Sony PCM-R500 Professional DAT Recorder - Lightly Serviced

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General
I've lost track of the amount of DAT decks that arrive here in non-working condition.  We always hope to receive a working one, but they usually let us down with the flashing "caution" of death among a host of other known issues.

This one was finally different.

The Sony PCM-R500 is top-of-the-line pro audio series DAT (Digital Audio Tape) recorder that sold new for $1,695 back in 1997. That equals over $3,300 when adjusted for inflation.

It remains super desirable as it has FOUR direct-drive motors that were designed to allow the DAT format to perform its absolute best for days on end in demanding professional audio recording applications. 

This deck also lets you disable the Serial Copy Management System (SCMS) digital copy protection to make perfect copies of your digital sources. SCMS was the home recording (RIAA) industry attempt to prevent bit-perfect digital copies of commercial music by consumers. It ended up killing the format entirely outside of professional applications.

This deck was fully tested and records beautifully, only needing a light service. It came from a recording studio that clearly took excellent care of it over the years.

More from the original Sales Brochure:
Incorporating Sony's legendary high-reliability 4 D.D. Mechanism, the PCM-R500 sets the standard for professional-use DAT. The Shuttle and Jog Dial offer outstanding operational ease, while extensive interface options and multiple menu modes meet a wide range of application needs.

PCM-R500 Features
• High-Reliability 4 D.D. Mechanical Transport
Sony's legendary 4 D.D. Mechanism with 4 direct drive motors has been incorporated for a stable tape run. The PCM-R500 is also equipped with Auto Head Cleaning for improved sound quality.

• Easy Operation with Shuttle and Jog Dial
The handy Shuttle/Jog Dial ensure easy system operation. Use the Shuttle for easy fast forward and rewind, or the Jog Dial for convenient AMS/Program Number.

• SBM Recording Function
The SBM Recording Function achieves an S/N ratio equivalent to that of a 20-bit system.

• Set-Up Menu for Preference Selection
Use the convenient set-up menu for setting ID6, level sync threshold, date and more.

• Built-in Din 8-Pin Parallel Remote Connecter

• Optional RM-D750 Wired Remote Commander

• Wide Range of Audio Interface Options 

•  R-Core Transformer for Reduced Leakage Flux
Aiming for the highest possible sound quality, the PCM-R500 incorporates an R-Core Transformer for reduced leakage flux.

• CH1 / CH2 Independent Recording Level Volume Controls
The PCM-R500 includes independent Channel 1 / Channel 2 recording level volume controls to eliminate cross talk.

More information from a 1997 Home Theater Hifi review by John Sunier:
Professional DAT recorder with four direct-drive motors; Shuttle and Jog Dial; Extensive interface options (including disabling SCMS copy function); Multiple menu modes; With 8-pin wired remote plus wireless remote; 

Independent Channel 1 & 2 record level controls; Analog Input/Output: Balanced (XLR), Unbalanced (RCA); Digital I/O: AES/EBU (XLR), Coaxial (RCA); Stereo phone jack with level adjustment; Parallel DIN 8-pin remote interface

DAT recorders place the audio signal on the tape in the form of 1s and 0s (digital bits), just like on CDs, and you have the choice of recording in exactly the same sampling frequency (44.1 kHz) and word length (16 bits) as CDs, along with some other choices if you wish. The professional industry standard for DAT for the past several years has been the Panasonic SV-3700 deck at about $1,600, and Sony's R500 is obviously designed to meet this competition head on. Many classical and jazz original sessions are still recorded on the 3700, and it has wide use in broadcasting.

A recent upgrade offered some improvements, but the R500 has the edge in several departments. Two that will most interest many recordists are, first, the built-in Super-Bit-Mapping function which, via digital noise-shaping, achieves in this 16-bit system a S/N ratio equivalent to that of a 20-bit system. It noticeably improves very low-level resolution (especially valuable in much classical and jazz recording).

The other edge in Sony's model is that the Serial Copy Management System, which is part of all consumer decks, can be totally defeated during both recording and playback. Allowing only one digital-to-digital dub to be run off from a master DAT, and then blocking the record function from further dubbing in the digital mode, SCMS often causes recordists great frustration. They are forced to go through an analog stage in order to make multiple dubs, with the increase in noise and distortion which can be created. Even making digital-to-digital dubs, there are some subtle losses, but it is usually to be preferred to converting back and forth between digital and analog.

