the Tape Project

	the Tape Project
	Tape Machines



Impression I picked up my fully tricked out Bottlehead 1500 this evening at the Mission Street Studio. Dan used it for the demos we heard tonight. I couldn't wait to plug it into my system.	It was late, but I played the first tape of the Arnold Overtures album. I was totally blown away. I have both the vinyl and the CD - the vinyl has been on the Harry Pearson TAS Super Disc list and deservedly so. My vinyl front end is very good (VPI TNT HR, Lyra Helicon SL, Herron Phono Preamp) but the combination of the modified RS1500 with the Bottlehead electronics and this incredible tape, makes the vinyl pale in comparison. Dynamics, depth of sound field, sense of being transported to the event itself - total involvement in the music. I have to go to sleep now, but I can't wait until tomorrow! Dan said I got the first completely tricked out 1500 - after people hear this, there will be a long line. Charter Subscriber Larry Toy

Playback machine choices We recognized early in the development of the Tape Project concept that there would need to be a reliable source of playback machines capable of delivering the full sonic quality of the Tape Project tapes. With this in mind we developed several different paths for subscribers to follow to get to a machine that is capable of delivering all the sonic goodness of a master tape dub. The choices break down into two major groups - studio machines and what we like to call prosumer machines.

Studio quality machines The studio mastering machines are the ultimate way to go if you have a very high end stereo system, the space to house a large machine, the budget to bring one up to top condition, and the willingness to learn how to maintain one. Studio mastering machines would include the Ampex ATR 100 series, 300/350 series, AG440 series; the Studer A820, A80, A807 and A810; and more obscure machines like the Nagra T-Audio, the Lyrec, the large Otaris like the MTR-10 thru 15, Scully 280, 3M M56 and M79, and various Sony and MCI machines. While these can all be very good machines, we recommend the Ampex ATR 100 and the Studers as the best choices because they sound the best and there are still parts and service available. Maintaining the other machines can become a frustrating experience because of a lack of parts and technicians capable of working on them.
A stunning ATR-102 by ATR Services with Tube Repro electronics by Bottlehead, installed at The Audio Gallery. If you are in the Portland, OR area give Gary and Cindy a call.	The ATR Services ATR-100 If you want the best sound possible and have the space for a studio machine—and the budget—we can help you. We use Ampex ATR-100s to make the Tape Project tapes, so it stands to reason that the best possible way to play them back is with an Ampex ATR-100, built from the ground up by ATR Service Corp. to be better than when it rolled off the showroom floor. You have some choices of repro electronics: Stock playback electronics, which are OK, but we don't recommend them for the best possible performance We can fit it with our Tube Repro amp by Bottlehead, the same repro amp used at the Tape Project demo room and at CES If you would like solid state repro electronics we can recommend the Aria electronics from ATR Service Corp. Either of these latter options will give you a spectacular sounding machine

Prosumer machines For some users there are disadvantages to the size of the typical studio tape machine and the expense of acquiring and maintaining it. So we decided to look at the many "prosumer" level reel to reel machines that were offered in the late 70's through the early 90's as alternative machines that would be easier to operate and maintain and take up less space in the listening room. Some models were regarded highly enough for their mechanical quality and reliability to be used in large numbers in radio stations, recording studios and other commercial applications. The Technics RS1500 series, Otari MX-5050 series, Revox A77/B77/PR99 models, and models by Tascam/TEAC were all considered as potential subjects for a program of modification that brings them to as high a level of sonic quality as possible. Our choices for prosumer machines For several reasons we ended up choosing the Technics RS-1500 and the Otari MX-5050 series as the two machines we currently modify. They are well designed, they offer the versatility of both 1/4 track and 1/2 track playback heads and three tape speeds, and they are both gentle tape handlers. And we have developed a series of modifications to each machine that will move its performance closer to the studio quality machines. NOTE We are not a tape recorder restoration service. We are tape machine modifiers. Beyond heads and brakes we do not do any restoration work. If your machine needs repair please have that done before you send it to us for modification. There are a lot of really beat up machines out there that are being sold as "like new". When you look to buy a used machine make sure all of the functions work. There are zillions of used machines around, so don't get talked into paying a premium for a dog.

