Master Tape Sound At Home

[coda]

By Wes Phillips

January 27, 2007 Out

of all the audiophile phrases, none stirs the hearts of music lovers

like "true to the master tape"not even "the absolute sound" of the

original instruments, which even audio idealists realize is simply too

much to demand. But true to the sound of the recorded master tape, now

surely that's a goal within reach.

Lord knows people have been promising that for years, from

direct-to-disc recording to half-speed mastering to redithered CDs, yet

the goal has remained tantalizingly out of reachuntil now, perhaps.

Linn Records and The Tape Project have recently proposed different

ideas for delivering the master tape experience.

The Tape Project takes an

analog approach, delivering 15ips 10" open-reel tapes struck directly

from the original EQ'ed master tape recordings of the titles specially

selected for the program. The Tape Project is the brainchild of

mastering engineers Paul Stubblebine and Michael Romanowski (Paul

Stubblebine Mastering), as well as Dan Schmalle of Bottlehead; they

describe TTP's goal as "to make available to the discerning audiophile

an analog listening experience that comes as close as possible to the

experience of hearing the original master tape."

The original recordings must be analog and the music must be

great, TTP says. Other than that, there are no rules about what will be

issued, other than that TTP must be able to secure the rights and, of

course, the master tape. Among the releases scheduled for the first

year are Roy Rogers' Slide Zone, Dave Alvin's Blackjack David, Jacqui Naylor's The Number White, Malcolm Arnold Overtures (Reference Recordings), and the legendary New Philharmonia recording of Suite Espanola.

TTP offers two subscription models: charter ($2000) and selective

($1200). Charter subscriptions deliver all ten titles released in 2007

with low, matching serial numbers. A selective subscription lets the

subscriber choose six titles from the complete release. The first

titles should roll out by late March or early April.

Linn Records

is taking a slightly different approach by offering select titles from

its catalog as "Studio Master" 24-bit WMA lossless downloads. The label

says the recordings "are what we used to produce the production version

of our CD releases." No DRM is attached (yay!). The cost per track is

$2.75; whole discs cost $24, no matter how many tracks are involved,

which makes the 138 minute Messiah (Dublin version, 1742) by the Dunedin Consort a stone bargain.

[jt1stcav]

Makes me wish I had bought that Teac X-2000R years ago when I had the dough. Bet those open reel tapes do sound excellent, but even at the selective subscription rates, it's outta my league for the time being.

[Travis In Austin]

Makes me wish I had bought that Teac X-2000R years ago when I had the dough. Bet those open reel tapes do sound excellent, but even at the selective subscription rates, it's outta my league for the time being.

Yes you should have, because X-2000R in 2 track are very difficult to come by. Actualy Heidana posted about this about a week ago. I offered to go in halves on a subscription when they posted more on what they would be getting. It looks lke mostly classical which I would have no interest in.

This is a take off on what Mark Levinson did many years ago where you could buy a Studer, with his electronics, along with about 100 or so tapes taken directly from masters that he had secured the rights for. Cost, in the 80's. 20K I have never seen one for sale, I bet they are few and far between.

Travis

[boom3]

The last paragraph is the most interesting to me since classical music has been mostly left out of the legitimate download services till now.

The Tape Club reminds me that Columbia (and maybe others) used to offer most of their record club selections on 7.5 ips (or was it 3.75 ips?) 7 inch reels. The tape club described here sounds like it would have been a wonderful idea- about 25 years ago. Between the exclusiveess of the format (even most RTR folks did not/don't have 15ips), the mostly obscure artists/works in the catalog, not to mention the very fancy price, it looks like this will be a small club indeed.

[ZAKO]

A friend of mine in Chicago Janos, & I swapp only Master and sub master tapes...He has a Studer- Levenson Recorder. That recorder is fantastic. Will record 7 1/2, 15, 30 ips. A friend of his retired from Ampex and bought up all the remaining Ampex parts...He built me a Ampex 440B from scratch from those parts. And a back up Ampex playback unit for Janos. Janos may now also purchase a Ampex MR70.,,Only 35 of these were ever made, very rare. You can still get a big Studer on special order, or a Otari 15 but will cost about as mutch as your car. Sonicly there is a great difference from a master tape & a mixd down working print for sub master work & final record production.

