Introduced in 1988, the Akai GX-95 was a three-head, three-motor stereo cassette deck positioned at the top of Akai’s export range. Carrying the Reference Master designation, the Akai GX-95 combined separate Super GX record and playback heads, Linear Crystal Oxygen-Free Copper windings, a direct-drive closed-loop dual-capstan transport, manual tape calibration, Dolby B and C noise reduction, Dolby HX Pro and an extensive microprocessor-controlled operating system. Its separated internal construction, high-rigidity chassis, vibration-controlled cassette holder and large insulated support feet reflected Akai’s effort to create a substantial reference-grade cassette recorder.
The Akai GX-95 used a four-track, two-channel stereo recording format with three completely separate heads. One LC-OFC Super GX head was dedicated to recording, a second LC-OFC Super GX head was dedicated to playback and a separate head provided tape erasure. This arrangement allowed the record and playback heads to be designed specifically for their individual functions while also permitting the recorded signal to be monitored directly from the tape.
The Super GX recording head used a gap width of approximately 4µm, while the playback head used a much narrower 1µm gap. The wider recording gap supported the magnetic field strength required during recording, while the narrow playback gap extended high-frequency reproduction. The separate gaps also removed the compromise inherent in a combined record and playback head.
Akai mounted the recording and playback heads within a rigid cast base intended to absorb vibration and reduce mechanical resonance. Accurate alignment between the separate heads was essential for consistent off-tape monitoring, and the rigid mounting structure helped maintain the relationship between the record and playback gaps.
Both Super GX heads incorporated LC-OFC windings. Linear Crystal Oxygen-Free Copper was used to reduce signal-transmission distortion and improve electrical linearity within the head windings. The head system was designed to provide wide frequency response and extended dynamic range while retaining the wear resistance associated with Akai’s GX head technology.
The recording and playback heads were used with a three-motor transport. An FG servo direct-drive motor powered the capstan system, a separate DC motor drove the reel mechanism and another DC motor operated the cam, cassette loading and powered eject system. The main capstan was driven directly rather than through an intermediate belt. The FG servo system monitored rotational speed and corrected deviations to maintain stable tape travel. Wow and flutter was specified at 0.025% weighted RMS according to JIS and 0.04% according to DIN.
A closed-loop dual-capstan transport controlled tape movement across the head assembly. The tape was held between two capstans and pinch rollers, helping isolate the head-contact area from irregularities produced by the cassette shell and reel system. This maintained controlled tape tension and supported stable contact with the separate record and playback heads.
The two capstans, flywheels and pressure rollers used differing dimensions to reduce common mechanical resonances within the transport. Wear-resistant ceramic tape guides maintained accurate tape positioning as the tape passed through the closed-loop mechanism. The Akai GX-95 incorporated a vibration-absorbing cassette stabiliser within the motorised cassette holder. The holder used a high-rigidity composite ceramic construction together with Sorbothane and additional soft damping pads to reduce vibration transmitted through the cassette shell.
The cassette holder was opened and closed electronically. A dedicated motor controlled cassette loading and power-assisted eject, while Akai’s Quick and Quiet mechanism was intended to provide controlled operation with reduced mechanical noise. Automatic tape-slack take-up removed loose tape after a cassette was loaded. This reduced the possibility of tape damage or incorrect initial movement when the transport entered play or record.
The Akai GX-95 included automatic tape-type detection. The deck recognised normal, chromium dioxide and metal cassette formulations and selected the appropriate basic recording and playback conditions. A manual recording-calibration system allowed the operator to match the deck more precisely to the individual tape being used. Separate calibration controls were provided for recording level and bias, while the three-head monitor system allowed the effect of each adjustment to be checked directly from the tape.
The calibration system used internally generated reference signals. A 400Hz signal was used for recording-level adjustment, while a 16kHz signal was used for high-frequency and bias calibration. Bias frequency was specified at 210kHz. The front-panel calibration controls provided ±3dB adjustment of recording level and ±20% adjustment of recording bias. These settings allowed differences between individual cassette formulations and manufacturers to be compensated for before recording.
A large recording-level control adjusted the left and right channels together while retaining their established balance. The control used a broad rotary scale and included a visible position marker for accurate setting. A recording-level guide system assisted with selecting an appropriate recording level for the tape and programme material. The electronic display showed the left and right recording levels across an extended scale and included a peak-hold system for retaining brief transient peaks.
The large concentrated fluorescent display combined recording-level indication, digital tape time, tape type, Dolby status, transport direction and operating information within a single central panel. A Display control could switch unnecessary information off to reduce illumination and potential electrical noise.
The digital tape counter displayed elapsed tape time in minutes and seconds rather than an arbitrary mechanical count. A counter-memory stop function allowed the transport to return to a stored position and stop automatically. The display included separate left and right peak-level indications with a scale extending into the positive recording range. Peak Hold retained the highest detected level long enough for the operator to identify short overloads that might otherwise be missed.
