The Reel-to-Reel Revival, Part 2: The Format’s Sonic Advantages, Some Major Players, and Why Threading Tape Is a Ritual Worth Learning and/or Revisiting

In Part 1 of this series, which posted yesterday, January 27, 2025, I discussed the history of reel-to-reel, a still-important analog format. Here in Part 2, we’re going to see exactly why reel-to-reel remains as vital as ever.

Let’s start by fast-forwarding to the here and now, where reel-to-reel players are enjoying an analog renaissance. Whether it’s nostalgia, a backlash against digital overload and fatigue, or simply a quest for the ultimate in sound quality, these machines have spun their way back into the spotlight. So why, in a world of endless Spotify playlists and 24-bit streaming, are people flocking back to a format invented nearly a century ago? The answer lies in the sound. In the digital arena, we’re constantly inundated with streaming, compressed files, and algorithmically smoothed sound. While convenient for many listeners, digital lacks the tactile, immersive quality of the analog recordings we live and breathe. Reel-to-reel tape, in particular, offers several sonic advantages, as follows.

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1. Higher Fidelity, Lower Noise. Reel-to-reel tape operates at high speeds — commonly 7.5 inches per second (ips), or 15ips — which translates to more audio information being captured per second. This higher resolution results in superior fidelity compared to cassettes — which are at an oh-so-slow 1.875ips! — or even our beloved vinyl.

2. Warmth and Texture. Digital sound, for all its precision, can feel quite sterile to some (perhaps even to many!) listeners. Reel-to-reel recordings, by contrast, are warm and nuanced. The analog nature of tape captures subtle harmonic distortions that our ears perceive as pleasing. It’s like the difference between staring at a cold, pixel-perfect photograph and basking in the glow of a masterful oil painting.

3. A Physical Connection. There’s no shuffle button here. Reel-to-reel demands your attention, from threading the tape to adjusting playback settings and aligning and calibrating the recording and playback heads. This hands-on experience turns listening into a ritual, an event — not just background noise. Let’s be honest — threading a reel-to-reel tape, like cueing up an LP on a properly set-up turntable — is essentially a ceremony. There’s a physical connection to your music collection that no digital playlist can replicate.

4. Longevity. Properly cared-for reel-to-reel tapes can last decades, outliving digital storage methods that are prone to obsolescence. However, the medium is most vulnerable to climate and atmospheric issues, heat and humidity being the worst culprits. Having worked on archival restorations, I have personally spent many, many hours painstakingly scraping oxide off a playback head after every minute or so of playback. Take it from me: Protect. Your. Tapes!

5. No Digital Compression. Forget MP3 compression algorithms — reel-to-reel recordings preserve the full spectrum of sound as the artist intended.

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So, what’s the current state of reel-to-reel play? For many enthusiasts, vintage reel-to-reel players are the gateway into this world. Models like the Revox B77, Akai GX-635D (seen above), and TEAC A-3340S are highly sought after on the secondhand market. Restoring these machines is a labor of love, often requiring new belts, heads, and capacitors — but the payoff is worth it.

As you’ve seen by some of our own prior coverage here on AP, manufacturers are producing new reel-to-reel machines for the first time in decades. These aren’t your granddad’s tape decks, mind you — they’re cutting-edge, high-performance works of art. For some companies, it’s not just about the sound, it’s about the experience. These machines are not just tools, they’re pieces of art that engage all the senses. And you’re not just listening to music — you’re interacting with a piece of audio history, reimagined for today’s discerning audiophile.

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For example, Ballfinger tape machines have garnered attention in the audiophile community for their commitment to high-end analog sound. Ballfinger is a German company that has made waves with their modern reel-to-reel machines, such as the M 063 H6 (shown above). These sleek, minimalist designs combine state-of-the-art engineering with impeccable sound quality.

Ballfinger tape machines are made in Germany, and are known for their blend of traditional analog sound with modern design aesthetics. They are crafted with high-strength aluminum and focus on professional use while appealing to enthusiasts. The company designs and manufactures all components in-house, from drive motors to servo units, ensuring quality control and precision. The M 063 H6, in particular, has been highlighted for its advanced tape transport control, which prevents looping and tape deformation, and its high-quality audio electronics. These machines can handle 1/4in or 1/2in tape widths, with options for direct drive and various tape speeds.

