Reel-to-reel audio tape recording, also called open-reel recording, is magnetic tape audio recording in which the recording tape is spooled between reels. To prepare for use, the supply reel (or feed reel) containing the tape is placed on a spindle or hub. The end of the tape is manually pulled from the reel, threaded through mechanical guides and over a tape head assembly, and attached by friction to the hub of the second, initially empty takeup reel. Reel-to-reel systems use tape that is 1⁄4, 1⁄2, 1, or 2 inches (6.35, 12.70, 25.40, or 50.80 mm) wide, which normally moves at 3+3⁄4, 7+1⁄2, 15 or 30 inches per second (9.525, 19.05, 38.10 or 76.20 cm/s). Reel-to-reel preceded the development of the compact cassette with its tape 0.15 inches (3.8 mm) wide moving at 1+7⁄8 inches per second (4.8 cm/s). By writing the same audio signal across more tape, reel-to-reel systems give much greater fidelity at the cost of much larger tapes. In spite of the relative inconvenience and generally more expensive media, reel-to-reel systems developed in the early 1940s remained popular in audiophile settings into the 1980s and have re-established a specialist niche in the 21st century. Studer, Stellavox, Tascam, and Denon produced reel-to-reel tape recorders into the 1990s, but as of 2017, only Mechlabor continues to manufacture analog reel-to-reel recorders. As of 2020, there were two companies manufacturing magnetic recording tape: ATR Services of York, Pennsylvania, and Recording the Masters in Avranches, France. Reel-to-reel tape was used in early tape drives for data storage on mainframe computers and in video tape recorders. Magnetic tape was also used to record data signals from analytical instruments, beginning with the hydrogen bomb testing of the early 1950s.
History
The reel-to-reel format was used in the first magnetic recording systems, wire recording and then in the earliest tape recorders, including the pioneering German-British Blattnerphone (1928) machines which used steel tape, and the German Magnetophon machines of the 1930s. Originally, this format had no name, since all forms of magnetic tape recorders used it. The name arose only with the need to distinguish it from the several kinds of tape cartridges or cassettes such as the Fidelipac endless loop cartridge developed for radio station commercials and spot announcements in 1954, the RCA tape cartridge, developed in 1958 for home use, and the Compact Cassette developed by Philips in 1963, originally for dictation. The earliest machines produced distortion during the recording process which German engineers significantly reduced during the Nazi Germany era by applying a DC bias signal to the tape. In 1939, one machine was found to make consistently better recordings than other ostensibly identical models, and when it was taken apart, a minor flaw was noticed. Instead of DC, it was introducing an AC bias signal to the tape, and this was quickly adapted to new models using a high-frequency AC bias that has remained a part of audio tape recording to this day. The quality was so greatly improved that recordings surpassed the quality of most radio transmitters, and such recordings were used by Adolf Hitler to make broadcasts that appeared to be live while he was safely away in another city. American audio engineer Jack Mullin was a member of the U.S. Army Signal Corps during World War II. His unit was assigned to investigate German radio and electronics activities, and in the course of his duties, a British Army counterpart mentioned the Magnetophons being used by the allied radio station in Bad Nauheim near Frankfurt. He acquired two Magnetophon recorders and 50 reels of I.G. Farben recording tape and shipped them home. Over the next two years, he worked to develop the machines for commercial use, hoping to interest the Hollywood film studios in using magnetic tape for movie soundtrack recording.
Mullin gave a demonstration of his recorders at MGM Studios in Hollywood in 1947, which led to a meeting with Bing Crosby, who immediately saw the potential of Mullin's recorders to pre-record his radio shows. Crosby invested $50,000 in a local electronics company, Ampex, to enable Mullin to develop a commercial production model of the tape recorder. Using Mullin's tape recorders and with Mullin as his chief engineer, Crosby became the first American performer to master commercial recordings on tape and the first to regularly pre-record his radio programs on the medium. Ampex and Mullin subsequently developed commercial stereo and multitrack audio recorders, based on the system originally invented by Ross Snyder of Ampex Corporation for their high-speed scientific instrument data recorders. Les Paul had been given one of the first Ampex Model 200A tape decks by Crosby in 1948, and ten years later ordered one of the first Ampex eight-track Sel Sync machines for multitracking. Ampex engineers, who included Ray Dolby on their staff at the time, went on to develop the first practical videotape recorders in the early 1950s to pre-record Crosby's TV shows.
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