The Akai GX-95 supported Dolby B and Dolby C noise reduction. Dolby B provided compatibility with the established cassette noise-reduction standard, while Dolby C offered greater noise reduction across a wider section of the audio spectrum. With Dolby B engaged, noise reduction was specified as reaching 5dB at 1kHz and 10dB above 5kHz. Dolby C provided an improvement of up to 15dB at 500Hz and 20dB between 1kHz and 10kHz.
Dolby HX Pro headroom extension operated during recording. The system monitored the programme’s high-frequency content and adjusted the effective recording bias when necessary, increasing available high-frequency recording headroom without requiring a corresponding decoding process during playback. A switchable MPX filter removed the 19kHz pilot signal used in FM stereo broadcasting. This prevented the pilot tone from interfering with Dolby noise reduction when recording from an FM tuner.
The Akai GX-95 incorporated an automatic monitoring system. During recording, the deck could monitor the signal reproduced by the playback head, while other operating modes selected the appropriate source automatically. A Tape/Source monitor control also allowed direct manual comparison between the incoming signal and the recording reproduced from the tape. This was one of the principal advantages of the separate three-head arrangement.
The transport controls were operated electronically through a microcomputer-controlled direct lead-in system. Large keys were provided for rewind, play, fast forward, record pause, stop and eject or close. The direct lead-in system allowed the selected transport command to be entered without requiring a separate stop operation first. The microcomputer interpreted the command and controlled the transport sequence.
The Akai GX-95 included a Spot Erase system that allowed selected sections of a recording to be erased. This could be used to remove unwanted material from within a programme without erasing the entire cassette. Recording Cancel provided a controlled method of abandoning an unwanted recording operation. Auto Mute created a silent interval on the tape without stopping the transport, assisting with the preparation of gaps between recorded selections.
A two-point repeat function allowed a defined passage to be replayed continuously. Start and end positions could be established through the deck’s memory system, after which the transport automatically returned and repeated the selected section.
The Auto Play function returned the tape to a stored counter position and began playback automatically. The memory system could therefore be used both for locating programme material and for repeated playback. The IPSS programme-search system could locate recorded selections by detecting the unrecorded spaces between them. Up to 16 selections could be specified, allowing the deck to advance or rewind automatically to the required programme.
Timer-controlled recording and playback were supported. The front-panel Timer Start selector provided record, off and play positions for use with a suitable external mains timer. A supplied wireless remote-control unit allowed the principal operating functions to be controlled away from the front panel. The remote sensor was positioned beneath the cassette compartment and display area.
A headphone output with an independent level control allowed recording and playback to be monitored privately. The specified headphone output was 1.3mW into an 8Ω load. The Akai GX-95 also included a dedicated CD/DAT direct input. This connection accepted a nominal level of 240mV into 47kΩ and provided a separate input route for digital source components.
The standard line input accepted 70mV into 47kΩ. The line output delivered 388mV with an output impedance of 150Ω. Akai divided the internal structure into separate blocks to reduce unwanted interaction between the power, transport, control and audio sections. The cabinet used high-rigidity construction and large support pedestals to provide a stable mechanical foundation.
The Akai GX-95 was visually distinguished by its black front panel, dark timber-effect side sections and gold Reference Master lettering. The large central display, motorised cassette compartment and grouped controls created a design that matched the mechanical and electronic complexity of the deck. Frequency response was specified from 20Hz to 19kHz within ±3dB using normal tape, from 20Hz to 20kHz within ±3dB using chromium dioxide tape and from 20Hz to 21kHz within ±3dB using metal tape.
Signal-to-noise ratio with metal tape was specified at 59dB when measured through the tape at peak recording level without noise reduction. With Dolby C operating, the weighted signal-to-noise ratio reached 74dB with normal, chromium dioxide or metal tape. Total harmonic distortion with metal tape was specified at less than 0.6%. These performance figures were supported by the direct-drive dual-capstan transport, separate Super GX heads and individual tape-calibration controls.
The Akai GX-95 measured 154mm high, 460mm wide and 350mm deep and weighed 10.2kg. International versions were produced for 220V, 50Hz operation in continental Europe, 240V, 50Hz operation in the United Kingdom and Australia and convertible 110V, 120V, 220V or 240V, 50Hz or 60Hz operation for other markets.
The Akai GX-95 represented the flagship export version of Akai’s late-1980s cassette-deck engineering. Its Super GX three-head system, LC-OFC windings, direct-drive closed-loop dual-capstan transport, damped motorised cassette holder, manual calibration and comprehensive programmable functions placed it among the company’s most advanced cassette recorders.
Features
- Three-head stereo recording and playback system
- LC-OFC Super GX record and playback heads
- Direct-drive closed-loop dual-capstan transport
- Three-motor mechanism with powered cassette loading and eject
- Manual recording-level and bias calibration
- Dolby B and Dolby C noise reduction
- Dolby HX Pro headroom extension
- Automatic tape-type selection
- Large fluorescent display with peak-hold metering
- Sixteen-selection IPSS programme search
- Two-point repeat, memory stop and Auto Play functions
- Supplied wireless remote control