Ballfinger products are often seen as luxury items due to their high price points. This makes them appealing to a specific demographic of audiophiles and professionals who value analog sound quality.

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Another key player, Metaxas & Sins, who are known for their avant-garde designs, create tape decks that look like they belong in an art gallery. A Dutch-based audio company helmed by the visionary Kostas Metaxas, Metaxas & Sins have carved a unique niche in the high-end audio market with their reel-to-reel tape players. These aren’t just your average pieces of audio equipment; they’re more like kinetic art objects that just happen to play music with an unparalleled fidelity.

The Tourbillon T-RX ($69,405), seen above, for example, is as much a sculpture as it is a playback device. Imagine walking into a room where the centerpiece is not the latest digital gadget but a piece of machinery that looks like it’s been plucked from the golden age of audio technology, yet somehow feels futuristic. That’s the Metaxas & Sins ethos. Their tape machines, like the flagship Papillon ($59,000), are marvels of design and engineering, combining the nostalgia of reel-to-reel with modern technological wizardry.

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Of course, a tape deck is only as good as the tapes it plays. Luckily, companies are stepping up to produce new reel-to-reel recordings and blank tapes, including Recording The Masters (RTM), who are based in France, and produce high-quality blank tapes and reissues classic albums on reel-to-reel. Their LPR35 tape (€23.00; seen above) is a favorite among hobbyists and professionals alike. There’s also Analogy Records, a boutique Italian label that releases new music exclusively on reel-to-reel; and Open Reel Records, who are focused on audiophile-quality jazz and classical recordings and a passionate company who very much cater to the discerning listener.

If the allure of reel-to-reel has you hooked, here’s a step-by-step guide for how to get started — or how to get back into it.

1. Find the Right Machine. Decide whether you want to hunt for a vintage player or invest in a new model. Vintage machines offer charm and history but may require maintenance. New players are reliable but come at a premium price. Vintage reel-to-reel players from long-storied brands like Revox, Studer, Akai, and TEAC are highly sought after.

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Enthusiasts scour eBay, Reverb, and audio forums to find well-preserved or professionally restored models, such as the 1) TEAC A-3440, a classic for multitrack recording enthusiasts (as seen above); 2) Revox B77, beloved for its reliability and rich sound; and 3) Akai GX-635D, a stunningly designed player with glass and crystal heads for longevity.

2. Learn the Ropes (and Tapes). Threading tape and calibrating settings might seem daunting at first, but it’s part of the fun. Threading a reel-to-reel machine isn’t hard, but it does take practice to make it an effortless procedure. Watch tutorials, read manuals, and embrace the learning curve. Online tutorials and user manuals can be your best friends here.

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3. Build Your Tape Collection. The revival of reel-to-reel players wouldn’t be complete without tapes to play. Search for pre-recorded albums, or make your own recordings with blank tape. Check online marketplaces, estate sales, and audiophile forums for hidden gems. Fortunately, several companies are both producing new tapes and re-releasing classic albums on this format — see Acony Records and Analogue Productions as examples, to name but a few. (One beloved, vintage example from AP editor Mike Mettler’s own collection is shown above.)

4. Join the Community. Reel-to-reel enthusiasts are a passionate bunch. Join forums, attend audio shows, and connect with other tape heads to share tips and discoveries. Forums like Tapeheads.net are great places to ask questions, share tips, and connect with other fans of the format, as are other user groups you can connect with on Facebook, Bluesky, Instagram, and elsewhere in the socials. And, of course, look no further than right where we are right now here on Analog Planet, where we’ll continue to step up our own reel-to-reel coverage moving forward.

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To wrap things up — reel-to-reel isn’t just a format and playback medium; it’s an experience. It’s the thrill and tactile process of threading tape, the warmth of analog sound, and the joy of hearing music as it was meant to be heard. In a world where everything is instant and disposable, reel-to-reel is a reminder that some things are worth savoring. It’s more than the rich, immersive sound it produces, reel-to-reel offers a connection to music that’s increasingly rare in our modern age.

