All subscriptions have now been caught up on albums TP-001 through TP-004. We should have recent subscribers caught up through TP-008 in the next two weeks. Then we will wrap up delivery of TP-009 and begin delivery of TP-010.

We now have individual albums available of TP-001, TP-002, TP-003 and TP-004. Price is $500 each. Contact Eileen at the shipping status link below to order.

shipping status

Catalog

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Hot titles in the Series Two  Catalog:

Monk-Brilliant Corners             Staples - BeAltitude              Nojima Plays Liszt         

Series Two subscription special rate extended

Bottlehead Tube Repro and Seduction Tape Head Preamps in stock

The Tape Project's custom red RS1500 and Bottlehead Tube Repro amp, in Winston Ma's First Impression Music room at CES 2008 

VSAC 2008

""I think the only room that I went nuts over was the Bottlehead room, which had a beautifully reconditioned Technics 1500 tape deck feeding Bottlehead amps and crossovers driving direct radiator speakers arranged in a line source...It was pretty wonderful.  Huge sound with a lot of nuance, air, inner detail, soundstage, and imaging. Bill (Van Winkle) and I were gaga over this system."

Pete Riggle, Pete Riggle Audio

Thanks to Jacqui Naylor and Art Khu for a marvelous dinner show!

CES 2008 comments

"Playing the Tape Project's open reel reissue of Reference Recordings Tutti, the TAD (Reference One) presented one of the most completely persuasive facsimiles of a symphony I've heard from a system. Voices and smaller groups were equally convincing, with unsurpassed tonal truth and beauty. For me this was the sonic Everest of the show, indeed, of many a show."

Paul Seydor - PS's Best of Show - The Absolute Sound, April/May 2008

"The TAD room was noteworthy not just for its excellent speakers, but also for the best sounding source of the show: The Tape Project's direct-from-master analog tape."

Alan Taffel - AT's Best of Show - The Absolute Sound, April/May 2008

"...excellent source material tipped the scales for me. I loved the massed strings and dynamic headroom via The Tape Project’s master tape (duplicate -ed.) on the TAD Reference One..."

Jim Hannon's Best of Show - AVGuide.com, The Absolute Sound, April/May 2008

"Also on the 34th floor was Andrew Jones’ beautiful, three-way, floorstanding TAD Reference One loudspeaker ($60k)–with its famous concentric beryllium midrange/tweeter and two ported 10-inch woven-Aramid-sandwich woofers–fed by Ayre electronics and one of The Tape Project 15ips, two-track tape players. The sound on the tapes was, needless to say, astonishing."

Jonathan Valin - AVGuide.com, The Absolute Sound, April/May 2008

"A demo using the big, full-range TADs demonstrated that open-reel analog tape still smokes even high-resolution (24-bit/192kHz) digital."

Michael Fremer - Stereophile, April 2008

Impressions from Tape Project Subscribers

TP-009

Charter member Steve Koto, aka ironbut

TP-008

TP008 is an unqualified home run!!!

i'm guessing no one is surprised about that. a first class 15ips master dub of arguably the most popular live Jazz trio album of all time should be outstanding; and it is...

what struck me first was the level of realism from a 47 year old recording. from the very start i was there seated in a stage center table; with Evans piano just to my right up on the stage and LaFaro's bass to my left.....and Motian a bit back and left of center. every tiny nuance was there and the subtlety of everything was spooky. like Ironbut; i had the feeling that this was the complete picture of how it was. i have many Bill Evans recordings. i've never heard the nuance and subtlety of his playing like this. the fingering of the keys was magical. really; the same with LaFaro. it was so intimate feeling i was out of my listening comfort zone and i was trying to get my bearings. it seemed to cross over into really real territory. made the hair stand up and all that. looked over my shoulder a few times.

there was nothing between me and them. no mics or recording chain was evident.

the brush work from Motian had this delicate 3-dimentionality to it and such micro-dynamic life. the whole recording has such an alive level of dynamic realism.....unveiled and natural.

everything had such a natural place in space front to back, side to side, and top to bottom. nothing cookie cutter, just real life in real space. i'm assuming that as close to the original event as this is everything is in perfect phase. just music.

and oh, what music. perfect sound meets inspired playing; with historically great synergy and talent. three guys at their individual musical peaks.

i had intended to write mostly about how this compared to the AP 45rpm LP reissue.....which was my reference for 'Waltz for Debbie'. i have been eagerly anticipating doing the comparison to see how a 45rpm LP played on a top level tt compared to 'The Tape Project' 15ips 1/4" version played on a top level RTR deck. but after doing the comparison, it's easy to hear how the tape is better in every way and the 45rpm Lp (as good as it is) is not really close to this level of realism.

