Yamaha KX-580 Cassette Deck Review

What? A cassette deck review in 2017? A little anachronistic, surely? A few weeks ago, I mentioned to AA’s own Ashley that I’d been getting a bit nostalgic for the defunct format, especially after seeing Andy Hall’s extensive collection of Beatles cassettes on his great YouTube channel. Search him, and you’ll see what I mean. I mentioned to Ashley that my favourite cassette deck had been my Yamaha KX-580 SE which I’d owned from new since 1999, and which I’d sadly sold for the price of a plate of beans on toast a few years later. I’d also thrown away a lot of tapes that I’d kept in the loft, when I made a necessary downsize in accommodation. I couldn’t quite kick the cassette habit though, and shortly after I bought a NAD 613 deck.  But after a lot of my remaining tapes (mainly pre-recorded albums or “musicassettes”) had shown severe signs of wear – including playing at uneven speed, I ditched the player and tapes for good. Or so I thought…. Ashley sent me details of a non-SE branded Yamaha KX-580 for sale on eBay, which I snapped up for the princely sum of £41. I nipped to Oxfam for a couple of tapes (30p each) and I was all set.

Ergonomics and Ease of Use

Let’s get the Yamaha KX-580’s irritating foibles out of the way first, shall we? The cassette door is placed over to the left, along with the power on/off and the eject button. Although the outer door of the cassette window can be removed, it’s very difficult to reach in and clean the heads and capstan/pinch wheel assembly. Given the sorry state of a lot of older cassettes, this cleaning becomes far more necessary than a routine every 50 sides or so. The best way therefore, is to buy a special cassette for the job. The best of these cassettes are of the Allsop 3 variety, which consist of a number of pads. You apply a few drops of the (normally supplied) cleaning fluid – Isopropyl Alcohol – play the cassette for a few seconds and the job is done. Of course, it may only take one or two cleans before the pads themselves become dirty and need replacing… So, Yamaha, how difficult would it have been for you to engineer a cassette door that easily facilitates cleaning via a cotton bud?

The poor ergonomic design doesn’t stop there, however. The eight transport buttons are placed over to the right of the level meter window, arranged in an array of four rows of two. The first two buttons on the top row are Play and Stop – nice and convenient – well done Yamaha!! But why, for Rick Astley’s sake, are the Intro Scan buttons in the next row? These Intro Scan buttons, which search for gaps between tracks, are about the only concessions Yamaha make to convenience, but surely it would make sense for these to be placed underneath the more oft-used fast forward and rewind buttons? It’s quite easy to muddle the two functions.

A hinged plastic flap conceals the KX-580’s lesser-used functions. Not only are the labels tiny and difficult to read, but the buttons and knobs are tiny and difficult to access. This is especially true of the recording level knob – it’s so small that making fine adjustments is quite difficult.  I also don’t like the fact that the headphones socket and its dedicated volume control are behind this flap.  I envisage the flap being broken easily since it is necessarily open for a protracted length of time.

Finally, although there are only two sets of sockets on the back (input and output, for connecting up to an amplifier), these are labelled using black protruded plastic against a black cassette deck body.  Impossible to read, especially for those with failing eyesight.  My amp (a Rega Elex-R) has inputs and outputs, labelled as such.  So Yamaha has to buck the trend by calling their sockets Play and Record.  Easy enough to work out, but when flat on one’s back, trying to manipulate plugs into tight spaces, the difference in labelling convention doesn’t make the job any easier.


The Yamaha KX-580 is a single cassette, 2 head, single capstan cassette machine. It features Dolby B, C and S noise reduction, Dolby HXPro, Auto Tape Tuning and Automatic Tape Type recognition. It also features manual tape bias tuning and um, that’s about it. That’s the way I like it, since mechanical features such as twin decks, continuous play and auto reverse tended to be engineered down to a price and often don’t work as well as they should 20 or 30 years later.

