Dear Reader,

In this issue, read about

• New Product Announcement!
• Beyond the Baffle: How Phase Bamboozles the Brain
  ​By Mark Block
• More about Wutti Lanrungroj from Bangkok
  ​Editor Profile
• The Absolute Reel Sound No 2 - The Definitive Taxonomy of Tape
  ​Reviewed by Orest Voznyi
• For Sale: Used: Chasing The Dragon - Copy Master Tapes

Foreword

This month, we are at a sad loss without Alan at the helm while he tends to his health issues, and more importantly, his speaker placement.

But we are not without loss for words, thanks to Mark Block's very engaging article about staging.

A little bit more about Wutti, a hifi dealer, music lover, album producer, food critic and businessman in Thailand.

And of course Orest with his gripping tales of Reel to Reel from the Ukraine while he uses the worlds best Ukrainian built drones to cover his Audio equipment from attack.

While long reads, both articles are excellent reads.
​​
Enjoy, and our best wishes to Alan that he get his 250 lb speaker placement correct soon. Ohh and other health issues also.

Cheers, Merrill Wettasinghe/Chief Music Officer 𝄞𝄞

NEW PRODUCT ANNOUNCEMENT

Don't be fooled! Get your pre-orders in on April 1st. ​​

Beyond the Baffle:
How Phase Bamboozles the Brain

By Mark Block 🍄

Some Boomers among us might have had a youthful indiscretion or two with certain hallucinogenic substances. (OK Boomer, admit it.) During those psychedelic experiences, we probably played some music, and let’s say that what we heard seemed somehow more palpable, intense and vivid. We became one with the music. The speakers disappeared. The confines of the room went hazy. Subject and object merged. The musicians seemed to be playing for us alone, and we felt like active participants in this altered musical world. Even if you don’t relate to that, haven’t all music lovers experienced something like it, perhaps at a particularly memorable concert? Muddy Waters with Johnny Winter at the Beacon Theater

(March, 1981) did it for me. “Mannish Boy” blew

the roof off the place and let the universe in. I had no sense of self, just a head full of Muddy.

But how often does that experience happen now that we’re older and not high, listening with fewer working brain cells, less active imaginations, more controlled passions? I think we can still get halfway there from here. For instance, I get some of that feeling back when I hear recordings that truly make the speakers disappear as sound sources, with instruments and hall acoustics coming from outside the limits of the stereo triangle—not only in depth, but in width and height. This “mega stereo” auditory illusion gets me more engaged and more connected to the performance. That kind of soundstage is sometimes called “immersive.” Some find that word overused, but it’s a good description in two different ways: 1) The music wraps around us, immersing us in sound; 2) We feel more emotionally immersed in the performance.

Sadly, that kind of soundstage hocus pocus is unusual. The mix needs the right phase information baked in, and the vast majority of recordings simply don’t have it. I thought it might be fun to compile a list of tracks that evoke this experience for me, and discuss how the recording engineers did their wizardry.

So everyone can hear what I’m talking about, I started a public Qobuz playlist. It’s a work in progress, as I’ll keep adding to it. (And I’m taking suggestions!) Check it out. https://open.qobuz.com/playlist/60738136​

Let’s start the discussion with some “OK boomer” classic rock examples: Jimi Hendrix’s “Still Raining, Still Dreaming” from Electric Ladyland; “Singing Winds, Crying Beasts” from Santana’s Abraxas; and “Whole Lotta Love” from Led Zeppelin II. These tracks feature sounds moving out to the side walls, then swirling around, through and behind our heads. If you’ve ever taken psychedelics, these tracks could absolutely trigger flashbacks. How did the artists and engineers accomplish it?

The short but oversimplified answer: “flanging” and “phasing.” These days, digital plugins do this with ease; in the late ‘60s and ‘70s, it was damn hard to pull off.Flanging is a technique in which two tape decks with the same recording are played in close but not absolute synchronization. A finger on the flange of a tape spool can then alter the speed repeatedly with micro variations. The combined output of both decks will have shifting time offsets, producing a variable “phasey” or whooshing sound. The mix can be recorded on a third tape deck, and by manipulating pan pots, faders, EQ, and reverb at the mixing desk, sounds can be made to swim around a listener's head. That assumes, of course, that the listener is in the stereo sweet spot, or close to it. More on that later.
[Editor: Click here to see and hear flanging ]

brad allen williams

tape phasing (flanging) @natesmithdrums on the mix of “laika” . how it works: 2 copies of the same drum submix start playing back @ the same time, roughly in sync . @johndavisnyc grabs the hub of the take-up reel, manually forcing it faster to create a small time delay . then he grabs the flange of the supply reel, varying the delay time by causing mechanical drag (and repeat) . this is a performance; way more interesting than an lfo-modulated flange effect . “laika” out 7/4, pre-save in bio

♬ original sound - brad allen williams

​

The spatial sorcery on Abraxas was heavily driven by Fred Catero, who was brought on as a co-producer because the band had been unhappy with the sound of their debut album. The engineer for Led Zeppelin and Jimi Hendrix was the famed Eddie Kramer.

