TDK AD 1982 Review: Frequency Response, Distortion, and Listening Test

Quick Results Summary

Measured on an Aiwa F-770 deck against Fostex TT-15 oscillator tones. Full methodology below.

Equipment Used

• Mixing Console: Soundcraft GB2 32 channel mixer
• DA: 44.1kHz FLAC Lossless audio
• Deck: Aiwa F-770
• Oscillator Tones: Fostex TT-15
• Listening Headphones: Audeze LCD-X
• Speakers: Kali Audio LP-6

Frequency Response Test

40Hz: Sub Bass

This is a bit of a tough one for a premium ferric of this age, especially as a consistent sub bass oscillator tone. -2db and under seems to be okay. 0db there is definitely distortion begining to become audible here. Anything past +2db introduces very noticeable distortion.

400Hz

I was able to keep this tone stable up to around +4db on meters. Nice performance for its age! It could be pushed louder with some harmonic distortion creeping in at around +5DB and definitely present at +6db on my F770 meters.

1kHz

This tape could easily handle 0db, and +2db on meters, at about +3db distortion starts to enter the picture, and definitely present at +4db.

Jazz Playback Test: Bill Evans, The Complete Riverside Recordings

Given the age of this tape and its name "Acoustic Dynamic" I figured a most fitting choice would be some recordings off The Complete Riverside Recordings, by Bill Evans.

This album features numerous outtakes, alternate takes, and the original recordings of Bill Evans, one of my favorite Jazz pianists. "Ranging from solo to quintet, this collection also features such major artists as Cannonball Adderley, Freddie Hubbard, Philly Joe Jones, Jim Hall, Percy Heath, Paul Chambers, Ron Carter, Zoot Sims, and Scott LaFaro."

Some of these recordings are very dynamic, having passages that will start consistently at below 0db then make a sudden jump to +4db or +5db- which should be great test material.

Track: "I Love You" (Cole Porter)

The first track of playback is titled "I Love You" originally written by Cole Porter. This recording features a very groovy drum section with cymbals sizzling through the rhythm. The piano sounds clear and present, center stage with no issue. The softer notes of Bill's playing are definitely captured and reproduced easily. The upright bass comes through the mix and is easily placed, no muddiness, good seperation. The AD handled the dynamics of the drumming just fine- even peaking at +4db or +5db at times during louder fills, same goes for the piano. The only issue came to the air of the cymbals, and the higher frequencies from cymbal crash/splash hits. There is a noticeable inability for this frequency register to be captured to the AD, maybe due to its age. The cymbal air is becoming chopped/dropping out at times while the rest of the elements remain intact. I've had other TDK AD's record jazz with no issue, but this one was previously used/erased before this test.

So I decided to take out a sealed TDK AD from 1982 and rip it open. To my surprise- the air in the cymbals now sounded perfect! Absolutely no choppiness occuring. The high frequencies came through smoothly now. I decided to leave the fresh 1982 AD in for the rest of my testing.

Track: "Easy Living"

Next I chose to record "Easy Living". This is a slow paced piece, unlike the previous recording which was at a much faster tempo. This song may be the best recording of the bunch for the Jazz selection today. The soft brush work on the drums and the lightly finessed cymbals interplay so well with Bill's piano performance. The large jump in dynamics from -4db all the way up to +5db were no problem. A real winner for a recording and definitely one I'll keep.

Modern Production Test: Skee Mask, "The Usual Suspects"

Lastly to do something fun- I decided to try a more modern track by a different artist: Skee Mask, "The Usual Suspects". This is a track of UK Garage flavored techno, that leans heavily on the 90's influence. I set the peaks to around +4db. The TDK AD handled the present day production elements easily. The TR-909 kick sounded punchy as could be, hi-hats-crispy, groove timing- locked. Stereo effects on the synthesizers play across the stereo spectrum and echo decays beautifully fade away. At +4db the noise is almost non existent during the listening experience, espeically in a style like this. As I flip between the source and tape, you'd be pressed to tell the difference between the two. Pushing it to +5db seems to be the tipping point, at +6db distortion is definitely heard.

Its truly imperssive to hear a 44 year tape record modern productions this well. 1982's TDK-AD is no slouch, and a testament to the quality of tapes being marketed at that time. I give it my full endorsement- a tape everyone should try at least once.

Verdict

A tape everyone should try at least once, with a full endorsement for holding up impressively even against modern production styles 44 years after manufacture.

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Frequently Asked Questions

Is there a different version of the TDK AD 1982 for US and JP markets?

Yes. TDK AD 1982 was produced in both US market and Japanese market pressings, with differences in packaging, labeling, and in some cases shell construction. Shop the US market TDK AD or the Japanese market TDK AD.

What is the maximum recording level for TDK AD 1982 before distortion?

It varies by frequency: roughly -2dB at 40Hz, +4dB at 400Hz, and 0dB to +2dB at 1kHz before distortion becomes audible, based on testing against Fostex TT-15 oscillator tones on an Aiwa F-770 deck.

Does TDK AD hold up for modern music production?

Yes. In testing with a modern UK garage/techno track, the tape handled punchy kicks, crisp hi-hats, and locked groove timing cleanly up to around +4dB, with the source and tape nearly indistinguishable at that level.

What test equipment was used to evaluate this tape?

A Soundcraft GB2 32-channel mixer, Fostex TT-15 oscillator tones, an Aiwa F-770 deck, Audeze LCD-X headphones, and Kali Audio LP-6 monitors, with 44.1kHz FLAC lossless digital reference audio.

Is TDK AD a Type I or Type II cassette formulation?

TDK AD is a Type I (normal bias, ferric) formulation, marketed by TDK as their "Acoustic Dynamic" line.