So why not join the revival? For one thing, Revox recently announced Ryan O’Connor (seen below) as their new President for North America. (His company, Reel to Reel Haven, built a reputation for restoring tape decks and creating high-quality recordings in their custom-built live room.) Currently, Revox is offering the B77 MK III, an upgrade of one of their most respected reel-to-reel models (as shown a few grafs above), for an SRP of $15,950.

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But now, it’s your turn! Dust off an old deck or splurge on a new one, thread up a tape, and crank up the volume. Either way, you’ll discover that the charm of reel-to-reel isn’t just in its sound — it’s in its soul. Whether you’re resurrecting a vintage deck or investing in a cutting-edge machine, stepping into the world of reel-to-reel is a journey worth taking. After all, some of the best things in life spin slowly — and they sound amazing. Let the reels spin, and feel the music take you into the latest golden age of audio.

Author bio: Leslie Shapiro knows analog inside and out, going back to her days of working behind the boards as a trusted audio engineer. She has also been a longtime contributor to our sister site, Sound & Vision.

To read Part 1 of this story, which focuses on the history of the reel-to-reel format, go here.

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COMMENTS
HiFiMark's picture

A buddy talked me into buying an 80's vintage Otari MX-5050 off of ebay... $250 in stellar condition. I then proceeded to haunt ebay daily and scoop up dozens of tape batches, usually in collections of 6-12 or thereabouts. They nearly always had winners mixed in with some dogs. A couple hundred tapes later I stopped, but to this day I enjoy the machine and the tapes acquired, though about 10-15% need to be baked and copied.

Bottom line, a lot of fun, and most tapes sound great. But I really write this to ask: when the time comes, to whom can I turn to work on Otari in the western US? Anybody? Bueller?

I also need help finding parts. I know, I know, I can search the interwebs, I'm just being lazy...

rshak47's picture

tapeheads.net? I've found that site quite useful.

HiFiMark's picture

thanks for the tip. Sometimes friendly people make my laziness pay off!

Glotz's picture

It's a legendary mag.

Glotz's picture

Was the mag I was referring to.

Peter Music's picture

Great piece, and the Revox deck makes this at least worthy of consideration. I hope you'll do a full review of the Revox in comparison with a turntable/cartridge/pre in the same price range. No doubt on the advantage vs digital, but the real competition is a turntable with UHQR or similar vinyl

supamark's picture

and not mention the Ampex ATR-102? Or the company. Seriously. With the right mods, a 1/2" ATR-102 at 30ips is unbeatable. Better than literally everything you listed above, which is why they're still in use as a mixdown deck in the few top flight recording studios still around.

Oh, and as a consumer playback medium reel to reel is awful. Setting up a tape machine, unless it's a Studer A820 with auto-calibrate (oh man that was nice), is awful and includes setting up your deck for every single tape you play unless they were recorded on the same tape stock and deck. The tapes you get are several generations old unless there's a digital step. Tape is delicate, and the sound is scraped away every time it's played - read up on the recording of Thriller and engineer Bruce Swedien to see the herculean steps Bruce went to in order to preserve the sound on the tape for mixdown.

PeterPani's picture

Every analogplanet reader knows the pros and cons of vinyl.

Main Problem of tape (as a collector with hundreds of tapes, Revox A700's and Revox G36's) is that the biggest reels are 10.5". A pity that 12" are not the norm, and this cannot be changed anymore (because most commercial machines out there can be loaded with 10,5"-reels maximal). With 15 ips two track 12" reels both sides of a typical vinyl record would fit on a single reel. That would be cheaper and it would be much nicer to listen to full records without changing the reel.

Main advantage of tape is that there is no need to experiment with expensive cartridges. A MC-system with equal sound quality as a tone head will cost you at least $5000, but the tone head $150 only.