Not that Yamaha are blameless when making space for a button or knob that they don’t know what to do with.  Take the aforementioned manual bias tuning, for instance.  The KX-580 will recognise automatically whether you are recording on normal, chrome or metal tapes, and set the bias accordingly, with no user input required.  Not only this, but the user can easily trigger the Auto Tape Tuning function.  In the manual, Yamaha explain this feature in pigeon English, illustrated by an incomprehensible graph, but let me tell you that, simply put, this function not only tells the deck that a chrome tape is about to be recorded onto, but it also detects differences in formulations between different brands of chrome tape (TDK, BASF etc…) and sets itself up accordingly.  Therefore (and Yamaha admit this) the manual bias tuning is totally superfluous.  I’d much rather a knob that made the coffee.

However, Yamaha make the process of recording onto a blank cassette easy in a number of important ways.  Firstly, unlike the NAD deck I used to possess, which eschewed auto tape type recognition for manual bias tuning only (not even a button labelled Type I, II or IV – how Flat Earth is that?!), the KX-580 will display the tape type in the level meter window, under the point, beyond which, distortion will occur.  Thus, the Type I light is under the 0dB point, indicating that if you set the levels to creep above this point too often, you’ll end up with a distorted recording.  Type II (Chrome) tapes will become distorted at just over 3dB and Type IV (Metal) cassettes will distort if you record over 6dB.  Given the KX-580 meter’s tendency to over-react to peak levels, indicating a level slightly higher than is actually being recorded to tape, it virtually guarantees distortion-free recordings every time.

Sound Quality

The first cassette I played on the KX-580 was a pre-recorded album, Madonna’s True Blue, from 1986.  It was one of the bargains I picked up for 30p.  It thrilled from the moment I put it on.  Yes, I had to turn the volume up slightly louder than I would the vinyl (which I also own) in order to get a satisfactory sound, but Papa Don’t Preach pumped along nicely, with smooth but detailed treble (with Dolby B switched in) and luscious mid-range.  It was slightly less convincing in the bass, but I wonder if that’s because pre-recorded albums in the 80’s were deliberately mastered to cater for those with machines that simply couldn’t do bass properly anyway.  However, I’ve made a number of recordings with this machine, and I conclude that although the KX-580 can produce the notes, they’re not delivered with the same authority as my Rega RP8 turntable, from whence the recordings were made.  Wow and flutter, with a good, non-deteriorated cassette (count out most EMI recordings, sadly), is negligible, even with solo piano music, courtesy of the Brahms Hungarian Dances on Decca.  Stereo separation was good, but again, just slightly veiled, so that the finer detail that places the performer right there in front of you was absent.  Never mind.  Performances sound natural, detailed and involving.  I’ve had to stop typing this article numerous times, because I’ve found myself tapping my hands along with the music delivered by this fine machine.  It sounds far more engaging and natural than any download or iDevice that I’ve heard. Its qualities remind me of my old Goldring-Lenco GL75/1042 vintage turntable/cartridge set-up.  Praise indeed.

Yamaha KX-580 with Tapes

Mark Pearce, March 2017

By Mark Pearce

Mark Pearce is the author of the YouTube Channel MarkPMus. Check it out if you're interested in Hi Fi, songwriting and music reviews. Nuggets include 2 series of ABBA Gold Anomalies / More ABBA Gold Anomalies, the Magical Musical Moments series and Hi Fi 101. You'll also find examples of the author's songwriting and photography.


  1. I’m a bit late in the day I’m afraid. I had the same deck many years ago and it was very good, but there were a few tracks it could not record properly due to the amount of treble energy on them. I would always distort, whatever the record level was set to. I had it returned to Yamaha to be checked out, where it was tweaked to within an inch of its life by an engineer. When I got it back, not only could it now record those tracks, but is sounded absolutely phenomenal!

    I was so upset when it was killed by someone spilling a pint of beer in it and rendering it unrepairable.