Another plus is the large and easy to read digital display. Anyone who has done even a modicum of digital recording has learned that going over the all-important 0 VU point in recording level spells disaster, i.e., the most excruciating distortion products. The recordist always wants to put the highest level possible on the tape, but unexpected peaks often come up during live performances of all sorts. It would be great to have a gimmick like some CD players, which automatically scan the entire CD or entire track and then repeat over and over the several seconds of the highest peak portion of music so recording levels can be adjusted. Well, the R500 has something even better than that. It constantly displays the smallest Margin between the highest peak recorded so far and 0 VU. So if you've come to the end of a session and the margin reads 2 dB, you know you've pushed it as far as you can and there will be no distortion. On the other hand, if it reads 0 VU, you've probably had a peak there somewhere that put you over the top.

A very useful feature of the 3700 has been the block error readout, which can tell the user the condition of DATs that have been recorded on several times and whether they can be re-used without risking dropouts of the signal. Public radio stations, with their penurious budget situations, find this option a necessity, since they cannot afford to buy new DAT tapes constantly, and most amateur recordists have a similar situation. The Sony also has such an error readout which can be selected on the menu.

SkyFi Cosmetic Notes:
Residue from a "J" sticker on the front panel which could be removed. Minimal signs of wear on the unit with only some light scratches present. Overall good condition.

SkyFi Technical Notes:
Lightly serviced, cleaned heads, rollers, lubricated drive wheels axles. Made test tape with perfect results. Changed CMOS battery.

Brand Background:
Since 1950 Sony has been building the most innovative products in the audio industry.

Ownership:
Single Owner

Connections:
Digital AES/ABU output, Two pairs of RCA outputs (one set per channel), digital coax in/out, XLR in/out

General Sound:
Accurate to the recording

Cosmetic Condition:
8/10 = Very Good. Excellent front faceplate, one minor flaw on chassis side or top. See our detailed rating description here.

Working Condition:
Working perfectly and tested on our bench with both CD and DVD. XLR and RCA working as they should.

Included:
Just the Unit

Packing:
Will be packed using our highly developed in-house process and custom packing materials.Original MSRP:
$1,695.00

Specs:
Type: Digital Audio Tape Deck
Track System: 2-channel stereo
D/A Converter: 16-bit linear
A/D Converter: Super Bit Mapping, 20-bit
Sampling Frequency: 48, 44.1, and 32kHz
Frequency Response: 20 Hz to 20 kHz
Signal to Noise Ratio: 90 dB
Total Harmonic Distortion: 0.05%

Dimensions:
19" x 5-3/4" x 14" (W x H x D)

Weight:
15 lbs, 14 oz

Approximate Age:
1997

Sales Brochure:
Click Here

Link to Manual:
Click Here

Sony Remote Commander (Not Included with this Listing):
RM-D757

Recommended Cables:
Kimber Kable - RCA Interconnects - Better

Kimber Kable - BALANCED XLR Connectors - Better

Kimber Kable - Coaxial Digital Interconnect

Kimber Kable - Digital AES/EBU Interconnect

Kimber Kable - Power Cords - Good

Testing Process:
We start with a visual inspection of all internal components to make sure that there are no signs of heat stress or damage. Capacitors are checked for telltale signs of predictive failure including bulging, shrunken wrappers, or physical leakage. We also inspect resistors and other passive components for signs of overheating. When the unit is first powered on we check the drawer mechanism function.

After the visual inspection we connect the CD Player RCA outputs to our Sencore PA81 Power Analyzer which simulates a real world input impedance and allows us to monitor the output on an oscilloscope. We start with a test CD with precision test signals to verify proper output on both channels. If the CD player has balanced outputs these are also tested at this time.

If this check passes, we move onto evaluation with actual music CDs. We listen for clicks, skips, and drops during playback. At this time we also check the transport functions including Play, Pause, Stop, Repeat Track, Next Track, Previous Track, Fast Forward, Rewind, and programming if applicable. If the unit has a remote control, all remote control functions are verified.

If the CD player is capable of SACD playback we test its ability to read SACD layers on multiple discs including standard and hybrid SACD's. At this time we also check the unit’s digital outputs where applicable. If SACD layers are being properly read we should see the digital outputs mute during playback. On redbook CD playback we verify that each digital output maintains proper lock on our bench DAC.

After bench testing is completed, CD players are set up for testing on our long term test rig. During extended testing we make sure that unit can play through several different discs from beginning to end with no skips or lockups.