Dhl93449,
In a word... No. One must remember that no tape can sound 'better' than the machine it was created on (assuming all is functioning as it should). Any idea how many IC opamps were in the recording chain at the studio? Me neither, but we can safely assume that in most instances there were plenty and yet many treasured recordings were made using them.
For example, I smile a little at those that spend $$$$$ on cables. Yes they can make a difference, but to me it seems that most use them as tone controls.. And yet they never consider the miles and miles of 'run of the mill' patch cords and cables that are in 90% of todays recording studios. (yesterdays too)
I have an extensive tape collection, and several reel to reel masters that were made in the late 50's (purchased from a local studio) They sound wonderful. I don't have any special storage system other than the box they came in.
The condition of the tape seems to depend a lot on the quality of its manufacturing, and we all know there was a ton of crummy tapes made over the years but studios usually stayed away from lesser brands. Sould I find that one of them is drying out, I can always dub it onto a new tape and still have an excellent sounding master copy good for another 50 years.
Most all of our treasured LP's are derived from tape, and like photographic film you can still make an excellent print today from a decades old negative.. Just saying. Tape is an excellent archival medium.
With regard to prosummer machines, I would happily pit my Pioneer, ReVox, Crown and Sony playing a 15ips master copy against any digital source. To me it just sounds better and for me that's what's most important.
N.
In a word... No. One must remember that no tape can sound 'better' than the machine it was created on (assuming all is functioning as it should). Any idea how many IC opamps were in the recording chain at the studio? Me neither, but we can safely assume that in most instances there were plenty and yet many treasured recordings were made using them.
For example, I smile a little at those that spend $$$$$ on cables. Yes they can make a difference, but to me it seems that most use them as tone controls.. And yet they never consider the miles and miles of 'run of the mill' patch cords and cables that are in 90% of todays recording studios. (yesterdays too)
I have an extensive tape collection, and several reel to reel masters that were made in the late 50's (purchased from a local studio) They sound wonderful. I don't have any special storage system other than the box they came in.
The condition of the tape seems to depend a lot on the quality of its manufacturing, and we all know there was a ton of crummy tapes made over the years but studios usually stayed away from lesser brands. Sould I find that one of them is drying out, I can always dub it onto a new tape and still have an excellent sounding master copy good for another 50 years.
Most all of our treasured LP's are derived from tape, and like photographic film you can still make an excellent print today from a decades old negative.. Just saying. Tape is an excellent archival medium.
With regard to prosummer machines, I would happily pit my Pioneer, ReVox, Crown and Sony playing a 15ips master copy against any digital source. To me it just sounds better and for me that's what's most important.
N.