Charter Member Mike Lavigne, aka mikel

TP-007

I got home from work pretty worn out from the day. My mood quickly changed when I spied the UPS box waiting patiently for me beside the door. I have to confess that I didn't own this Reference Recording until now, but it was a favorite demo CD at a local audio salon (Music Lovers). For those not familiar with Exotic Dances from the Opera, it includes seven pieces from seven different composers. Now I'm not the type that goes for the audiophile extravaganzas and perhaps my prolonged absence from the local audio shops has helped but each one of these selections just knocked my socks off. Starting with the Rimsky-Korsakov, then one after the other stepped up to the plate to hit the ball deeper into the stands until ending with the Saint-Saens. I recall reading Doc's posting from CES (on the Bottlehead forum since this one didn't exist yet) where he premiered the tapes and he said that they were given a standing ovation. Well, I felt like doing the same thing by them time this tape ended.
So what's so great about this tape,.. drum hits like I've never heard outside of a concert hall. So realistic and full. You just have to hear it to know. The woodwind solos are so concrete that you could easily describe the players technique. No congestion on the gigantic swells (oh god, did I say that the dynamic swing is amazing) at all. This thing puts you there so solidly that when the music ended, my first thought was "Why isn't anyone clapping?". But it isn't all swagger either. There's a section where a cello comes to the fore and there's all that resin, as we'd expect, but there's such a woody tone from the box and a space that it occupies like I usually only hear from a baritone singer on a great recording. Just fantastic!
As I've said in a previous post, I've found the selections to be more than I could have asked for, but all for different reasons. TP 005 and 006 are classic performances that original LP's would set you back as much or more than the pristine tapes that are offered. But 007 (lord, I've gone this far without any Ian Fleming references and I'm not going to start now,..MoneyPenny) really gets the "showoff" in me excited. If ever there was a release that shows the impressive side of what our tapes and systems can do, this is it!
When you get this tape,.. your neighbors are going to know it!

Charter Subscriber Steve Koto, aka ironbut

TP-006

Got it about 2PM. I've already played about half of the Bruch Scottish Fantasy. Wonderful. Oistrakh can really play the fiddle. Another winner for TP. :-) I am comparing it to my vinyl copy, an original London (not Decca) (matrix 1E) pressing. The tape has an openness and depth and breadth of image that is lacking in the vinyl - though the latter is really very good...The Hindemith is even better than the Bruch. Very nice.  

Charter Subscriber Larry Toy, aka Astrotoy

The thing I really love about this release is how natural sounding it is. I get so used to the overloaded, audiophile hyped sound that sometimes when I go to performances of the SF Symphony, I start out a little underwhelmed. But as the music and performance unfolds, and I resign myself to following the conductors hands and the composers intentions, the score reveals itself like a well lit road with an unknown destination. TP-006 allows this to happen. I've waited so long and searched so hard for a recording that I could say this about with no reservation. From the resiny edge of Oistrakl's bow, to the tremendous crashes of multiple percussive instruments, it falls on my ears as it should. No distractions,.. just you and the music.
Nice job guys!

Charter Subscriber Steve Koto, aka ironbut

Comparing TP-005 to Vinyl

Charter Subscriber Larry Toy, aka Astrotoy

TP-003 - Oh my!

"Well, I finally got my homebrew preamp to a point where it's about listenable and hooked it up to my new Flux Magnetics head in my spare RS-1500 headblock.  TP-003 (Arnold Overtures) has been on hand for a while, but I didn't want to listen until I had the IEC eq working, and that meant getting the preamp up and running.  Wow.... I finally understand what everybody's talking about.  Everything about the recording is just so right.  There's just this orchestra out there in space, well not exactly in space, it's an orchestra in a complete acoustic environment and after a few moments I found myself listening with this big grin on my face, even giggling at parts of the goofy Christmas Overture.  Beautiful, full clearly articulated lows, sweet highs and everything else in between just in the right place.  I've never heard anything else like it in my house.  To docb, romo and Paul you've hit it out the park!  Thanks."

Subscriber Richard Lane, aka Scully 280

" Yesterday I finally was able to play my first Tape Project tape: TP-001 Jacqui Naylor, The Number White.

I'm using a Technics RS-1500 deck (without any of Doc mods -yet-) with its stock heads wired directly to a Seduction modified for tape playback, an extended Foreplay III and a pair of 45 amps (basically BHs excites) to a pair of edgarhorns.

I suscribed to the TP about a year ago, brought my tapes home after Christmas and finished my Seduction a few weeks ago but still needed some break-in time.

All I can say is Wow! This is the way it is supposed to be. The music and the singer's voice are as natural as they can be. You could listen to this stuff for hours and not get tired... Just fantastic.