Otari MX-5050 series mechanical mods The Otari MX-5050 has been a reliable workhorse in broadcast and budget studios for many years. While new Otari MX-5050 BIIIs are still available, they are so plentiful in the used market that a nice used one can be had for a fraction of the new price. We recommend the B2 and BIII versions. They come with everything needed to play Tape Project tapes - 15 ips tape speed, the ability to handle 10" reels, a 2 track playback head (as well as a 1/4 track playback head for your favorite vintage prerecorded tapes), and switchable NAB and IEC playback equalization. All in all these are a good starting point upon which to build an excellent performing machine. The best approach to modding the Otaris is to upgrade the tape path mechanicals and to modify the machine to use better external playback electronics. The options for playback electronics are discussed farther down this page.
We take the Otari's mechanical performance closer to that of studio machines with modifications to the tape path. The cost for this basic tape path upgrade and alignment is $600. We replace the stock plastic fixed guides under the head block and after the pinch roller with ABEC-7 ball bearings We replace the fixed guides on the tension arms with adjustable guides with ball bearings and ceramic edge guides. When necessary the brakes are also updated. Other options We can also upgrade the tension arms from the stock, easily bent aluminum arms to more rugged stainless steel arms ($75 the pair) The pinch roller can be upgraded to an Athan urethane roller ($85), as can the impedance roller ($130).
We can modify your machine for a direct output from the heads to outboard playback electronics. ($100 alone or free with purchase of a tape head preamp). The output jacks of your machine may be rewired to allow the playback head to be connected directly to an outboard reproduction amplifier that has CCIR/IEC1 playback equalization necessary for play of the Tape Project tapes- our own Bottlehead repro amp or another amp of your choosing. And we take special care with the heads. The stock two track and quarter track playback heads can be relapped by JRF Magnetic Science ($85 each), or the two track playback head may be replaced with a custom extended response head manufactured by Flux Magnetics for optimum performance with 15 ips tapes ($650). Other heads are inspected for wear and refurbished where necessary. Optionally, a dedicated playback only machine can be fitted with long wearing ferrite dummy heads in the record and erase positions ($50 each). Once the head block is set up and the tape path mods are installed a careful alignment is done using test tones recorded on our own Ampex ATR duplicating slaves (which have themselves been aligned with MRL test tapes), so you know that your machine is adjusted as closely as possible to those that record your master duplicates. The end result is a machine that approaches the sonic quality of the large studio machines, with more dynamic punch, snappier transients and better resolution.

