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We are reeltoreeltech.com. We buy, sell and service all sorts of reel to reel tape decks, and stock ATR and RTM tape. We also get in large quantities of home and pro stereo equipment when we buy large lots of reel to reel decks, and this one is such of those occasions.These units came from the estate sale of a local gentleman that purchased all of these new. These are the very hard to find PS series of Akai tuner/preamp/power amp units, along with the 3 head GXC-570 cassette deck, and the Akai GX-747 reel to reel deck. The speakers used with this system are unknown, they apparently ended up in the landfill (sob!) before a family member came to their senses and realized that the gear was worth a fair bit of money.As with all vintage stereo equipment, we were assured that 'everything worked', however we quickly pointed out that the tension arms on the GX-747 weren't working properly, as is typical for these decks when they've been sitting, and we figured that all of the other gear also needed servicing, or at least a thorough checkout. We weren't wrong.A brief description of each unit, and what we tested:- PS-200T tuner. A capacitor had shorted in the power supply, dragging down the voltages, so while the display worked, the touch sensitive buttons on the front were not sensitive at all, and we had no audio output or AM or FM reception. Replacement of the capacitor, and checking all those around it (they were well within spec) restored full tuner operation. We picked up all of the local Vancouver FM stations with a short 3' antenna, and the stereo separation is excellent. We also cleaned the output pot on the back of the unit. The AA battery holder for the station memory has no signs of battery leakage in it, and we suspect that batteries may never have been installed in it.-PS-200C preamplifier. This unit needed nothing, although we did clean all controls and switches. All inputs and outputs work as they should, and all controls are noise free.-PS-200M- power amplifier. The amp powered up just fine, and we checked bias and DC offset after warming it up for a couple of hours. The trimpots were set very close, but we brought them to full spec. We measured 223 watts per channel at a ridiculous 0.003% THD with our Soundtech 1700B amplifier analyzer. Outside of a couple of NAD pieces, this is the lowest distortion number we've ever had on any power amp that crossed our bench. We ran the amp at full power into our load resistors for an hour, then at 1/2 power for 6 hours, and then listened to the amp for a full day in our shop via our Energy speakers.-Akai GXC-570D tape deck. This deck didn't need much, however we did replace the belts, and the belt that opens the motorized front cover was a bit stretched. The capstan belt was fine, but we changed it regardless. The controls and switches all got cleaned, and we got 19Khz frequency response with Maxell UD tape, and 20Khz with Maxell UDXL chrome tape. We ran the deck for 10 hours through a bunch of cassettes in our shop, testing all functions thoroughly. We will include two new sealed Maxell UDXL C90 tapes as well.-Akai GX-747 reel to reel deck. As stated, the tension belts in these decks fail once the deck has been sitting idle for years, We also changed the pinch roller, as the rubber can deteriorate over time. We put on a new one from Terrysrubberrollers.com. Once changed, the controls and switches all needed cleaning as is also typical, and we tweaked the bias and eq a hair to suit the new RTM LPR-35 tape currently available. Note that the deck came with one Akai (Maxell) 10.5" EE tape as shown, and the Akai takeup reel. We played the EE tape through the deck in each direction, and found that there was only one Bryan Adams song recorded on the first side. Considering there was absolutely no oxide buildup on the tape path, we suspect that it's quite possible that only the one song was ever recorded on this deck, making the deck as close to NOS as it could be. We asked the seller if there was a box of tapes anywhere, and was told 'no, there was only the one'.The deck also comes with the rare dust cover. It has some minor scuffs on it, but no cracks. It's in good shape. The original NAB hubs, the Akai takeup reel and the one reel of Akai/Maxell EE tape is included.We did run the deck for 10 hours along with the rest of the equipment, and got a flat response to 23Khz with EE tape, and 22Khz with the RTM LPR35 at 7 1/2 IPS. At 3 3/4, we got 19Khz response from our Soundtech 1510A tape deck analyzer. This is a very common response from the 747, well within factory spec.The dust cover has some minor scuffs on it, but is intact. The EE tape and takeup reel shown are included.Cosmetics: Overall, each piece is in excellent condition. The worst mark on any of the units is the cassette deck, with 5 small white dots on the back right of the top cover as shown. We're not sure if this is paint, or ? We only wiped the deck down with Windex, and that didn't remove them. The power