An image showing an original grey and blue Sony Walkman with the text "1970" below it, and an arrow pointing to the right of it at a much smaller blue Walkman with the text "2000" underneath it, and a final arrow pointing to the right to a bright orange cassette player by We Are Rewind in a man's hand with the text "now" beneath it.

Why Are Cassette And CD Players So Big Now?

The early 2000s were the halcyon days of physical media. While not as svelte as MP3 players became, why are those early 2000s machines smaller than all the new models popping up amidst the retro audio craze?

We’ve bemoaned the end of the electromechanical era before, and the Verge recently interviewed the people at We Are Rewind and Filo to get the skinny on just why these newer cassette and CD players aren’t as small as their predecessors. It turns out that all currently produced cassette players use the same mechanism with some small tweaks in materials (like metal flywheels in these higher quality models) because the engineering required to design a smaller and better sounding alternative isn’t warranted by the niche nature of the cassette resurgence.

A similar fate has befallen the laser head of CD mechanisms, which is why we don’t have those smooth, rounded players anymore. Economies of scale in the early 2000s mean that even a cheap player from that era can outperform a lot of the newer ones, although you won’t have newer features like Bluetooth to scandalize your audiophile friends. A new Minidisc player is certainly out of the question, although production of discs only ended this February.

If you’re looking to get back into cassettes, this masterclass is a good place to start. If you don’t fancy any of the players the Verge looked at, how about rolling your own incarnation with the guts from a vintage machine or just going for the aesthetic if cassettes aren’t your jam?

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Copying Commodore Data Tapes, 40 Years Late

Unless you handle the backups for a large corporation, bank, or government entity, you likely haven’t stored much data to tape recently. But magnetic storage used to be fairly mainstream back in the 1980s for all kinds of computer programs. Plenty of computers used standard cassette tapes for this too but you couldn’t just copy them with standard audio equipment. You’d need something like this 1560 datasette from [Jan].

The core problem with using Hi-Fi equipment to copy tapes storing data instead of audio is that data tapes need to be much more precise in order to avoid losses that might not be noticeable in an audio recording. In the 80s computer companies like Commodore built tape drives specifically for their computers, so [Jan]’s project uses two of these 1530 drives to build this “1560” datasette. (No working 1530 hardware was harmed in this build.) An inverter circuit in one tape deck is used to provide the signal to write the data to the other tape, reliably copying data from these data tapes in a way Hi-Fi never could.

[Jan] does lament not having something like this back in the 80s when the Commodore was in its heyday, but there’s still a dedicated retrocomputing scene for these machines that will get plenty of use out of projects like this. If you need to go the other direction in time, there are also interfaces that allow data tapes from old Commodores to be read by modern computers with USB.

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Bringing A Current Dumping Amplifier Back To Life

Over the years there have been many different audio amplifier designs which have found favour for a while and then been supplanted by newer ideas. One of them has crossed the bench of [Jazzy Jane], it’s a current dumping amplifier from the mid-1980s. A nicely-done home-made project on stripboard mounted on a wooden base board, it sports a power supply, RIAA pre-amp board, and the amplifier itself.

The current dumping amplifier is one that combines a small class A amplifier with a hefty class B one, and through feedback trickery uses the combination to remove the crossover distortion of the class B stage. It’s a simple yet elegant circuit with fewer parts than an equivalent class AB amplifier, and there was a time back in the day when it was all the rage. This one has an op-amp providing the class A part and a complimentary pair of Darlington pairs as the class B.

The video below the break shows the process of bringing the amp back to life, a process mostly concerned with the power supply. There are a set of tantalum capacitors which have failed, and the replacements she’s using turn out to have problems too. They’re a period part for a project of this age, but we might have been tempted to go for another capacitor type here.

The result is an unusual amplifier, brought back to life. You may have seen [Jane] feature here before, with her 1950s signal generator.

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Homebrew Foil And Oil Caps Change Your Guitar’s Tone

How any string instrument sounds depends on hundreds of factors; even the tiniest details matter. Seemingly inconsequential things like whether the tree that the wood came from grew on the north slope or south slope of a particular valley make a difference, at least to the trained ear. Add electronics into the mix, as with electric guitars, and that’s a whole other level of choices that directly influence the sound.