Technics RS1500 series mechanical mods The Technics RS1500/RS1506/RS1520 series is another great tape machine with a strong following. It uses a servo reel control system combined with dual pinch rollers on a single capstan to maintain constant tension on the tape. This "isoloop" system results in very stable, low flutter playback. Like the MX-5050 the RS1500/1506/1520 can play at 15 ips, handle 10" reels and has both 2 track and 1/4 track playback heads. We note here that the RS1700 is a 1/4 track only machine that does not have the ability to switch to a 2 track head. For this reason we do not recommend the RS1700 as a machine to mod for Tape Project tapes. The one possible shortcoming of the RS 1500/RS1506 series is its lack of IEC playback equalization (except for the RS1520, which does have IEC playback eq). In actual practice this is not such a big issue, because the quality of the playback electronics in all of these late 20th century prosumer grade machines is dismal. The way to get the fullest benefit of the sonic quality of Tape Project Tapes is to use better outboard playback (repro) electronics anyway. After an inspection and replacement (if necessary) of any tape path components subject to wear, we carefully align the components in the tape path to get straight and consistent tape travel over the heads and a flat, well centered tape pack on the reels. We take the mechanical improvements a bit further with refinements in the materials and configuration of the fixed tape guides. The end result is a machine that handles tape extremely well and sounds cleaner, with better low level resolution and snap. our ball bearing and ceramic edge guide upgrade, now incorporated as a standard part of the tape path upgrade (where they fit - not all machines will accept these) Along with the tape path improvements we install improved brake pads that better maintain the factory brake tension specification, replace any worn springs in the tension roller arm assembly and update the tension arm roller bearings with higher quality ABEC 5 bearings, modify two of the fixed guides to ABEC 5 ball bearings with abrasion resistant edge guides and remove other guides altogether. We carefully adjust the reel servo controlled tape tension to factory specification. Rebuilt pinch rollers are available at extra cost if necessary, though the stock pinch rollers seem to hold up quite well, particularly after we carefully clean them, burnish the bearing surfaces and reassemble them with a proprietary lubricant. We can also replace your reversing idler bearings with ABEC #7 ball bearings. We can modify your machine for a direct output from the heads to outboard playback electronics. ($100 alone or free with purchase of a tape head preamp). The output jacks of your machine may be rewired to allow the playback head to be connected directly to an outboard reproduction amplifier that has CCIR/IEC1 playback equalization necessary for play of the Tape Project tapes- our own Bottlehead repro amp or another amp of your choosing. And we take special care with the heads. The stock two track and quarter track playback heads can be relapped by JRF Magnetic Science ($85 each). Or the two track playback head may be replaced with a custom extended response head manufactured by Flux Magnetics for optimum performance with 15 ips tapes (shown above, $650). Other heads are inspected for wear and refurbished where necessary. Optionally, a dedicated playback only machine can be fitted with long wearing ferrite dummy heads in the record and erase positions ($50 each). Once the head block is set up as required a careful alignment is done using test tones recorded on our own Ampex ATR duplicating slaves (which have themselves been aligned with MRL test tapes), so you know that your machine is adjusted as closely as possible to those that record your master duplicates. The stock power entry panel on the back can be replaced with a panel that accommodates high end IEC terminated power cords ($95). The stock wired remote socket can be replaced with one that allows connection of the Bottlehead Remote Possibility infrared remote control receiver, one of our planned future releases. Revox style NAB hub adapters for 10.5" reels are now available from j-corder to replace the balky Technics front-mounted-hub-adapter-and-rubber-spacer system. Any downsides? Well, in terms of pure convenience perhaps two. They are only important if you elevate ease of use above getting the best sound possible: We disconnect the tape counter. It screws up the sound. You can tell how much the counter influences the smoothness of the reversing idler if you've ever heard the dreaded SCREEEEECH of the cheesy tape counter belts and pulleys when you rewind. The tape counter is not that accurate anyway. Our tape path mods make the tape sound a lot better and also make the tape sit a little closer to the heads when running in fast forward and rewind. So you will hear more of the "mickey mouse" effect. So you will want to switch inputs or hit your mute button when fast winding. Trust us, the improvement is worth the trouble.

But I need to know which one is better! Obviously we like both machines or we wouldn't be recommending them. In stock form we like the Technics a wee bit better. Neither machine is as good mechanically as a serious studio machine like an ATR, Studer, or Nagra T. The Otari has better brakes, the Technics has exceptionally low wow and flutter. The Otari is more rugged, the Technics is better looking. The Otaris tend to go for lower prices on the used market, while the Technics tend to have a higher resale value. In modified form both the Technics and Otari machines get a lot closer to the studio machines. We have found that the modded Otari is a bit more snappy and articulate, while the modified Technics leans more towards smooth and mellow. The differences are fairly small. Of the Technics models only a stock RS1520 can play our IEC tapes (the RS1500 and RS1506 don't have IEC eq), while the stock Otaris have IEC playback built in. However in our opinion both machines need to be modified to use outboard playback electronics to be able to deliver the full quality of the Tape Project albums. The stock circuits just don't cut it (nor do they in the studio machines). With upgraded electronics and modified tape paths either machine will deliver the goods.

Playback heads and electronics The tape head and its accompanying preamp, or repro amp as it is known in professional recording is 50% of the equation when it comes to reel to reel sound quality (the other 50% being transport mechanical quality). Right up front will say that in our opinion none of the stock tape machines that we would recommend for a home listening room - studio or prosumer - has the ability to deliver the full resolution of Tape Project tapes. But in modified form they can sing. Luckily the playback heads of most studio machines are very good, as are the playback heads of most prosumer machines. This makes use of a stock playback head an economical solution for modified machines with budgetary limits. Slightly worn heads can be relapped at a reasonable price and stock replacements are available for a lot of machines. For the best possible performance one can install an upgraded extended response head manufactured by Flux Magnetics, shown above. These heads will bring the frequency response of a prosumer machine up to the level of the best studio machines, resulting in an improved sense of extension at both ends of the frequency spectrum with more air to the highs and a more substantial bottom end. Unfortunately the stock solid state repro electronics found in studio and prosumer machines suck. At Bottlehead we have been designing and selling exceptional tube preamps for 15 years. And so it was natural for us to develop tube electronics that could reveal the amazing quality of 15 ips analog tape when used in conjunction with both stock and custom playback heads. We offer a few choices of tape head or repro amps. At the top is our Tube Repro. The Tube Repro is designed with a studio quality machine in mind, but it will also bring the sonic quality of a modified prosumer machine very close to that of a studio grade machine. It is the best match for a Flux Magnetics Extended Response head The Seduction is a more budget oriented preamp that started out as a phono preamp kit. It is easily modified to work with tape heads, it works well with stock heads on modified prosumer machines, and it will blow the doors off the stock electronics. It can be had in phono preamp kit form, and the builder need only drill a couple of small holes and add a couple of switches to make the conversion to tape head operation. The Seduction can also be purchased in assembled form, already converted to tape head operation. Soon to come will be our Eros kit preamp, which will be available in a tape head version. It will bridge the gap between the top of the line Repro and the economical Seduction, with more gain like the Repro but in a simplified form for kit builders. Without a doubt, at three models Bottlehead will soon have the largest range of repro amps in the world. Who else would be this obsessive about tape playback quality?

