A New Reel to Reel Tape Deck?

hwsworkshop,

A collection like that is worth getting a second machine and making safety copies.  (I need to do the same)

I love your final thought.  RTR does deserve a comeback, and I believe that is what is happening.  I remember not too long ago when I couldn't walk into any shop and browse new LP's.  Now when I go, there are always others doing the same thing.

The more who realize what a wonderful medium RTR and then take a plunge by purchasing a second hand deck will of course increase demand for product, parts, and tapes.  The recent audio shows in the last years have really been displaying RTR as a source for speakers, amps, preamps etc, as well as for new tapes.  

This link is from a blog I enjoy and a fellow Agon member.  https://audio16.wordpress.com/2014/05/17/impressions-from-munich-high-end-iii/
That's encouraging.

N.

N

I suspect all your "pro-sumer" decks are old enough to still be using discrete analog circuitry in the amplification stages. I doubt if a newly designed 2015 R/R deck would use them however. That is simply because the availability of the discrete transistor is going the way of the dinosaur (or the costs are so high the economics don't add up). It is the reason Parasound management told John Curl he could not have his favorite discrete jFETs in the JC-3 pre-amp design. Their cost was out of bounds and the availability uncertain. The JC-3 now uses IC op-amps.

I think the closer you are to the source of music, the more you can get away with some degradation that goes less noticed. The further down the chain to the final product, the more noticeable any degradation will be. That is why I think recording studios can get away with IC opamps in mixing panels but an audiophile at home will hear their effects immediately. And of course, we don't know how much better any commercial recording could have been if the recording engineers did use all class A discrete components in mixing panels and mic pre-amps.

I am surprised about what you say for tape longevity, particularly in light of (admittedly) anecdotal evidence that recent re-masters are suffering in AQ due to the age of the mastering tapes. But I defer to your judgement here...

Dhl93449,

I was thinking that about my machines after I replied to you. A check of the schemeatics yesterday confirmed you're correct. My machines don't have any IC opamps.

You make a valid point with regard to recording studios however.  There are so few  who give this type of consideration.  Sear Sound Recording is one such studio that does. Using tube boards and tube Studer and Ampex reel to reels.  Still, the IC oppamp has become so common these days with so many modern recording related devices using them.  

I was surprised about your John Curl story.  I had always heard he was a stubborn "no comprises" type of guy.

If you read a few posts above, you will see that others have vintage tapes as well.  It is a shame because I think the Scotch/Ampex sticky shread syndrome really caused many to feel that tape isn't reliable. I have had problems with Scotch 206 and Ampex 456.  But these were the only tapes I've ever had issue with. Several I have restored with excellent results..

Let's hope that if a new machine does materialize that it is a good one.   Analog tape is the basis of the sound we all love.

N

For those complaining about the paucity of reel-to-reel tapes. Currently there are now 21 companies releasing reel-to-reel tapes. You can see a few of my reviews about the tapes on PF.

http://avshowroomsforums.com/showthread.php?5-Companies-Currently-Producing-15ips-Reel-to-Reel-tapes-Plus-Myles-All-Star-List!

myles_b_astor

Thank you for the link!  Makes me smile.

Norman