First vinyl, then CDs and cassettes — will reel-to-reel tape recorders be the next format? Rhino is launching a new series in this medium.
Just when you think the last frontiers of retro collecting have been explored, the friendly archivists at Rhino Entertainment present an unexpected project that takes the whole thing to the next level. The label’s latest reissue initiative is a bold ‘outside-the-box’ concept — although, quite literally, it arrives in a box.
Over the past few decades, music fans have been enjoying anachronistic formats — from cassettes to 78 rpm records. And let’s not forget that, in a darker era, vinyl itself was considered outdated. So, which old audio format remains to be revived? Those who answer ‘Edison cylinders’ are, unfortunately, a little late to the party — but anyone who says ‘reel-to-reel tape recorders’ is spot on.
The Rhino R2R Series
Until now, Rhino’s High Fidelity division has limited its audiophile work to vinyl reissues. The new Reel-to-Reel series opens the door to something tantalisingly new, yet almost as old as the album format itself. “It’s a big experiment,” says Steve Woolard, Rhino’s long-standing A&R director. “We just want to see if it strikes a chord.”
Rhino has launched R2R with half-track 15 IPS ¼-inch stereo tapes of two undeniably seminal classic rock albums: Yes’s prog masterpiece *The Yes Album* and T. Rex’s glam rock bible *Electric Warrior* — both, coincidentally, from 1971. But why now?
“What pushed us over the edge was that we started getting enquiries from other companies wanting to licence from us and release on tape,” explains Woolard. “We thought: ‘Perhaps we can do this ourselves.’”
After reviewing several pressing plants, they decided to go with the French company RTM, which produced real-time, one-to-one copies from the original flat stereo masters, running them on five machines simultaneously. And yes, the real-time 15 IPS (inches per second) playback speed really does make a difference.
“We tried a company that pressed tapes at 60 IPS,” says Woolard, “and they just sounded a bit soft; the final product lacked body.”
The question of price
As any audiophile knows, hi-fi sound often comes with a hefty price tag. That’s why Rhino doesn’t believe the R2R will attract many newcomers. “I think we’re targeting an existing base of people who already have the equipment to play these things,” he says. “Even if we released a load of Led Zeppelin tapes, I don’t think anyone would go out and spend $16,000 on a new Revox machine.”
But for those tempted to dip their toes into the ‘open-reel’ pool, there are other options. “There are plenty of second-hand machines,” says Woolard, and quickly adds: “If you’re a newcomer — proceed with caution. Be prepared to take it to someone who knows how to bring it up to factory specifications.”
He learnt this lesson the hard way – he’s been an ‘open-reeler’ all his life. “I’ve spent more on refurbishing machines than on buying them,” laughs Woolard.
The first two releases and the future
Rhino needed two bedrock recordings to launch its R2R series — namely *Electric Warrior* and *The Yes Album*. Both albums capture the bands at the very height of their artistic identity.
“The T. Rex album is practically timeless,” says Woolard. “It features in many of Amoeba’s ‘What’s In My Bag’ videos. It really cemented Marco Bolano’s identity. What’s more, it’s our sales manager’s favourite – he has an old 3¾ IPS prerecorded copy, the sound of which he didn’t like at all, and he wanted a proper remaster.”
And *The Yes Album*? “It’s my favourite Yes album, and it’s never been released on open-reel tape — so I pushed for it to be added to the list.”
Rhino added the R2R ‘Electric Warrior’ to the High Fidelity vinyl edition in December. Furthermore, other tape releases are in the pipeline. “We’ve got a wish list of titles we’d like to release,” reveals Woolard. “I’d like to do James Taylor – something simpler, perhaps Joni Mitchell’s *Blue* or something similar. I’d prefer something more acoustic.”
How will the selection process work? “We’re just waiting for feedback,” says Woolard. “I don’t know if people would want what I want. Fleetwood Mac’s *Rumours* is probably a given. Joni Mitchell’s *Court and Spark*, titles like that. Black Sabbath, Deep Purple — the heavyweights.”
A niche within a niche
The label is keeping its expectations in check — limiting the print run to 500 copies per release — for a project that even the enthusiastic Woolard recognises as having niche appeal. “It’s a very small slice of a niche,” he clarifies. “We’re trying to break into an existing market, to see if people will respond to a classic rock tape at a semi-reasonable price. It won’t set the world alight, but I think it’ll be great fun.”
Woolard’s infectious enthusiasm for the format highlights what it can do for the right person. “I love open-reel tape,” he declares without hesitation. “It’s probably the most elegant format. When you watch it spinning and playing, seeing the spools move rhythmically — there’s something very appealing about that.”
What are the specific storage requirements for these large, heavy metal beasts? “Just keep them away from magnetic fields — don’t place them on or near speakers. I keep mine in a cupboard at home… a big cupboard,” laughs Woolard.
This article is based on material from Discogs Digs (“Are Reel-To-Reels the Next Big Thing?”, by Jim Allen). Translated and adapted by the iMuzika team.
