re: Audiophile/Vinyl Thread - Post Pics, Advice, Questions, Setups, etc.

I've been eyeing the LS50s. The R3's are really cool and I love the rose colored but they are pretty massive and I already have a good sub.

I've heard the wireless is a decent amount better than the wired as the DSP correction helps.

Flying Lotus - Flamagra

Well, I took the plunge and picked up a totally rebuilt TASCAM BR-20. Just about every electrolytic in the signal path has been replaced, all motors rebuilt, new belts, and NEW heads (they have about 10 hours on them!).

The BR-20 was the last of the line, not only for TASCAM (TEAC Audio Systems Corp. AMericas), but every other consumer reel tape deck (Technics, Pioneer, TEAC, Otari, and Revox had ceased production of R2R decks almost a decade earlier).

All new analog tape machines, whether it be a 2/4-track home deck, or the amazing Studer A-820 studio deck seen in almost every recording studio in the world, became extinct when the last TASCAM BR-20 rolled off the assembly line in December 2004 (it was produced from 1992-2004).

This deck has the smoothest tape transport of any consumer deck ever built...even most Studer studio decks aren’t as smooth lifting and engaging the tape to the playback/record heads.

Since is was produced for 12 years and new parts made until around 2009, this deck is not as difficult to repair or find parts for (well, some parts). This is the deck that United Home Audio in Washington D.C. buys up on eBay and then totally tears down and then mods to extremes, then sells for a king’s ransom ($14k to $30k!!)—but they do look pretty snazzy after they get done with them.


I have about 40 or so 3rd generation half-master albums being made for me now. For reference, a MobileFidelity Original Master Recording LP is 5 generations...from a lacquer, to a master, to a test press, to a stamper, to a vinyl copy that you play on your turntable.

The process goes something like this...

There are people (most sound engineers, or people with the means that purchased them from said engineers) that would, when engineering an album, take the “safety” tape copy home with them during the final phases of an albums production. Many bands and musicians just didn’t know enough about the entire recording process to know just who and where the master “safety” tape went, or even that such a tape existed—so many a recording engineer built up large libraries of such tapes.

Some bands were more involved, and thus controlled all the master/safety tapes, which is why you won’t find some artists’ tapes...Rush is an example of one such band.

Over the years, a sub-sub-genre of the audiophile world began as people began to get second and third generation copies of these tapes—don’t confuse this with cassette tape copies—these copies are taken from 1” tape running at 30 inches per second, and copied in real time to a pro deck at 15 ips on 1/4” master quality tape, and using 2 tracks (channels) in one direction. There is no “Side 2” on 2-track reels as both tracks take up the entire width of the tape. There is almost zero signal degradation, and they are pretty darn quiet—no tape hiss on these things.

For reference, a cassette tape runs at 1.875 inches per second (8x slower), has twice the tracks (4) squeezed in on half the tape width (1/8”).

Through almost mafia-esque contacts and connections, you find people who have these safety tapes, or one generation removed from the safety tape, and then pony up $300-600, depending on the album, for a copy to be made. The (2) ATR Magnetics blank reels of tape needed per album accounts for $140 of that cost.

These transfers are also a bit labor intensive, taking about 2 hours total to make a copy (checking bias, levels, alignment, and tape prep on BOTH tape machines is done before hitting play/record, then it is all done again for the second half of the album!...and an entire reel is needed for one side of an album as a 2500’ reel of tape is good for 33 minutes running at 15ips).

Over the next 8-10 months, I should receive most of the 40 or so “master reels” from this order—including all the Zeppelin and Floyd releases, as well as albums from Steely Dan, the Cure, Yes, The Stones, Beatles, Jerry Garcia, CSN&Y, Red Hot Chili Peppers, Alice In Chains, and a few more I can’t recall at the moment (I have a master list of available albums—there are a few thousand).


Pics of my TASCAM BR-20T...

