AKAI M-8 Restoration

Tracker-x mods with BmWr75 updates for clarity. If you are using the amps solely as line level preamp/amplifiers, or using also as high gain microphone pre/power amps this might help: 1. The configuration youre using is suitable for non-critical HiFi use. However for use as standalone monophonic amps (dedicated for use only as mic preamplifiers, and stereo line level input power amps) with true flat bandwidth audiophile response, noise floor levels, and even more dynamic headroom the following modifications should be performed. 2. First of all, these amps are self powered, with each having its own power supply transformer, capable of independent use, and with only minor changes, can be used outside of the heavy recorder case. Each amp can be directly connected to the wall socket by installation of standard two wire (unpolarized preferably) line cords. If you have basic soldering experience, one of these bare end power cord leads should be soldered directly to the transformer tap labeled 117 volts, on the power supply transformer of each unit. These taps are accessed by removing the two screwdriver head bolts, holding the top (gray painted) cover to the transformer. The current wire soldered to this tap should of course, be removed. The second lead should be soldered to the input terminal of the power switch (again removing any existing wiring), and making sure the second (switched lead) wire from the switch returns directly to the transformer tap labeled 0 or common. When the redundant unused wiring leads (Octal plug on one of the amps and three conductor lead on the second) are removed (unsoldered or simply clipped close to their respective terminations), the amps can then be used simply by plugging each into a wall socket and switching on. Before you start snipping and unsoldering unused wiring leads, take note of how the amp with the headphone jack is connected to the other amps output so both channels work for the headphone jack. If you dont do this, will be scratching your head later on this topic. Note: This, as well as the following procedures will make these units unsuitable for use any longer as recording amps in the original recorder, without first reversing these procedures.

AKAI M-8 Restoration

3. Next, the operational mode should be switched on both amps to what was originally the record mode. On the top of each chassis is a metal slide switch assembly held into the right position (looking at the face of the amps) by a large spring. This spring should be removed completely, and the multi position slide switch moved to the far left position of its travel. If you wish, the metal slide assembly can be locked into this position by adding a suitable washer onto each of the two bolts, which operate as guides for the switching assembly, and retightening the bolts. Note: On one of the amps, the slide may be in two pieces. Make sure both pieces are slid completely to the far left. If you fail to slide the short piece too, the result will be a loud hum when powered up. 4. The amps are now set to operate solely as pre and power amps, and the top two jacks (left side on the vented area, on standard M-8 preamps) are now no longer utilized for signal input or output. For standard line input (approx 1 volt RMS) the upper of the two remaining jacks (lower left side) is used, and for high gain mic input, the lower. 5. The original tone control circuitry (orig. used in tape playback mode) is now effectively bypassed and is non-operational, and not needed for flat response. 6. The units now are essentially flat (With much superior bass and mid linearity and hugely improved headroom) in the lower half of the overall wide range response, requiring only one last critical change to effect what is ultimately almost perfect response linearity (+1 db 20 Hz to 20 kHz). This change is effected at the two-position switch (inner right knob actuated) used formerly to alter the NAB response for 7 1/2 and 3 3/4 speed operation.

AKAI M-8 Restoration

7. With the amps turned upside down, and the small partial metal panel (hum shield) removed, you should be able to see all of the active circuitry. Now, with the faceplate and knobs facing away from you, the backside of the two potentiometers are now visible and accessible. The volume control pot, (still on the left as viewed) will have the outer of the three solder terminals with a .02 MFD gray tubular electrolytic capacitor soldered to it. To this terminal (again, the one closest to the adjoining tone control pot) you will need to solder one wire leg of a 375 Pico farad (PF) high voltage capacitor. Any common type such as silver mica or even a higher voltage tantalum will work nicely, but DO NOT use a ceramic wafer type (higher DC resistance can negatively affect performance). The second lead of this cap should be soldered to the ground leg of the formerly used tone control pot (handily the closest tap on the second pot). No wires or components soldered to either pot should be removed, only this one cap added. 8. Prior to this simple modification, the response curve would have a 6 db per octave rise in the high end beginning well below 10 kHz and peaking at 8 to 10 db at 20 kHz. Now with the still active tape speed selector (inner coaxial to the tone control) switched to the 7 1/2 speed position, the treble and overall response (depending on original condition and tolerance of the other active and passive circuit components) should be virtually flat, and when switched to the 3 3/4 position will have a slight rise, peaking @ 17 kHz.