My only problem is that I couldn't crank up the volume up because my kids were sleeping. I guess I need to start working on my home's S.E.X. amp with Ni iron and BH cable upgrade on two sets of HD-600s that I have ready for whenever I finish my home theater.

Believe me, if you're thinking about jumping into the TP now is the time, when Series One titles are still available: you won't regret it."

Charter Subscriber Xavier Cortes

"Until last night I had only used my tape Seduction in NAB mode on 4 track tapes at 7.5 IPS on my RS-1506. The results haven't been ideal as the level seemed lower than other sources.

Last night I cleaned the tape path and loaded up reel one of the Arnold Overtures (TP-003). Wow! Signal level was perfect. I poured two fingers of Lagavulin single malt and enjoyed 30+ minutes of incredible sound.

Thanks to Doc and the Tape Project gang."

Subscriber AZ Gary

"We opened a bottle of wine and threaded up TP-002 tonight. Another home run for the Tape Project. The sound of the guitar and Dave Alvin's voice reached out to us, not in a hyped up "audiophile" way, but in an emotional way, just as live music does. Can't wait for TP-003!"

Charter Subscriber Dan Robertson

"Mmm! Huh,.. did someone say something! Oh Yeah,.. I am listening to it right now. Talk about engaging! Nice job Romo. I think this is the mixing/mastering equivalent to the fear that TV stars had about close-ups when they caught wind of what HD TV was capable of. That's if you can stop tapping your foot long enough to listen into the mix. This sounds so good that it's hard not to be transported to the Camellia room. I was thinking that it might sound better than the demo tape but maybe it's more of a matter of getting the intent of the album and the mood of the players. The comments at the end of the cuts are wonderful. I don't know if they're on the CD but I'm a real sucker for this kind of thing.
The package came in perfect condition. The engraving looks mighty nice and I love the foil edge art. The pictures don't do justice to the package as a whole.
Michael's right though. I wouldn't put a $30 rib eye on the grill and figure that you'll listen to just one cut. You can forget about that! You won't want it to ever end!
Thanks guys,.. we're doin' the antler dance tonight!"

Charter Subscriber ironbut, about TP-001, Jacqui Naylor, The Number White

"Paul - package received, and I must say, very,very impressive. I am finishing up my MTR-10 alignment this weekend (just received my new heads from JRF), and hope to have TP-001 spinning for the holiday. My thanks to you and Doc and Michael for this wonderful initiative. Looking forward to all my selections in the coming weeks."

"I have received the TP-001 tape and I am extremely pleased with the results of the deck and the tape itself. Goose pimple good."

Subscriber Jack Fuller

"Mine arrived today..and I am pretty stoked. The packaging and presentation are outstanding.....the pictures don't do it justice. My hat is off to Doc B, Romo and Paul."

Charter Subscriber mikel

"I received TP 001 Wednesday evening.  You have done an excellent job with The Tape Project.  It is an absolute first class job in every detail.  It was a true sense of satisfaction to hear the music and made the wait and effort into putting my system together well worth it.  I wish you much success."

Subscriber Pete DeRosa

Impressions of the Tape Project from Head-fi NorCal Regional Meet, August 25, 2007

"one word--WOW. This had to be the most musical and emotionally moving listening experience I've encountered. It's extremely rare I can listen to unfamiliar music and feel so moved and hang on every note, wishing it not end. The (Tape Project) tape had an utter breathtaking realism that everything else just melted away. It doesn't do it justice to use audiophile terms, which usually best describe an artificial attempt at replicating sound. Dare I say it, the closest to the real deal--like being in the studio on the musicians side of the glass. While listening I had goosebumps, walking away I had goosebumps, a bit later talking about it I got goosebumps or even thinking about it right now I am relishing the moment and sighing long and hard because I don't know when something so emotionally intense can happen again."

Head-fi member 909

"It has already been said, but ironbut's rig is truly extraordinary. The same Tape Project (demo) tape was at HE2007 and on a hugemongous speaker setup it had the same impact on me. Natural, fleshy sound that cannot be beaten by digital sources, and I don't think that I have heard a vinyl setup that can match that same kind of sound."

Head-fi member Voltron

"Ironbut's Technics reel to reel > Bottlehead tape pre > Zana Duex > Ed9s this was the best sound I have EVER heard. The mastering on that reel was crazy good this rig removed the last pane of glass that separates you from the music. Not only was it detailed but had a lifelike quality that sends a shiver down your spine."

Head-fi member jp11801

"tape project...just **** amazing way to hear music. I listened to the classical recording on the tape and everything was so completely 3 dimensional in terms of sound...texture, soundstage, incredible weight to the music."

