Themselves the superior sonic qualities offered by their masterings on Started releasing Reel to Reel / LP combos so one could hear for and minor labels such as Vanguard, MHS, Unicorn, etc. Barclay-Crocker signed many major labels London, DGG, Philips, etc. Of pre-recorded Reel to Reels, stepped up and begin Releasing 4 Trackħ½ IPS Reel to Reels duplicated at slow speed (4:1) Dolby B encoded. Offered them through Columbia House, including new releases. Then Columbia withdrew Reel to Reels from the stores and they only In 1974 Ampex quit making pre-recorded Reel to Reels, followed by Stereotape. Offered custom duplicated Reel to Reels only available direct from themĪlso recorded at Real Time (1:1) but on 1.0 mill Agfa mastering tape. To give you an idea how expensive this was, high speedĭuplicated 4 Track 7½ IPS Reel to Reels from Ampex and others were 2 Track 15 IPS recordings on 10-inch reelsįor $34.99. Offered 4 Track 7½ IPS recordings on Scotch 206 1.5 mill mastering tape In the early 1970's came the return of Real Time (1:1) pre-recorded tapes. Tape, Columbia Record Club also offered an excellent selection of Besides Reel to Reel'sīeing available on store shelves of such outfits as Muntz Stereo Recorded at 7½ IPS, most Pop/Rock at 3¾ IPS. Realistic as the real time duplicated ones. In the 1960's-1970's most pre-recorded Reel to Reels came from Ampex Stereo Tapes, Stereotape and ColumbiaĪnd were duplicated at high speeds, many were excellent just not as Track was Bel Canto who produced popular recordings of their own and released Mercury Living Presence Classical RTRs. Retain Reel Time recording on quality tape stock after the switch to 4
Implicated to save tape and lower the retail price. That is until 4 Track and high-speed duplication were The beginning all Stereo pre-recorded Reel to Reels were 2 Trackħ½ IPS and recorded in Real Time (1:1), they were quite expensive In 1954 Reel to Reel was the first format to offer 2-channel stereo.
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