Introduced in 1981, the Nakamichi LX-5 was a three-head stereo cassette deck developed to deliver the company’s established recording performance in a comparatively restrained and straightforward design. Its silver and black front panel concealed much of its secondary control system behind a large hinged cover, leaving the transport, digital tape counter, master fader and level display immediately accessible. Beneath this uncluttered presentation was a microprocessor-controlled dual-capstan mechanism, discrete recording and playback heads, Dolby B and C noise reduction and comprehensive adjustment for normal, high-bias and metal tape.
The Nakamichi LX-5 was designed as a recorder first and foremost, rather than as a showcase for elaborate automation. Its transport, calibration controls and monitoring system were arranged to make high-quality recording direct and repeatable, while its microprocessor handled the mechanical operations required to move the tape safely and accurately. The result was a deck that combined substantial engineering with a control layout that remained relatively easy to understand.
Its three-head configuration used separate erase, recording and playback heads. Unlike a conventional two-head machine, the Nakamichi LX-5 could reproduce the signal from the tape immediately after it had passed the recording head. This allowed the operator to compare the incoming source with the actual recording while the tape was moving, making level setting and tape adjustment considerably more precise.
The separate recording and playback heads also allowed each gap to be designed for its own task rather than compromising both functions within a shared head. The recording head could be optimised for placing the signal onto the tape, while the playback head could be configured specifically for accurate reproduction. The tape transport used Nakamichi’s silent mechanism with a double-capstan arrangement. By controlling the tape on both sides of the head assembly, the mechanism maintained stable tape tension through the recording and playback area and reduced its dependence on the cassette shell’s internal pressure system.
A microprocessor supervised the transport and interpreted commands from both the front panel and the optional remote controller. Rewind, play, fast forward, pause, stop and record were selected through broad horizontal controls, while individual indicators showed the active transport condition. The microprocessor also incorporated protection against unsuitable mode changes. If a transport command was selected while the deck was in an incompatible condition, the control logic prevented the mechanism from entering the requested mode until it could do so safely.
The Nakamichi LX-5 included a special circuit intended to prevent the formation of a narrow unrecorded gap when recording was stopped and restarted. This allowed successive recordings to be joined without leaving an unwanted silent section between them. A muting circuit reduced switching noise when mains power was applied and during transport changes. The muting interval prevented mechanical and electrical transition noises from being passed through the audio outputs.
The cassette compartment of the Nakamichi LX-5 was located behind the large left-hand panel. Pressing Eject opened the holder, after which the cassette was inserted with its exposed tape edge facing downwards. A window in the front panel allowed the cassette and remaining tape to be observed during operation. Tape selection was arranged around Nakamichi’s own EX, SX and ZX classifications. EX covered standard ferric formulations, SX was intended for high-bias tape and ZX selected metal tape. The manual also allowed other equivalent cassette formulations to be matched to the appropriate position.
A separate equalisation selector provided 70µs and 120µs playback settings on the Nakamichi LX-5. This allowed the deck’s equalisation to be matched independently to the requirements of the cassette and recording. Fine bias adjustment was provided beneath the hinged control panel. This allowed the recording bias to be altered from the nominal setting to compensate for differences between cassette formulations within the same general tape class.
Separate left and right input-level controls established the initial recording balance. Once the relationship between the channels had been set, the broad Master Fader could adjust the overall recording level without disturbing that balance. The Master Fader was operated through two large touch controls marked Down and Up. A short press altered the recording level by one step, while holding a control produced a progressive fade. The system could therefore be used for controlled fade-ins and fade-outs as well as normal recording-level adjustment.
Two fading speeds were available on the Nakamichi LX-5. The faster setting completed a fade in approximately two seconds, while the slower setting required approximately six seconds. The selected position was shown by indicators above the fader controls. The master fader position was also displayed electronically. Its operating range was divided into 26 steps, allowing recording levels and fades to be reproduced more consistently than with a conventional unmarked mechanical control.
A horizontal electronic peak-level display occupied the upper-right section of the front panel. Separate left and right indications showed recording and playback levels across an extended range, allowing short peaks and channel differences to be monitored clearly. The monitor selector changed between Source and Tape. Source allowed the incoming programme to be heard before it reached the tape, while Tape selected the signal reproduced by the playback head. During recording, this provided an immediate comparison between the source and the completed recording.
Dolby B and Dolby C noise reduction were independently selectable on the Nakamichi LX-5. Indicators in the upper display section showed which system was active, while the Off position allowed recordings to be made or reproduced without Dolby processing. An MPX filter was provided for recording FM stereo broadcasts. The filter removed the multiplex pilot signal that could otherwise interfere with the operation of Dolby noise reduction.
Record Mute allowed the input signal to be interrupted without stopping the transport. Its indicator illuminated during operation, making it possible to insert a silent interval between selections while retaining the deck’s recording condition. The Nakamichi LX-5 also supported punch-in recording. Recording could be entered directly from playback by pressing Record, allowing new material to replace an existing section without first stopping the tape.
Automatic Play combined the transport controls with the memory system. With the tape counter reset at the required starting position and the memory switch engaged, the deck could rewind to 0000 and begin playback automatically. The four-digit electronic tape counter counted from 0000 to 9999 and operated in both directions. Dedicated reset and memory controls allowed a chosen point to be established for automatic return.
Timer-controlled recording and playback were supported through a three-position selector. When connected to an external mains timer, the Nakamichi LX-5 could begin recording or playback automatically when power was applied. Input and output connections were fitted to the rear panel, together with a socket for the optional Nakamichi RM-200 wired remote controller. The remote provided control over the main transport functions while leaving Record Mute under front-panel operation.
The front-panel headphone socket accepted standard stereo headphones with an impedance between 8Ω and 16Ω. Monitoring level followed the deck’s output arrangement. Nakamichi also provided for microphone recording through the optional MX-100 microphone mixer. The mixer accepted three microphones and connected to the line inputs of the Nakamichi LX-5, allowing microphone sources to be combined before recording.
The hinged lower panel protected the secondary switches and level controls when they were not required. A light press released the panel, which opened forwards to expose the tape, equalisation, Dolby, timer, bias, MPX filter and input controls. Closing it restored the deck’s simplified appearance.
The Nakamichi LX-5 represented a carefully balanced recorder in which much of the company’s advanced transport and head technology was placed behind an unusually disciplined front panel. Its three-head monitoring, dual-capstan tape path, microprocessor control and electronic master fader gave it the facilities required for serious cassette recording without turning routine operation into a complicated procedure.
Features
- Three discrete erase, recording and playback heads
- Double-capstan silent transport mechanism
- Microprocessor-controlled transport operation
- Off-tape monitoring during recording
- Dolby B and Dolby C noise reduction
- EX, SX and ZX tape selection
- Independent 70µs and 120µs equalisation selection
- Fine recording-bias adjustment
- Electronic master fader with two fade speeds
- Electronic stereo peak-level display
- Four-digit tape counter with memory Auto Play
- Optional RM-200 wired remote control