...this is the “T” version, meaning it could embed a narrow “Time code track” onto the tape. This was used when syncing audio tape to video tape in television production studios. This model is preferred by master tape hobbyists as it has a tad bit more low end frequency extension (30Hz vs. 35Hz), and dynamic range (81dB vs. 76dB) as compared with the non “T” version...







The order guide from the last year of production (2004)...







And a couple of the tricked out versions from United Home Audio...

quote:

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Interrogative: is this worth dipping your toe into or are we solely talking full immersion, deep end, 2nd mortgage territory?

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As with anything, “How big do you wanna go?”

Realistically, the cost to acquire a late model, “pro-sumer” (professional/consumer) reel machine that is capable of playing and recording 2-track master tape, 15ips speed, IEC equalization, and 10.5” reels (TASCAM BR-20, Otari B5050, Revox PR-99,Technics RS-1506, TEAC X-2000M—there may be a couple more, but those are the last of the line by those companies), that is not beat to hell or been used like an Amsterdam hooker, will set you back around $2500 for the machine and about another $1500 for a complete rebuild/calibration. The trick is finding one that did NOT come from a professional environment (TV, Radio station, University A/V Lab), as these units are usually very worn, and usually always need new heads on top of a complete resto. New heads, if needed, are made for some (but not all) of the machines by JR Magnetics, and run about $400-800 each (erase, record, and playback), depending on type.

The 2 decks you see in my system are the TASCAM BR-20 and the TEAC X-2000M. I want to say that with the initial acquisition, shipping, ship insurance, import tariffs (the TEAC came from Quebec), and then the shipping to and from to have restored, and the full restoration to where they are both “as new” and ready to go for master tapes, somewhere in the $4500 apiece range.

However, the real outlay, which can be limited by you, is the music.

For example, a new “Tape Project” album, purchased from the likes of Music Direct or Acoustic Sounds, released on (2) 2500’ reels of ATR Magnetics Master tape, with metal reels and beautiful packaging/cases, limited to 500 copies, will run around $450 each (includes the tape). They sell out quickly.

Then there are the “unlicensed” masters, which I described above. The person who has the 2nd or 3rd generation tape will charge whatever they want for the labor (usually about $300 per album), And $70/reel of ATR tape...so again, around $400-500 per album.

There are about 8 or so studios producing new recordings on reels, however, most of the music is—meh...acoustic jazz trio miked live, chamber type stuff, acoustic folk, and some small classical ensemble stuff you probably never heard of. The Tape Project, however, was bringing more relevant titles, but the licensing fees and access to masters has slowed their production. They have released 20 titles so far—about 10 of which I would buy.

But, as this niche grows, better titles are being tossed around by some record companies with hopes of production runs.

It’s a niche for sure. Oftentimes I like to record a Phish show or make a playlist on TIDAL and record it to a reel, then play it back as I sit back in my chair—the audio cool factor on that is an 11.

Then there are the Studer A-810, Otari MTR-10/12/14 decks...more of a pro-studio deck that is popular amongst tape heads too—those will set you back around $9-12k once “all in” and fully restored and ready to go.

Then there are the companies that will modify these machines as far as your wallet will go...J-Corder specializes in the Technics 1500 decks, United Home Audio specializes in the TASCAM BR-20, Sonorus Sound specializes in the Revox PR-99...these all average between $8k and $25k, depending on what you want done, both electronically and cosmetically. Google them and look at the pics...works of art!

My LUMIN S1 arrives tomorrow. Excited to get a new toy. Review to follow in a few days.

I don’t have a DAC. My SACD player (Esoteric) has excellent built in DACs.

The S1 also has great built ins so I don’t need to get a DAC.

I’ve read good things about the M10 as well. I just don’t need the amp portion.

Hi there Audiophiles! I’m closing on a house soon and I’m trying to figure out what I’m going to get as far as sound system for my living room entertainment center. I want a quality surround system that won’t brake the bank, and I want to get a quality turntable to go with it. Help!!! I have no idea what I’m doing.

I don’t really have a budget in mind yet.