  2. OK, one final update – the mysterious, faint popping (or ‘plopping’) seems to disappear when the deck has thoroughly warmed up (ie running for about 20 minutes, so the motors and perhaps clutch have warmed through (tapes do come out of the bay warmish to the touch). I only re-commissioned the KX-580’s a couple of months ago, and my living room/listening room has been pretty cold this Winter (in the UK), c.16°C and sometimes even lower – it might be that the deck isn’t happy when its mechanicals/electronics are this cold.

  3. I should clarify – this noise is only audible during the aforementioned fades, quiet passages and silences (particularly through headphones), and will probably go unnoticed given the rough-and-ready listening experience one largely expects from cassette, but it’s hard to ignore once you do.

  4. If you listen carefully to some quiet passages or long fades, you might be in for an unpleasant surprise; a regular, faint but quite audible ‘popping’ sound from the line-out, rather like vinyl surface-noise. I have two of these KX-580s (both in excellent condition), I’ve serviced both, and they both demonstrate the same fault. It appears to originate from the reel motor. Even without a tape, you can manually hold the sensor switch (about 1/3rd along from the right, at the top of the bay ) and activate the transport. Now, slow the take-up reel with your fingers and there it is – pop, pop, poppity-pop. I’m not sure if it’s the motor itself, its power supply, or even electrostatic interference from the slipper-clutch, but it’s innate to these decks and there seems to be no way of curing it.

    1. I too have this popping noise, it is actually causing flutter on a 1khz test tone. I’ve looked at the schematic and I’m gonna try adding some capacitors on the 12v rail on the motor PCB. As you have said before it is coming from the reel motor. The control of the motor is done with a little IC which is powered from the 12v line via a 4.7ohm resistor. A capacitor after this resistor might also help. I’ll post my results

  5. Great review. Yes, agreed the ergonomics are weak, but the Yamaha low level of flutter is musically welcome. I’m playing organ music recorded from BBC fm 30 years ago on a good Trio/Kenwood KX-54. Full range evident from 20 up to the FM stop at 15k. Response is so good, you can see a vestige of the 19 kHz fm pilot on a computer spectrum – but on my eBay Yam it’s coming back at 18.8 kHz. Explains why all music, including commercial cassettes, sounded vaguely ‘sad’, down one percent in pitch. So… it’s off to the rear of the motor I go, with screwdriver in hand. That pilot tone will be a handy guide!

  6. Still own lots of cassettes. Really sad there are no more new players to find. Good second hand samples are scarce but I’m frequently trying to grab some spare players in case my Denon drm-740 (second hand itself) give up. I’m hoping for a Revival, but probs are low, IMO.

  7. TO John:

    Yes, The 393 is a stripped down version of 493 (or 580) . . . . The only difference is less features , such as
    no play trim, no plastic lid, no rec calibration. The mechanism inside is similar ,…

    As far as I remember… the only diferences among 393/493 and 580 is the fact that buttos are labeled!!
    yes… Mine has the symbols… yours has the words PLAY STOP etc.

    1. cordial saludo alguien pude publicar fotos de las cabezas bpara mirar la posicion del tornillo del azimuth+

  8. Hello… Your machine is identical yo my KX-493, albeit i see black plastic
    You model is from 1999, mine is from 2005.

    Bought used in 2012 , only lacks that plastic over.
    I think buying a dead machine and swap the fascia.

    They kept low cost on back plastic, but my technician says Malasian manufacture is
    as good as japanese (cheaper cost/ worker for hour, high quality control)

    Also says GX is other name for sendustead, which refers not to the material from heads
    but the shape of head (like a pointed arrow shape)

    The only thing iI never understood was … why the cassete lid is not aligned?=???
    Check under the letters “NA”


  9. Hi Mark,
    Great review. I’ve owned the (much) cheaper Yamaha KX393 from new, 1999 I think, which looks remarkably similar to your review subject. I remarked to Ashley on a different thread several months ago that cassettes were starting to enjoy a slight resurgence, as was vinyl, and that I had been so impressed with my purchase I had never felt the need to climb any further up the cassette-playing ladder. Unlike the vinyl ladder, which in my case leads to aspirations much higher than the family purse can bear! Keep up the good work.

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