About the Company
Roberts was a North American audio brand most active from the late 1950s through the early 1970s, known for selling consumer‑oriented reel‑to‑reel tape recorders. Rather than being a traditional electronics manufacturer with its own factory, Roberts operated in partnership with Japanese OEMs — especially Akai — providing Roberts‑branded decks tailored to the U.S. market.
Brand: Roberts (often shown as Roberts Recorders or simply Roberts)
Country/Market: United States & Canada
Reel‑to‑Reel Production Era: 1961–~1973
Market: Consumer / mid‑range home audio
Technology: Solid‑state electronics with quarter‑track or four‑track stereo formats
OEM Relationship: Many Roberts tape recorders were built in Japan by Akai to Roberts’ specifications and then imported and quality‑checked in the U.S. before distribution.
Roberts tape recorders were not made in the U.S. from scratch, but rather imported Japanese mechanisms and electronics — chiefly from Akai — before being branded and sold under the Roberts name.
Historical Context & Brand Background
Origins & Market Entry (Late 1950s – Early 1960s)
After the success of reel‑to‑reel decks in the late 1950s, Roberts Recorders entered the U.S. consumer tape recorder market around 1961, offering mid‑priced deck alternatives to European and Japanese imports.
Roberts work was led by Robert G. Metzner, a U.S. electronics entrepreneur, often in partnership with Califone (another reel‑to‑reel and audio brand) and later the Rheem company.
Partnership with Akai (1960s–Early 1970s)
Roberts did design specifications and quality control in the U.S., but Akai manufactured the tape recorder mechanisms and major electronics in Japan. The same models were often sold worldwide under the Akai brand (and under other labels outside North America), while Roberts decks were mainly for the U.S./Canada market through this exclusive arrangement.
This distribution model continued through the late 1960s into the early 1970s. Around 1971–1972 Akai began selling its own products under its own brand in the U.S., effectively ending Roberts’ exclusivity on these decks.
Representative Roberts Reel‑to‑Reel Models
Roberts produced many tape recorders, covering budget to more advanced consumer decks:
Early/Mid‑1960s Models
Roberts 1055 (1963–1966) – Quarter‑track stereo, 3¾ & 7½ ips, solid‑state, built‑in speakers and auto shut‑off.
Roberts 1057 (1963–1966) – Quarter‑track stereo with three tape speeds and dual VU meters; flexible playback/recording.
Roberts 997 (1963–1966) – Smaller fast‑speed capable recorder with three speeds (up to 15 ips) and expanded inputs.
Mid‑ to Late‑1960s Models
Roberts 1650 / 1651 (1966–1969) – Consumer four‑track stereo deck with built‑in amp, auto shut‑off, and dual meters.
Roberts 1719 & 1720 (1969–1972) – Solid‑state stereo decks made in Japan with 3¾ & 7½ ips and auto shut‑off.
Roberts 400 (1964–1967) – Four‑track stereo with three motors, three heads, 10½″ reel capability, and automatic reverse — essentially a rebadged Akai deck.
Later & Specialty Units
In the late 1960s and early 1970s, Roberts also offered multi‑format units (combining reel‑to‑reel with cassette or 8‑track in some cases, e.g., Roberts 333X), reflecting the transitional nature of home audio formats at the time.
Technical Traits & Market Position
Solid‑State Consumer Focus
Roberts machines from the 1960s onward were solid‑state (transistorized) rather than tube‑based, matching the industry shift and offering reliability and lower cost.
Tracks were ¼‑track stereo (most models) or four‑track stereo/mono, typical of consumer home decks of the era.
Tape speeds of 3¾ and 7½ ips were standard; some higher‑end models included 15 ips for improved fidelity.
OEM and Branding Relationship
Roberts decks often shared mechanical design and components with Akai counterparts, leading to essentially the same machines being available under both labels — Akai worldwide, Roberts in North America.
Basic Roberts decks were positioned mid‑range, not competing directly with top‑end studio or pro machines from Ampex, Studer, or Revox, but offering affordable stereo recording for hobbyists.
End of Production & Legacy
Shift in the 1970s
Around 1971–1972, Akai began selling directly in the U.S., and the Roberts exclusive distribution agreement ended.
Roberts branded reel‑to‑reel decks gradually disappeared from catalogs after the early 1970s as cassette and newer audio technologies took over and as Akai and other Japanese brands strengthened their U.S. presence.
Historical Importance
Roberts tape recorders are part of the story of how Japanese audio technology was introduced to North American consumers in the reel‑to‑reel era. Their Akai‑based, Roberts‑branded decks represent a distinct chapter in 1960s home audio.
Vintage Roberts decks remain collectible as examples of 1960s consumer audio and cross‑brand manufacturing partnerships