[jt1stcav]

I hear ya, Travis.

I think Connoisseur Society (http://www.connoisseursociety.com/) may have been similar to The Tape Club in some aspects. Today their classical and jazz CDs are still produced by InSync Laboratories, which if I'm not mistaken, was popular with high-end cassette deck owners back in the '70s and '80s (I own four of their prerecorded cassettes and am listening to one now as I type this). IIRC back then they recorded and produced mostly classical piano music using TOTL Nakamichi 3-head cassette decks throughout the mastering and duplicating process, employing possibly 50 or more cassette decks daisey-chained together, recording in real-time on then state-of-the-art TDK SA high-bias, chromium dioxide (Cr02) tape. InSync touted these uncompressed, super-chrome cassettes, with "its unprocedented frequency response, Dolby B encoding, ultra-low noise and significantly reduced distortion result in a nearly perfect match to the original master tape."

I'm listening to InSync's '72 first recorded performance of Liszt's Operatic Fantasies for 1 and 2 pianos, 4 hands (C 4070), performed by the bro's Richard and John Conti-Guglia on my '97 Nakamichi DR-1 3-head deck (set at 70uS or Type II EQ and Dolby . Even with a reported frequency response of 20Hz - 20kHz +/- 1.5dB, this prerecorded TDK cassette still sounds like a prerecorded cassette IMO...somewhat thin and missing the bottom end roundness and shimmering highs of the best LPs and CD/SACDs, while lacking wide seperation and air between the pianos and the concert hall ambience. Tapes I've recorded years ago on my '84 Nakamichi DRAGON from high quality LPs and CDs (using Metal tape with Dolby C) sound almost indistinguishable from the original sources to me...with the bias and EQ settings adjusted precisely for the Metal IV tape formulation I was using, my old TDK, Maxell, and Sony cassettes I recorded far surpass this particular InSync recording.

But it just goes to show that although cassette technology at its zenith did an extremely remarkable job of recreating decent copies of master recordings (given their speed and hiss limitations), they still didn't have the absolute dynamics and resolution of the finest reel-to-reel format (and would have been ludicrous to shell out several hundred dollars per cassette from InSync, whereas it seems more feasible for the price of admission with high quality open reel recordings from The Tape Club).

[jt1stcav]

Okay, now I'm listening to InSync's much later 1987 recording (still on TDK SA but in Dolby C) of Liszt's Operatic Transcriptions and Fantasies for 2 pianos (C 4165), performed by pianists David Bradshaw and Cosmo Buono. This is from a master that was digitally recorded, and with its reported frequency response of 15Hz - 20kHz +/- 1.5dB, this prerecorded cassette does NOT sound like a typical prerecorded cassette, but more akin to the cassettes I recorded for my personal use years ago! It's wide, full-bodied, and very dynamic; it sounds live and practically as good as a CD. Even with Dolby C the highs are present and accounted for without any of the pumping or breathing effects normally associated with it (not always, but sometimes, especially if a tape's recorded on one machine and played back on another totally different machine...Nakamichi decks were known for sounding great with other Nakamichi's, but not so great all the time from other manufacturer's decks. I don't recall any recording/playback compatability issues between different open reel decks).

[Travis In Austin]

A friend of mine in Chicago Janos, & I swapp only Master and sub master tapes...He has a Studer- Levenson Recorder. That recorder is fantastic. Will record 7 1/2, 15, 30 ips. A friend of his retired from Ampex and bought up all the remaining Ampex parts...He built me a Ampex 440B from scratch from those parts. And a back up Ampex playback unit for Janos. Janos may now also purchase a Ampex MR70.,,Only 35 of these were ever made, very rare. You can still get a big Studer on special order, or a Otari 15 but will cost about as mutch as your car. Sonicly there is a great difference from a master tape & a mixd down working print for sub master work & final record production.

Maron,

I enjoyed reading your post, as I always do when you talk about R2R. I think I may have told you, my Dad worked at Ampex from about /60 to '75. He might know Janos' friend. Do you know his name, if he worked in Redwood CIty, Culver City, Chicago?

