Reel to Reel

A tape machine that is a bit of a sleeper is the Magnacord. They were made in 7 1/2 and 15 ips versions, although seems to me the 7 1/2 ips (with 3 3/4 as the slow speed) is a bit harder to find. There was the 724 and 1024; like any older machine they will need to be refurbished, but are capable of exceptional quality and are useful as field recorders, as its actually possible to pick them up with one hand.

They have a beefy chassis and 3-motor design, not unlike a compact Ampex 350 transport, but with the all-tube electronics built into the same case. If you have the input transformers, a balanced input for microphone is available. I've refurbished a few of these over the years and they will take a Studer A-80 to the mat with ease. While not as feature-laden, the transport is actually more solid and the tube electronics simply out-perform the A-80 (BTW, the A-80 is no slouch and is one of the better transistor units I've heard, despite its clunky appearance; we have one in our studio that we use quite a lot).

Dertonarm,

i saw your response to my post over on the 'Absolute' best cartridge' thread regarding my reel to reel comments. i had asked....

have you investigated newer RTR transports with improved ss output electronics?

you responded....

I am pretty accustomed to the younger generation Studers too.
The improvement in speed stability and reduced vibration does not really make up for loss of dimensionality and low level dynamics compared to the C-37 - especially not when running at 15ips.

your answer did not really speak to my question....have you heard newer transports with improved output electronics (such as the Cello circuit)?

i thought that making that point on that thread was not the right thing to do (as you noted) but maybe here on this thread you could more specifically answer my question.

my opinion is that the very best transports combined with improved output electronics can be every bit as good and likely better than the most 'loved' and 'revered' 60's RTR decks. they would have more dimentionality and low level dynamics.

Sam,

I've only managed to listen to a half dozen or so 1/2 inch two track tapes; all at 30 ips. Recorded at Sounds Unreel studio in Memphis in the mid 80s, without dolby, the dynamics are as good as anything I've heard. Steve Horton and his band never quite made it big but the Memphis rock he put out should have gone somewhere other than clubs in Memphis.

There are a bunch of 1/2 inch 8 channel tapes that will have to wait a while before I can get to them. Since they'll need to be mixed down to two track it'll take time to get familiar enough with the songs to do a decent job; it will be fun but creepy mixing music from dead guys! Ken

Wow...what a thread!

Kip, I look forward to hearing your tapes and system as we both live in SoCal. It will be informative to compare/contrast the different Studers...

Ralph, thanks for sharing your extensive analogue tape experience with us! I'm learning more about the diverse possibilities of tape and machine; albeit, other than a Studer :-)

Mike, please keep us informed of any mods/customization of your Studer...as you know, I'm very enamored of your particular unit - alright, you all know what I mean! As a matter of fact, I've recently had a direct feed from the A820 to the monoblocks...excellent sound, thus far; however, I don't have fine control over the volume. I'm contemplating customizing the Studer's electronics...probably valves...maybe Tim dP? :-) Have you ever run your RTR directly to your Dart/Evolution combo?

Ken, there you've done it, again! ...spreading my molecules all over the joint to coalesce in Memphis during the 80's :-) You can now add recording engineer, mastering engineer, and producer to the liner notes of your Steve Horton tribute!

In awe of all of you,
Sam

Sam and Miles,

currently i have switch wired into the heads on my Studer A-820 (by Ki Choi) which allowed me to try Charlie King's Cello circuit a few weeks back. Rich Brown brought it over. it sounded wonderful thru RCA's.....and i'll likely purchase it when i can afford to. the Cello compared to the stock circuit revealed a layer of grunge in the stock circuit. the Cello had a lower noise floor and better micro-dynamics. the mids openned up more and more bloom and decay.

it was also set up for XLR but it lost something of the purity in that mode. it's also probable that i'll have my Cello set up for the 50 ohm 'darTZeel' BNC output, as that will allow me to have any length interconnects.

i do highly recommend the Cello circuit. it is critical that someone quite capable do your head mods. i would not want just anyone messing around those heads.

i owned a Technics RS-1700 with the deParavicini mods (dPv-EAR) which was also very very good. obviously, Tim deParavicini wrote the book on tape deck mods as almost every good vinyl mastering studio (as well as the Tape Project) uses his circuits.