The danger for tape is the handling. Loading a tape is easy. But a little mistake (e.g. not closing the reel fixation, threading the tape besides the heads, too low tape tension before pressing the play button) and a € 950 tape of e.g. Kind of Blue (Hemiolia) gets partly destroyed in seconds.

I always wonder that there is no research for a new analog carrier. The media of our time could be a analog Laserdisc. My early laserdiscs had analog tracks only. And some of them sound fantastic. Later Laserdiscs had digital and analog tracks. The analog tracks have been direct copies of the ditgtal-to-analog converted digital tracks of the same Laserdisc. So it is possible to compare the analog track with the digital track on NTSC-laserdiscs. They sound the same. That tells me that the analog track is of quite high quality already. I got beautiful sounding Diana Ross and Rickie Lee Jones on analog tracks of Laserdisc - definitely the best sounding females of my whole vinyl, tapes and LD-collection. And the Rickie Lee Jones on Ultratape (15ips Analog Productions) does not sound better as the analog track off a Rickie Lee Jones Laserdisc I own.

So the analog step further - of our time - would be, to get rid of the analog movie tracks on Laserdisc. So you would get plenty of space on 12" Laserdiscs. Then the carrier frequency could be increased by a factor of 10?, so that Laserdisc could carry analog signals in the frequency range of 15Hz to 100 kHz. A disc would cost around $ 100 (with commercial success prices going lower over time) compared to appr. $ 500 up to $ 950 for pre-recorded tape. And the handling of Laserdisc is easy. You can even select tracks and fast forward with a remote on the sofa.
So - please, can someone start with developing Analog Only Laserdiscs???
I don't want to bother with vinyl limitations and laborious tape handling for the rest of my life!

Mike Mettler's picture
Thanks for the detailed comments, everyone. Tape can be a delicate and sometimes (er, often?) frustrating medium to handle and deal with, I agree. Should we cover companies not mentioned in the story? Post an expert tutorial here at some point? Review one (or more) of the big dogs? Or all of the above? I'm certainly open to it.

And, as someone who did indeed like the laserdisc format -- and still has two crates full of 'em down here in the listening lab, since shelf space is at a premium, at present -- I'm seriously marveling at PeterPani's analog-only LD idea. . .

PeterPani's picture

If you own a player and you know a trustful electronical engineer: ask him, to connect a line-out cable direct to the analog output pins of the demodulator chip of the player. In most players there is a lot of unnecessary electronics placed after the demodulator chip. Going out with the analog audio directly fom the chip into the preamp improves the sound by a margin (in cheaper players for sure).

And I just wanted to add that with Audio Only Analog Laserdisc it would be possible to get 5.1 surround sound in analog, too!

So, please spread the message :)

Glotz's picture

I have heard from tons of respectable audiophiles for over 35 years sing the praises of LD. I heard one and it was amazing.

Peter is always on point.

mrthunder's picture

One big problem is the availability of tapes at a reasonable cost. Actually, at any cost. $500 is the base line and then it goes up. The audiophile labels are only re-releasing the same old stuff for the 10th or more time to milk more bucks from same old stuff (Belafonte/Carnegie Hall, Pawnshop, etc...).
My limited experience with my Otari MX-5050 is that symphonic music on tape is dramatically better than anything vinyl, even played on $100,000 turntable/arm/cartridge/phone preamp systems. So great, right?
No - there's little to nothing available on tape.
The major record labels have an incredible inventory on Master Tapes with classical music. Most of these have zero commercial value if released on vinyl or CD or downloads. Only Karajan, Bernstein, and a few others have mass appeal.
Music copyright have expired so no cost there.
Pulling out tapes of "minor" conductors from storage and copying on a bank of R2R machines could yield 10-100 copies that can be sold at good profit. The production lots are very flexible unlike vinyl.
Perhaps they can even lower the price to make us audiophiles happy.

PeterPani's picture

Hemiolia, Revox/Horch give you plenty of possibilities for money spending by now.
I just bought from Revox the 6th Beehoven of Böhm.

Regarding Belafonte, I got that tape ($2000+, 3 reels). Audio Nautes did a killer copy. This tape is one of the best. I got the Living Stereo vinyl, too.
No comparison.

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