9. You now have a pair of true HiFi single ended tube amps. When any suitable line level signal (normal .775 volt RMS) the amps should have excellent (and controllable) gain characteristics, with clipping into normal speaker loads occurring somewhere around the 12 o'clock to 3 o'clock position of the volume controls. Using both this input and the mic input you should have very low overall noise floor characteristics, and huge dynamic headroom that is now uniform across the entire audio spectrum.

AKAI M-8 Restoration

10. At this point the amps should be ready to use, or at least now suitable for any degree of traditional tube audio blueprinting or tweaking desired. I would highly recommend at least the following: The 6267 combination triode/pentode and the 6AR5 tube ARE NO LONGER UTILIZED IN ANY WAY. These can now be simply removed and left out of the amps. Doing so will lower the inherent noise of the units, and give the power supply slightly greater current reserves for more dynamics from the remaining compliment. 11. All of the .02 Mfd coupling and bypass capacitors should be replaced. Even if the amps you are building are NOS the almost inevitable drying out (with related loss of tolerance and DC leakage) to the orig. electrolytic (gray axial lead cans) has occurred during storage. These should be replaced with 400 to 600 volt types of your choice. Sprague orange drop poly caps are ideal in these circuits, they are commonly available, have excellent tolerance, sound great, and will last for decades. When replaced, you are now assured of no DC leakage to offset the grid bias of the next stage, lower noise floor, and correct coupling capacitance for circuit operation and linearity. Transient recovery and slew rate improvement should be noticeable, with better dynamics, and phase coherence (point source and depth). 12. The last arena of tweaking (which is mistakenly often approached first) is tube replacement. If your units still have the original NEC, or possibly Matsushita tube compliment, and they are undamaged, they should serve nicely. These were Japanese clones (very well made) of Amperex designs, rugged, reliable and usually well matched at the factory. Remember the common 12AX7 will work great in these units in place of the harder to find 12AD7 and if chosen, nothing sounds better than Mullards in this stage. Although factory rated at 6 watts per channel (8 Ohms), by low distortion, full bandwidth, HiFi standards, I call all of these series a more realistic 4 watt output. 13. Last (finally) I would ask that if at all possible, please bench test these units if at all humanly possible, using suitable (8) ohm dummy loads and checking waveforms with a decent oscilloscope. Even a few minutes observing 1 KHZ square wave response and gain traces, will give more actual information about the above changes, as well as the overall circuit and tube condition and matching, than hundreds of hours of qualitative listening. When doing so, it would be a great time to calibrate the meters. This can be done internally in the meter cases, but is very time intensive and delicate

AKAI M-8 Restoration

work. A simple series resistor (start in the low kilo ohm range) on the supply side of the meter wiring of the higher reading unit or both can serve very well to match the meters for accurate reading of peak levels. They should be set to give identical 0 Vu reading at the onset of 400 Hz to 1 kHz sine wave compression. The original volume control pots have probably aged as well, with the deposited film resistance changing both in value and linearity. I they are quiet in operation, they probably won't need replacement, but don't expect tracking accuracy between the two units, even if the amps are perfectly matched in gain. I honestly believe that the preceding information is accurate. The procedures sound more complex than they really are, and with only the investment of about 10 capacitors, and less real world time than it takes to write these tips down, you may well be pleasantly surprised at having some of the finest small SE amps around.