Head-fi member foo_me

TAS comments on the The Tape Project in the MAGICO room at CES 2007

"Folks, I've heard some mighty fine stereo systems over the years...But fed by the Technics tape deck and those Japanese oddball electronics from BA Labo, the Magico Model 6s reached a level of realism from full orchestra to solo voice that I've simply never heard matched." -  Jonathan Valin, Best of Show CES 2007,The Absolute Sound, April/May 2007

"The best systems were Ray Kimber's...the Spectral system... and the MAGICO Model 6, fed from a 15ips analog tape machine." - Robert Harley, Best of Show CES 2007, The Absolute Sound, April/May 2007

"perhaps the most convincing recreation of a symphony orchestra I have ever heard" - Wayne Garcia, on hearing an excerpt from Arnold Overtures on the MAGICO/Tape Project combination, Best of Show CES 2007, The Absolute Sound, April/May 2007 

 Positive Feedback on Tape Project tapes in the E.A.R. U.S.A room at CES 2007

"the sound was no less than drop dead stunning. Dynamic, ultra-resolved, it makes digital high-res formats look pale, flat and sad in comparison." - Danny Kaey, 2007 CES, Positive Feedback Online Issue 29

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. A small group of music lovers has started securing the rights to release a variety of extraordinary recordings on high quality reel to reel tape. We have also assembled the highest quality duplicating system that has ever been attempted. The result, for those with ears to hear, is the most involving and satisfying experience that has ever come from reproduced music. Our plan is to release ten titles per year. These tapes are recorded as 15 inches per second two-track, one of the formats most common for analog master tapes. Each album normally comprises two reels.

The Music

When we started designing our release schedule, we had only two requirements in mind:  

1)  that the master exist on analog, and,  

2)  that the music be great. That it be music that moves us. That it be music that can stand the test of time, and continue to bring satisfaction for years.

Of course that narrows it down to only a couple hundred thousand possible titles. And in practical terms, it isn’t always up to us whether we can get access to the titles we’d like. The holders of the rights may or may not make them available. (All our music is fully licensed)

With those considerations in mind, here’s what to expect as we announce the upcoming releases. You can already see that we have broad tastes ourselves. Just in the initial series you see Classical, Jazz, Blues and Roots music. You will see more of those. Definitely a solo piano title in the future. I wouldn’t be surprised to see a choral recording before long. We haven’t yet announced anything from one of the major pop stars, but don’t be surprised when we do. Considering how much all of us in the company love Blues, Roots and Americana you can count on seeing more of those.

We are not limiting ourselves to audiophile spectaculars. If the music is compelling, we’ll consider it. We are even offering a mono recording.

We are interested in hearing what you’d like us to pursue. You must be patient about this—sometimes securing a title can be a very lengthy exercise. But we’d like to hear from you regardless. Subscribers can post their wish lists on the Tape Project Forum.

Paul Stubblebine

The Process

Your master duplicates will be made on the highest quality duplicating line ever assembled.

	Master tapes are created on the Stubb-U-Sonic analog system in the Camellia mastering studio at the 1340 Mission studio complex. The mastering monitor system uses custom designed Magico loudspeakers and Bottlehead tube electronics.
Running masters are made directly from session or mix tapes, mastered on an ATR Services 1" two track ATR 100 with custom de Paravicini electronics, by Grammy Award winning mastering engineer Paul Stubblebine.
	These 1" running masters are played on a 1" Ampex MM1200 master tape machine conversion by ATR Services, using the legendary Ampex MR-70 tube reproduction electronics custom modified by Tim de Paravicini.
Your master duplicate is recorded in real time at 15 ips in two track format on 1/4" tape, on one of four tightly matched Ampex ATR 100s. During the duplicating process the tapes are constantly being monitored by an engineer, assuring that every tape is a perfect copy of the master. Each album takes as long to make as it takes for you to listen to it, so we can only make a limited number of albums each day.
	Each custom 10.5" reel is engraved with a catalog number indicating the A "side" and B "side" of the album, and a unique serial number. This custom engraving process takes nearly as long as making your album takes. It is then placed in a leather grained setup box with gold foil embellishment. Art quality pigmented ink on claycoat paper cover art is inserted between the two reel boxes. The printing process also takes nearly as long to do as duplicating your album from the running master. Each album has several hours labor in its making. larger image
The two reels and cover art are packaged in a matching leather grained and gold foil embellished slipcover with a matching serial number. Read here to find out how to acquire a Charter subscription which guarantees you a full set of the series releases with matching serial numbers.  larger image

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Managing Directors

The Tape Project team shows off their studio tans - left to right

Paul "High and Outside" Stubblebine (Paul Stubblebine Mastering)

Dan "Doc B." Schmalle (Bottlehead)  

Michael "Romo" Romanowski (Michael Romanowski Mastering)

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