To experiment with that, [Mark Gutierrez] tried rolling some home-brew capacitors for his electric guitar. The cap in question is part of the guitar’s tone circuit, which along with a potentiometer forms a variable low-pass filter. A rich folklore has developed over the years around these circuits and the best way to implement them, and there are any number of commercially available capacitors with the appropriate mojo you can use, for a price.

[Mark]’s take on the tone cap is made with two narrow strips of regular aluminum foil separated by two wider strips of tissue paper, the kind that finds its way into shirt boxes at Christmas. Each of the foil strips gets wrapped around and crimped to a wire lead before the paper is sandwiched between. The whole thing is rolled up into a loose cylinder and soaked in mineral oil, which serves as a dielectric.

To hold the oily jelly roll together, [Mark] tried both and outer skin of heat-shrink tubing with the ends sealed by hot glue, and a 3D printed cylinder. He also experimented with a wax coating to keep the oily bits contained. The video below shows the build process as well as tests of the homebrew cap against a $28 commercial equivalent. There’s a clear difference in tone compared to switching the cap out of the circuit, as well as an audible difference in tone between the two caps. We’ll leave the discussion of which sounds better to those with more qualified ears; fools rush in, after all.

Whatever you think of the sound, it’s pretty cool that you can make working capacitors so easily. Just remember to mark the outer foil lead, lest you spoil everything.

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USB Hub-A-Dub-Dub: Weird Edge Cases Are My Ruin

The Universal Serial Bus. The one bus to rule them all.  It brought peace and stability to the world of computer peripherals. No more would Apple and PC users have to buy their own special keyboards, mice, and printers. No more would computers sprout different ports for different types of hardware. USB was fast enough and good enough for just about everything you’d ever want to plug in to a computer.

We mostly think of USB devices as being plug-and-play; that you can just hook them up and they’ll work as intended. Fiddle around around with some edge cases, though, and you might quickly learn that’s not the case. That’s just what I found when I started running complicated livestreams from a laptop…

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Film Capacitors Can Go In The Wrong Way Round? Who Knew!

You can work with a part for many decades, and still learn something new about it. At least we can, and we don’t mind admitting it. Take film capacitors — we all know they aren’t a polarized part like an electrolytic capacitor is, but as [TheDannVal] points out, that doesn’t mean both their leads are the same.

This might sound counterintuitive, but if you consider for a moment their construction it makes sense. A film capacitor is made from two strips of foil with a strip of plastic film between then, rolled up tightly into a cylinder. One of the pieces of foil that forms one side of the capacitor ends up on the outside of the cylinder, and thus forms the shield for the other. Thus if that side isn’t connected to the lower impedance side of whichever circuitry it resides in, it can pick up noise, while the inside strip of foil can not. It’s so obvious when demonstrated, but we have to admit to never having considered it before. Some film capacitors have a line marked on them to denote the connection forming the shield, for those that don’t he provides a couple of methods for detecting it.

The full video is below the break, and maybe you too can now pay attention to your capacitors for lower noise audio circuitry.

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A Ribbon Microphone Is Harder Than You Think

There’s a mystique around ribbon microphones due to their being expensive studio-grade items, which has led more than one experimenter down the rabbit hole of making one. [Catherine van West] has posted her experiments in the field, and it makes for an interesting read.

The recipe for a ribbon microphone is very simple indeed — suspend a corrugated ribbon of foil in a magnetic field, and take the voltage across the ribbon. But that simplicity hides some significant issues, as the foil is much thinner than the stuff you might roast your turkey under. Such lightweight foil is extremely fragile, and the signwriters leaf used here proved to be difficult to get right.

Then when the microphone is built there’s still the exceptionally low impedance and small voltage across the ribbon to contend with. The choice here is a transformer rather than a FET preamp, which surprised us.

The result is by all accounts a decent sounding microphone, though with some hum pickup due to difficulty with shielding. Should you give one a try? Maybe not, but that hasn’t stopped others from giving it a go.