It is rather spartan and clunky in comparison to some of the later more swanky Aiwa models, with only an auto-reverse and tape selection to add to a basic feature list. There are no fancy gimmicks like bass enhancing DSL or feather touch remote controller. To the casual observer this would seem to be quite a cheap and cheerful low end model. However this unit does have one unique selling point and perhaps a reason as to why Aiwa chose to retain the model even following a product line refresh. Dolby C Noise Reduction.
Orginally released in 1988 and manufactured in Japan where it is locally known as the HS-PC20, it was released as the HS-PC202 elsewhere in the rest of the world. Later examples of the HS-PC202 were subsequently manufactured in Singapore.
We have a rather unique ribbed design on the casing of the HS-PC20 and HS-PC202, this ribbed theme continues onto the supplied cover included with the player. On the cassette door a small window allows a peek inside the progress of the moving tape spools. Next to it a bold claim from Aiwa written in their best late 80s Japlish "Aiwa - Makers of the world's most advanced new-tech head-phone stereo for music fans everywhere", a later model from Singapore was then corrected to say "Aiwa - Makers of the world's most advanced hi-tech head-phone stereo for music lovers everywhere". So is it really?
1989 saw a change in Aiwa's design thinking. Vertical players were out and horizontal players were in vogue. Various new models started coming out in this new format including a redesigned HS-PC202. The casing was restyled and from this the HS-PC202MII was born. Gone was the ribbed design from the previous model and the vertical orientation, and in was the matt black brushed aluminium look in a horizontal format. Even the ribbed protective cover seen on many older models with the metal snap buckle was replaced with a faux leather pvc case with velcro fastening. These same design cues would also later be executed in Aiwa's flagship player of the time - the HS-JX505.
1990 saw yet another revision, and re-released as the HS-PC202MIII. Although apart from some further minor tweaks to some cosmetic changes to the casing . Even under the covers of a HS-PC202MIII there is no mistaking that it's origins were that of the HS-PC20 from Japan.
Listening to playback from a TDK SA90 cassette recorded in Dolby C from a Sony WM-D6C, it soon becomes apparent why it was so enjoyable despite the lack of DSL to enhance the music found on more feature rich models of the time such as the HS-PX101. The sound stage is very wide and detailed. Trebles are crisp and not overtly bright or shrill. Bass is strong and not overbearing, but present when requested. Quiet passages of music are hiss free and any thoughts of this music being played from cassette are far removed. So it would seem that this was where Aiwa's engineers poured most of their energies into for the design. High fidelity in a tape player, quite a hard concept to grasp for most people by today's standards.
Many newer and more feature rich models such as the hugely popular HS-JX70 series have fixed azimuth heads and misalignment can be a problem especially when listening to Dolby C recordings. However an indirect benefit of this unit being of the older Aiwa design has meant that the user is able to adjust the tape head azimuth if required. This "feature" is especially useful for listening to Dolby C recorded tapes as the slightest variation of tape alignment could result in some uncomfortable phasing or roll off from the high end frequencies for the listener.
So had Aiwa created this player intending it to be a budget Dolby C player or high end no frills interpretation? For me, I would lean towards the latter.
