Extract from the article published in The Absolute Sound magazine in July/August, thanks to Jonathan V. for his analysis ๐ :
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Where tape decks chiefly differ one from another is in overall neutrality, density of timbre, resolution of musical and performance detail, transient speed, dynamic range, duration (or PRaT), and susceptibility to noise (both physical and electrical). Like every deck I’ve reviewed, the TP-1000 has its own set of nuances. In balance, it is on the bottom-up side of neutral (which I prefer), which is to say it is slightly dark sounding; in bass and midrange timbre it is uniformly dense and rich in color; in the treble it is soft and sweet without sacrificing lifelike sparkle and detail or adding the slightest trace of edginess; in resolution (by which I mean its ability to separate holistic images within ensembles), it is superb; its transient speed and dynamic range are also very good; it handles durations realistically, without accenting attack, steady-state tone, or decay, making for steady, foot-tapping musical pace; and thanks, one supposes, to its sophisticated, strain-gauge-regulated tape path it is dead quiet and uncommonly fluid from start to finish (where certain other machines can be a bit noisy and hurky-jerky, slightly slowing down or accelerating tape speed with consequent deleterious effects on pitch).
[...]
The full article can be seen at: (https://www.analogaudiodesign.com/press)
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