My interest was really peaked when you mentioned the MR-70. I own an MR-70, which I got from my Dad of course. It is in pristine condition, when I get some more room I am going to get it unpacked and all set up again. My Dad always told me "we made less then 100 of these" so I don't think it was as few as 35, but I will check with my Dad to see what he knows. I do know that a 1/4" 2 track MR-70 in 1966 costs $5,500 which was $2,000 more then a an AG-300 in the same configuration!!!! The MR-70 is considered by many to be the best analog tape deck ever made, and certainly the best tube deck Ampex ever made.

Do you have photos of your 440B? I heard that the AG machines were real workhorses. Is Janos the original owner of that Studer? Did he get the Levinson 2 track tapes with it? Does he have photos of that machine he can send you, I would love to see that machine too.

Travis

I am attaching a photo of the MR-70 for those who have never seen one.

Travis

[Travis In Austin]

JT,

I was not even aware of the Connoisseur Society and the stuff they were doing with cassettes. Very interesting. As far as I know, prior to this new tape club, Mark Levinson was the only one who really did anything with audiophile R2R. I am not sure how many tapes he go the rights to, 100 or so is what I have heard, and what he was able to do was get the original 2 track master (some call this the mix-down tape) and make direct copys from these 2 track tapes. I have never seen one of these Levinson 2 track tapes, for sale or otherwise, but I sure have heard a lot about them.

What did the connisseur tapes sell for back in the day?

Travis

[jt1stcav]

Travis, that's a beautiful machine you have there...don't ever get rid of it (unless it goes to an audio museum or the Smithsonian)!

Whereas The Tape Project has to aquire the rights to the original mix-to-2-track masters they duplicate, the Connoisseur Society is a record label owned by InSync Laboratories, Inc. that records, produces, manufactures, and distributes its CDs (and back in the day, audiophile-quality cassettes). This thread is the first I've heard of the Mark Levinson master open reel tapes, only because I'm not a reel-to-reel owner or in their circle.

It's been 20 years since I bought the last InSync cassette...I'm guessing the tapes sold anywhere between $8 to $12 back then (more or less). On their eBay store, their latest CDs range anywhere from $8.98 to $20.98 or more. All digital recordings as far as I know, using two omni-directional mics thru a Benchmark M1A 4x4+ mic mixer into a modified Nakamichi DMP-100 digital processor, and monitored thru Boston Acoustics A60 II loudspeakers (as of '92 anyway...most likely different gear today).

http://stores.ebay.com/Connoisseur-Society

[ZAKO]

Travis...No i dont think the MR70 production whent to 100...It came out in 1964. It had tubes & nuvistors & other mechanical & electronic refinements. Un fortunatly Its development was timed badly. Starting too late to put the recorder in the market place before the onset of solid-state audio recorders. The last of the 350 series AG-350 (with transister elect.) became the basis for a new line ,The AG-440 released in 1967... 1968 brought out many new products the AG-500, AG440, 440-8 AG-600...The AG-3400 & large 12, 16, 24 track AG 1000 MM1000...Later other units 1976 were produced MM1200 , A portable unit ATR 700 And a super unit MM800 Plus a rare one ATR 800.....But the most popular & sought after recorder the ATR 100 Triple servo transport. That is my favorite.......My price list on the MR70 says 1/4 inch 2 channel unit was $5670 in console. The 1 inch unit 4 channel was $ 8280... Some where in St Louis is a MR70 still crated..The track to owner is now cold. I understand he,s dead..Trying to find his wife for leads...... I,m sourceing some of this info from Harold Lindsay who helped AMPEX your Dad might have known him...The engineer who put my 440 together was Rudy Kalmal. He settled in Chicago.

[Klipsched with Yamahas]

As Spock would say: "Fascinating".......thanks for sharing!

[pauln]

Those with tape might be interested in this link http://vsg.cape.com/~pbaum/magtape.htm

[ZAKO]

Another Ampex recorder that fasinated me was the PR-10 & AG500 same transport but one was tube & the other ss...They had for spooling & take up reels ,,Eddycurrent clutches...An unusual way of controlling tape supply & tape reel controll. Loved the looks of it..To me looked more pro than Pioneer 707 ...I should have kepted that one...May be ill find another one.

[DrWho]

So how are they going to address the degredation of the original master everytime they record another batch?

The Linn Records approach seems more promising....but why did they pick the WMA format???

