overmodulated]

It has been a long time since I last used my NAD 6300 - like more than five years ago. I may pull it off the shelf and get it back into circulation.

An old cell phone video:

Nando.

she sounds great!

 

[Elite-ist]

Well, it's tape-dependent, too. Any true chrome Type II tapes in many decks will not record well if you exceed 0dB peak input level. But, the NAD 6300 seems to record best at the maximum levels I suggested. On my Pioneer CT-A9X, I can record to +4 dB to +6dB using a good Type IV cassette, such as a Sony Metal ES.

Nando.

 

[overmodulated]

Well, it's tape-dependent, too. Any true chrome Type II tapes in many decks will not record well if you exceed 0dB peak input level. But, the NAD 6300 seems to record best at the maximum levels I suggested. On my Pioneer CT-A9X, I can record to +4 dB to +6dB using a good Type IV cassette, such as a Sony Metal ES.

Nando.

thanks again.

 

[overmodulated]

Well, it's tape-dependent, too. Any true chrome Type II tapes in many decks will not record well if you exceed 0dB peak input level. But, the NAD 6300 seems to record best at the maximum levels I suggested. On my Pioneer CT-A9X, I can record to +4 dB to +6dB using a good Type IV cassette, such as a Sony Metal ES.

Nando.

Nando, I’m wondering if you know who works on these in the northeast part of the United States? My goal is to use it for a while as is, and then maybe sometime this coming year send it in for service. I understand they’re a bear to work on, and they have their own set of problems that need to be resolved.

I have a tech, but I don’t think he’s familiar with these, all he said is they’re quite a bit harder to work on than most decks.

Have you had yours serviced by someone and what are the areas that they concentrated on? I’m not on Tapeheads, and I made an account there a couple years ago and something happened and they ended up blocking my IP, I believe I was unhappy with the progression of their probationary period, anyway it is what it is.

But I’ve read on there that something in the power supply gets hot, and there’s no ventilation on these, and when I get a service I’d like to have everything addressed.

Also do you know what kind of a head this has on it? Someone mentioned ferrite.

Let me know your thoughts when you get a chance thank you.

 

[J!m]

If you’re up this way you could check with ESL. Not cheap but good.

 

[overmodulated]

If you’re up this way you could check with ESL. Not cheap but good.

I will have to search for them online, thanks.

I am in northeastern Pennsylvania, and I have used Morts TV in Levitown, and he’s the one that straightened out my Marantz 2385. I bought it and it wasn’t what it was supposed to be. Although it was recapped, evidently when they pulled the front end off they didn’t take pictures, or didn’t mark where everything should go, and it was all out of balance and messed up.
I just want someone that’s familiar with this deck, because I understand it’s tough to work on.

Thanks again.

 

[J!m]

Well, Electronic Service Labs had a NOS pinch roller for my 1977 Kenwood cassette deck in stock...

They have a warehouse full of parts and are considered by some as THE Nak restoration house.

Neither cheap nor fast, but they do a good job.

They also modified my Panasonic boom box to bias type I and type II rather than type I and type IV (to capitalize on the METAL hype of 1983). I'm sure they can fix it.

 

[overmodulated]

Well, Electronic Service Labs had a NOS pinch roller for my 1977 Kenwood cassette deck in stock...

They have a warehouse full of parts and are considered by some as THE Nak restoration house.

Neither cheap nor fast, but they do a good job.

They also modified my Panasonic boom box to bias type I and type II rather than type I and type IV (to capitalize on the METAL hype of 1983). I'm sure they can fix it.

That’s amazing that they had an NOS pinch roller for that wow.

I will definitely be checking them out, thanks again.

 

[overmodulated]

Just looked them up, they are only three hours from me, that’s a plus.

 

[J!m]

They are good, but odd. Don't ask them to buy parts. They will not sell parts to anyone.

They often have a few decks on hand for sale, fully restored. Not cheap, but probably same price as new when adjusted for inflation.

 

[overmodulated]

They got back to me from ESL, and they are only doing Nakamichi service at this time.

He recommended a guy named Larry from Approved Audio Service also in Connecticut.

 

[overmodulated]

From what I’m reading the NAD 6300 deck runs very hot, and there’s very limited ventilation. I just bought a 6100 as a parts deck, and mine is missing the one play trim knob and the parts machine has it intact.

My thoughts are to add some ventilation to the 6100 deck top cover, and add a small fan either on top or inside this cooling the power supply. Realizing that’s not optimal but until I can get it for service, or until it needs service I want to relieve some of the heat buildup I’m reading about. This way I can use the parts machines top cover and not butcher up the original.

Also I understand that the 6100 is a two head machine, but I’m wondering if everything else inside is pretty much the same?

Is the playback quality and head the same as the 6300?

Is the circuitry pretty much the same?

Thanks.

 

[J!m]

No idea on circuitry, but I would just leave the lid off if it runs that hot.

Maybe run the 6100 for a long time to determine WHERE it is throwing a lot of heat and then make holes/slots there. Then corresponding ones in the bottom plate to allow convection. I wouldn't run a fan... it shouldn't be needed.