Berlant Concertone 505

The Berlant Concertone 505 (also known as Concertone 505 or simply Concertone 505) is a mid-1960s open-reel (reel-to-reel) tape recorder that originated as a transitional model between Berlant Associates (USA) and TEAC (Tokyo Electro Acoustic Company, Japan). Produced primarily from 1960 to around 1963 under the Concertone name (with TEAC continuing production and licensing the design through 1970 as the TEAC 505/507/508 series), it was a semi-professional stereo recorder targeted at home hi-fi users and entry-level enthusiasts.

Berlant Associates, founded by Bert Berlant, initially developed high-quality professional machines in the 1950s, but by the early 1960s, American Concertone licensed the 505 design to TEAC, who manufactured it with minor improvements. The 505 became one of the most popular and reliable semi-pro decks of its time, often praised for its sturdy 3-motor transport, good sound, and affordability.

Today the Concertone 505 is regarded as a fascinating restoration candidate: mechanically sophisticated, electrically complex, and historically significant in the evolution of American tape recorders.

Key Technical Specifications

Track System: 4-track (quarter-track), 2-channel stereo (quarter-track stereo record/playback; also supports monaural operation; records on one quarter-track per pass, allowing four tracks total on standard tape by flipping reels twice; some configurations allow half-track playback compatibility)

• Tape Speeds: Two speeds — 9.5 cm/s (3¾ ips) and 19 cm/s (7½ ips); switch-selectable (higher speed for better fidelity and detail; speed change via capstan sleeve and pinch roller swap in early models, later versions used motor pulley changes)

• Reel Size: Maximum 18 cm (7 inches); commonly used with 13–18 cm reels; supports standard NAB/international hubs

• Heads: 4 heads (in 4RK "Reverse-O-Matic" variant for auto-reverse; standard 505 has 3–4 heads: erase + record + playback + optional reverse or monitoring head)

• Motors: 3 motors (1 capstan + 2 reel motors; sizeable, high-torque design for reliable tension and fast wind/rewind)

• Drive System: Mechanical transport with push-button controls; constant tape speed; foil-sensing automatic stop at tape end; belt-driven capstan (early models required manual sleeve/pinch roller swap for speed change); some variants had "Reverse-O-Matic" auto-reverse

• Frequency Response: 30 Hz – 18 kHz (±3 dB at 7½ ips); 30 Hz – 15 kHz at 3¾ ips (good for semi-pro of the era; some brochures claim 50–15,000 Hz at 7.5 ips)

• Signal-to-Noise Ratio: ≈45–50 dB (typical; modest but adequate for semi-pro use)

• Wow & Flutter: ≈0.15–0.25% (acceptable for domestic/semi-pro use; single-motor designs had tolerable variations; timing accuracy ≈0.15–0.25%)

• Equalization: NAB standard (US professional/broadcast curve; some export versions note CCIR compatibility)

• Inputs:Microphone: Low-level (dynamic mic via DIN or proprietary socket; often supplied external mic)
  Line/Radio: High-level via DIN connector
  Phono/Grammophon: Additional high-level input for record players
  

• Outputs: Built-in loudspeaker (single or stereo pair in some variants); line out via DIN/RCA; output power ≈4–7 watts (internal amp in console versions)

• Power Supply: Alternating Current (AC) mains — 110–120 V / 60 Hz (some export 220 V); power consumption moderate (~50–80 W); no battery option (mains-only domestic/portable hybrid)

• Dimensions: Approximately 413 × 359 × 162 mm / 16.25 × 14.1 × 6.4 inches (W × H × D) — compact console/portable form factor

• Weight: Approximately 16.8 kg / 37 lbs — substantial due to metal chassis, motors, and electronics

• Electronics: Fully solid-state in later TEAC-built versions (early Berlant models tube-based; transistor-based in licensed 1960s production; includes VU meters for level monitoring)

• Other Features: Twin VU meters; tape counter; tape-break switch; automatic level control in some variants; recording time ≈2–4 hours total (depending on speed and tape thickness) on 7-inch reels with standard tape

Design and Performance Notes

The Concertone 505 was a transitional semi-pro deck with a focus on reliability and ease of use: quarter-track stereo allowed four tracks per tape (two per side by flipping), doubling capacity compared to half-track. Dual speeds provided flexibility—7½ ips for better fidelity (good transients and extension), 3¾ ips for longer runtime. The 3-motor transport ensured stable tension and fast wind/rewind. Later TEAC-built versions shifted to solid-state electronics, delivering a clean, dynamic tone suitable for home hi-fi—modern vintage ratings place it around 6–7/10 for sound (solid semi-pro performer) and 7/10 for build reliability/durability.

Common long-term service needs include:

• Cleaning heads, capstan, pinch roller, and tape path

• Replacing rubber drive belts/idlers (common failure point in 1960s models)

• Replacing electrolytic capacitors (leakage common after 50+ years)

• Lubricating mechanisms

• Checking transistor stages and power supply (in solid-state versions)

Historical Context

The Concertone 505 was a transitional model during Berlant's licensing to TEAC (around 1963), bridging US professional designs and Japanese manufacturing. Berlant Associates later rebranded under Concertone, producing high-quality portables/studio machines. The 505 evolved into TEAC's 505R/507/508 series and influenced later models. Surviving examples are collectible today as semi-pro vintage pieces, often in good cosmetic condition due to sturdy construction, but most require restoration (rubber parts and capacitors) for reliable operation. They represent an important bridge in 1960s open-reel history, especially for those interested in early Japanese/US collaboration in semi-pro audio engineering.