[Travis In Austin]

It depends on what you mean by the term "original master." If you are talking about the multi-track studio master they wouldn't use that. If you are talking about the 2 track mix-down master, they would make a sub-master from that and make everything from that I would think.

[Mallette]

Yowzah! What an auspicious day to return to the fold! I will have a copy of that Linn 2.5gbyte Messiah file this very evening! I have been waiting for this for years. ITunes for audiophiles, at last. I cannot wait, though I fully expect to have emptied the kids college funds for these downloads unless my wife catches me.

As to R2R, I still have a couple of machines, a Teac 2300X and a 10 inch Sony (7.5ips, not 15) whose number I forget but weighs at least 80 lbs. I have several boxes of reels to digitize once I really get caught up from my move. One of these is a Crosby/Stills/Nash DBX encoded reel I copied from a half track 15 ips reject mix stolen (not by me) from the studio. The guy who had it loaned it to me along with a Revox to transfer to my Teac (all about 25 years ago). It sounded pretty awesome, and undoubtably still will though I suspect it will suffer from a bit of print through after all these years unrewound. Hopefully, I may have left it tails out in the German manner to minimize this. Alrighty, most don't even know what I am talking about...

Let me suggest another great find if you locate one: Crown. I purchase a pair of 4 channel Crowns (800D or something like that) in the mid-70's and was stunned at the quality, both sonic and build. I had an issue with one and, after several attempts to repair, Crown sent their VP Engineering down to do the job. The mixers and flexible metering on those things was a joy to behold and use. Love to get my hands on one now.

Also used all those classic Ampex units in various broadcast and film sound jobs. Very fine, all except the compact units they came out with in the late 70's, ATR something or the other, which were rather cheesy.

Dave

[Mallette]

Busy downloading 2.1gb of music, the Brahms Quint and Messiah. Lordy, can't wait to get home and crank it up. I cannot believe somebody finally made REAL music available. This is the way it should be, at least for audiophiles. As to why WMA? I don't give a hoot. There are no standards for high res-digital anyway besides SACD and DVD-A.

My hat is off to Linn, and I am grateful that the kids college fund remains intact as they only have about 6 titles in this format at the moment. I must work very hard to keep my income ahead of the supply...

Dave

[DrWho]

It depends on what you mean by the term "original master." If you are talking about the multi-track studio master they wouldn't use that. If you are talking about the 2 track mix-down master, they would make a sub-master from that and make everything from that I would think.

It's still the same problem. Every run is audibly different if you listen to them side by side.

[Travis In Austin]

Dr.,

I don't know, you would know a lot better then I would, I have not really dealt with anything that far up the chain except for some of the 2 track "masters" I have been able to buy, and they are incredible. That rasies a really big question because they essentially make one two track mixdown tape and that is sent to a (usually) a seperate mastering facility for the purpose of remixing so that it will work within the RIAA curve AND within the limits of the cutting head. When pre-recorded tapes were in vogue they would also mix a two track tape to be sent to the duplicating facility.

Are you saying that if you take the first generation two track mix down tape, the one that is made from the studio multi-track tape, that if you make a copy of that 2 track tape (2nd generation) it would sound different then another tape also copied from the same first generation two track tape? If so why? Playing a tape does not cause degradation. Multiple sub-masters were made from the 1st generation two track tape on a routine basis for a number of reasons. Every greatest hits or best of lp, just one example, was made from several two track masters, depending on how many lps they were drawing songs from. If the sound changed when each time you went from same generation to same generation (i.e., tape 1, dub of 1st generation tape, thus a 2nd generation tape, tape 2, also a dub of 1st generation tape, thus a second generation) recording would be a useless process.

That is why more lp's were mastered to 2 tracks on Ampex 456 then all others combined. It became a std. by which all machines were alligned, thus you could take a 1st generation tape and get an identical 2nd generation tape, regardless of machine, because everything was standard. It made it uniform. That is why there is a test tone at the begining of each tape, and usually each song, so that you can match them up exactly. I agree if you made subsequent 2nd generation tapes with different machnes at different settings they would sound dirrerent, but they didn't do that. The 1st two track tape has test tones so that the playback machine can be checked for allignment, and the recording deck is also checked for allignment. If they are both able to produce a PERFECT 1khz tone, the music should be audibly identical from tape to tape.

I am interested to hear your thoughts on that.

Travis