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24.58.71.76
Maxell or TDK?
Hi Elkin V.
There is no answer to that.
The subject is far too large to attach a simple answer. Some have made a valiant effort here, but to be honest, comparing a late 90's Maxell UD1 with a late 90's TDK AD would be a more focused question where one could compare similar horses intended for a similar course.
Marc
I'm sorry i will be more specific,How about comparing a 1989-90 Maxell XLII-S to the same year TDK SA-X?Thanks, Elkin..
Hi Elkin,
Comparing the TDK SA-X with the Maxell XLII-S from the '89/90 period:
Many consider that this was where the best cassettes reached their zenith in technical formulation and the care with which they were made.
The two you mention are excellent examples because they were the premier type IIs from the two most respected magnetic tape companies.
XLII-S was by this time using a black magnetite particle (a geothite with an additional hydrogen ion). The particle needles were grown under water. Formula application was by VD epitaxy. The performance of these cassettes was exceptionally good. They typically had a better, fuller bass than the previous "high epitaxial" versions, yet retained the rising sensitivity which gave the tape an unmistakably vivid, fresh and sparkling sound signature. Strictly speaking, one had to manage the sensitivity down with additional bias and in doing so, this would result in lower distortion. However, many users liked the model for those sonic reasons and eschewed oppressive calibration.
TDK's double layer SA-X had its own faithful following. That too was a top quality pseudochrome that sported a rising sensitivity although not as steep as the XLII-S. To its advantage, its double layer super avylin coating lent it an unusually low noise floor giving it the widest dynamic range to date for any tape (including all metals until the issue of the Sony Metal Master)of 63.8dB. With a well implemented Dolby S, it was easy to see that a near 88dB dynamic range was possible with SA-X. In addition its double layer formulation proved (as double layers normally do) resistant to print-through. Also in its favour SA-X was not especially troublesome in calibration (as dual layers often are) as both layers were identical. Application was by immersion roller doping. Thanks to the sensitivity curve of the SA-X at this time (and this did not vary much for the 10 years that followed) the sonic style of the cassette still portrayed music in an exciting and exhilarating way.
Both cassettes were types ideal for top quality decks, demanding source material and discriminating listeners. They were levelled at each other in the market place irrespective of any price pegs. Longevity and durability of the tapes themselves is expected to be very long and neither one has the edge on the other. Both cassettes would be a sound investment if you can find them. They both use top of the line mechanisms from their respective houses. Neither shell delivers scrape flutter. The Maxell is a heat resistant material.
As a general rule, the rising sensitivity of the Maxell tends to favour pop, rock and jazz, while the quieter and more easily calibrated TDK might lend itself to the classical, acoustic and ambient genres. However, this is far from a hard and fast rule and both tapes would be immensely rewarding given any task.
Buy both with confidence.
Regards,
Marc Hugo
Not a hassle Elkin,
I will answer this in full tonight. I'll try to find a couple of reports/references too. A this stage, those two were at a very high level of performance.
Till later - Marc
I found the TDK metals were a little better than the Maxells. I preferred Maxell XLII-S to SA-X with CD (but not much in it).
TDK AR were the best value over all. They were able to take huge peak levels. Almost the same as the best metals.
Toss up, both were quite similar.
XL-II and SA were quite similar to each other in a properly functioning deck
XL-IIS and SA-X were quite similar to each other in a properly functioning deck
Today's Maxell UR and TDK D are again similar in overall performance
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