amp has a couple of minor scratches on the top. The RTR has super clean wood sides, and the front panel is as clean as we've seen on any 747.All dial lights and indicators work as well, and all LEDs work on the power amp. The VU meters are nice and damped as you'd expect.Take a careful look at all of the pictures, we've taken care to show all sides of the units. If you need any additional pictures, feel free to email. It doesn't look like any service work has been done to these units, as there were no previous signs of any screws being removed.Overall, this is a killer system, and will pair nicely with any current or vintage speaker. The amp has enough power in it to drive even the most inefficient speakers, as well as electrostatics. The only thing not included with the system are the RCA cables needed. We'll leave that up to you.Shipping: Local pickup and demos are available and encouraged in Langley BC. We will ship North America-wide, however any shipments into the US will have a 10% surcharge on them due to the current tariff situation.Each item will be boxed up separately (the tuner and preamp will ship in one box), and everything will be strapped to a pallet, and shipped via truck to a local truck dock near you (typically YRC or Day and Ross, etc). Pickup will have to be done within 48 hours of it arriving, or storage charges will start. A residential delivery is also available, but can add up to $300 to the shipping price, all depending on where you're located.At the moment, and until May 31, we are listing this system as a complete unit. If it does not sell, we will consider breaking the system apart, and selling each piece separately. The typical Akai GX-747 without the dust cover and without being serviced runs around $3500 US/$5,000 CDN online, to give you an idea.These units will be boxed up individually (the tuner and preamp will be packed together), and sent via truck on a pallet. THe pricing quoted is worst case to the East Coast, and includes delivery to a local truck dock (usually Forward Air), or to a commercial address with a loading dock. Pickup at a truck dock must be done within 48 hours, or storage charges apply, which are not included with this listing. A residential delivery is possible, but typically adds $100-300 US to the price of the delivery.Due to the items being in Canada, we will need an EIN (business tax number) or a SSN to get these through customs. The 10% tariffs are included in the listed price.
At USD7,000 for the full PS-200M amp, PS-200C preamp, PS-200T tuner stack plus the GXC-570D cassette and GX-747 open-reel, this is ambitious—bordering on steep for a used 1980s Japanese TOTL set in unknown condition. Comparable PS-200 series bundles have surfaced rarely on resale sites around USD3,000-USD5,000 in good shape, though pristine black 1987 editions command premiums; without photos or service history, it's no bargain unless mint.
Buyers, verify the amp's internal speaker wire lengths first—mismatched runs from factory (left positives ~22 inches, rights shorter) cause imbalance, needing easy fixes like adding 8-14 inches to rights and negatives. Also check for subsonic filter engagement, channel-separated level controls, and all original power displays working; insist on serviced belts in the cassette/reel decks and full accessory kit including manuals, as these 40+ year-old beasts hide recap needs.
Independent perspective — not a price guarantee. Always verify condition, accessories and provenance before purchase.
Akai Electric Company Ltd. traces its origins to Japan, founded by engineer Masukichi Akai in Tokyo around 1929, with his son Saburo Akai playing a key role in its early growth. Initially focused on affordable radio components, the firm formalized as a full electronics manufacturer post-World War II, often cited as 1946. By the mid-20th century, Akai had evolved into a prominent name in consumer audio, peaking in the 1970s before financial troubles led to its exit from the industry in 1991.
The brand built its legacy on high-quality tape-based audio gear, including reel-to-reel tape recorders, cassette decks, tuners, amplifiers, and complete stereo systems that brought professional-grade sound to homes. In the late 1980s, Akai Professional revolutionized music production with the MPC series—starting with the 1988 MPC60, co-designed by Roger Linn—integrating sampling, sequencing, and velocity-sensitive pads into compact workstations that defined hip-hop and electronic genres.
Today, Akai holds a revered vintage-collector status among hi-fi enthusiasts for its robust 1970s components, prized for their warm analog character and build quality. In the pro audio realm, the MPC line endures as an iconic, mid-to-high-end tool for beatmakers, with modern iterations sustaining the brand through licensing. While not a current leader in traditional hi-fi like amplifiers or speakers, its heritage appeals to savvy buyers seeking timeless reliability over fleeting trends.
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