The Tube Repro We love the articulate, natural, enveloping sound of tube electronics. Bottlehead has been putting out highly regarded tube gear for 15 years. The Bottlehead Tube Repro amp is a statement piece that will run with the best of what is out there. The Tube Repro is designed as a versatile tape head preamp that works well with medium to high inductance playback heads. It has been developed from the start as the perfect match to Flux Magnetics Extended Response playback heads. It can output both single ended signals at the consumer level -10dB through RCA jacks and balanced signals at studio level +4dB through XLR jacks. CCIR/IEC1 and NAB/IEC2 playback equalization are each available with the flip of a switch, and other playback EQs are possible on a custom order basis. Most any modern tape recorder, once modified to direct output from the playback heads, will work with the Repro.
	The Repro's circuit is designed to keep the signal as pure and uncolored as possible, while avoiding the harsh and sterile sound that can come from some gear that claims "great detail and speed". EF86 pentodes are used at the input, chosen for their high gain, low noise and sweet sound. The signal passes thru a direct coupled passive equalization network to a 6DJ8 type dual triode. From there the signal can be taken at the single ended RCA outputs. To achieve a studio level balanced output the signal passes through a 6CM7 gain stage to balanced transformer XLR outputs.
The power supply utilizes a separate hybrid tube/solid state shunt regulator for each channel which tightly regulates the high voltage, giving a sense of bandwidth and separation unparalleled by other means of power supply regulation. Each signal tube is isolated from power supply noise by a Camille Cascode Constant Current Source, giving the sound a black background and bringing the dynamics to an elevated level of realism. Premium quality components are utilized throughout, Schottky diodes, premium Panasonic electrolytic capacitors, high quality Teflon and polypropylene coupling capacitors, and a range of premium resistors from tantalum to metal film to carbon composition, each one chosen for optimal performance in the job at hand. Individual PEC trim pots for level are accessible from the front panel, as is a selector for playback equalization. Tubes and output transformers are socket mounted on the back panel in the tradition of classic studio gear, to allow for quick and easy changes to suit the listener's taste.	Price is $4000. These preamps are hand built to order and require a 50% deposit.

Seduction tape head preamp If you are on a tight budget or you don't want to put up a lot of money at the start of getting into tape, you can build a Bottlehead Seduction kit into a tube tape head preamp with switchable IEC/NAB playback equalization. You can connect to your modified RS1500 or MX-5050 with some 1/2 meter interconnects in your favorite flavor. The stock heads on either machine work well with the 40dB gain of the Seduction, and the Seduction is happiest running into a line preamp with an input impedance of 50K ohms or higher and a gain of at least 10dB. Bottlehead has a reputation as the best place to go for a first time builder and the Seduction has a reputation as a great small signal preamp. The price for the tape head preamp version of the Seduction kit is $375. Don't want to build it yourself? Ask a Bottlehead tech to build it for you for an additional $325. If you build the Seduction yourself you'll be ready for the awesome sound of Tape Project tapes for under a grand plus whatever you paid for your tape machine. You can take it to your high end audiophile buddy's house and watch the look of horror as your budget tape machine playing Tape Project tapes makes their high dollar digital rig sound like MP3s...

How do I get started? You will need to discuss just what you want done to your machine and arrange to have one of our shipping boxes shipped to you ($85 deposit, plus shipping). We require a 50% deposit for all work. Contact us by email or call Bottlehead at 360-697-1936 M-F 9-5 for more information on product and service availability.