I attended an Eddie Kramer lecture/demo at Electric Lady Studios in NYC sometime after he went back to the multitrack master tapes to isolate track splits of some Hendrix songs for the Xbox and PlayStation games Guitar Hero and Rock Band. I asked him how he crafted those amazing sounds on "Whole Lotta Love.” If memory serves, he said it was like a musical performance that required three sets of hands: he, Jimmy Page and a tape assistant had to carefully rehearse their manipulation of the tape decks and mixing tools. It took hours of practice and many takes to get it just right.

The roots of flanging go back to Les Paul in the late 1940s, before studio tape decks were in use. He cut acetate disks, then played them on two turntables in partial sync while adjusting the speed with a finger on one platter. And there’s a funny story (perhaps somewhat apocryphal) about how the word “flanging” came to mean any use of out-of-sync tape decks with speed variations. During the Revolver sessions in 1966, John Lennon complained about the tedious process of having to sing his lead vocal twice to double-track it. He asked Abbey Road’s technical engineer, Ken Townsend, to invent a machine that could do it automatically. Townsend connected two tape machines and used an oscillator to slightly fluctuate the speed of the second machine, creating Artificial Double Tracking(ADT). He did not literally put his finger on the flange.

When Lennon asked producer George Martin how the new machine worked, Martin decided to blow his mind with techno-babble, telling Lennon he used a "double-bifurcated sploshing flange." Lennon loved the nonsense phrase so much that whenever he wanted the effect, he would ask Martin to "flange me." You can hear ADT all over Revolver, most notably on "Tomorrow Never Knows," which also has a remarkably wide soundstage for the time.

But it was the band Small Faces who are credited with pioneering the effect that truly took rock music “beyond the baffle.” Engineered by George Chkiantz at Olympic Studios in London, the 1967 hit "Itchycoo Park" is widely considered the first pop single to use flanging to create a dramatic, jet-engine swoosh that flew way outside the stereo triangle. That’s the studio effect Hendrix, Page, Santana and other artists wanted to try, and they took it to the next level.

So there’s the how, but why do our brains get hacked into hearing sounds where they just shouldn’t be? It’s all about that phase, ‘bout that phase, ‘bout that phase.

When we listen to a stereo system, our brain localizes sound using Interaural Time Differences (ITD), Interaural Level Differences (ILD), and frequency-dependent cues. Normally, a sound panned hard left comes from the left speaker, reaches the left ear first, and then—milliseconds later—travels around our head and enters the right ear, creating acoustic crosstalk. The complex shapes of individual ear pinnae also play a role, changing the frequency response depending on the direction of the sound. The brain triangulates this and localizes the sound at the speaker. However, differences in timing and phase between the channels, especially when they are changing, can create a strong sense of spaciousness. Most stereo recordings produce that sense of spaciousness.

Extreme phase cancellation, however, will trick your brain’s localization mechanisms into perceiving the sound as originating from places your eyes will tell you it simply can’t be—way outside the left and right speaker cabinets. So do you believe your eyes or your lying ears? We’re audiophiles, so we go with our lying ears.

In theory, to make a sound image completely outside the speakers—say, 90 degrees to your left—you need the acoustic input at the right ear to be almost cancelled, slightly delayed, and spectrally altered, while the frequency response at the left ear would need to mimic the asymmetrical pinna filtering that occurs for a sound directly to the left. This isn’t possible with speakers in a room, but even partial cancellation can still produce interesting results. Careful manipulation of timing differences (and the resulting frequency-dependent phase shifts) will push images far outside the physical locations of the speakers. Then, by continuously varying these relationships through delay and panning, engineers can create the sensation of sounds swirling around the listener. It hacks the wet computer between your ears, systematically breaking the assumptions your brain uses to localize sound.

What does this have to do with high-end audio playback? More phase-accurate speakers might better reproduce the spaciousness baked into the recording. Point-source and line-source speakers will do somewhat better than speakers with large baffles. Sidewall reflections in the listening room can dilute the effect by introducing additional comb-filtered, delayed sounds that muck up the phase relationships in the mix. Speaker placement and toe-in matter, and, as I’ve said before, you really need your head in the sweet spot.

But even if your room isn’t perfect, and your speakers aren’t ideal point sources, and your stereo triangle was set up to favor aesthetics more than acoustics, you will still hear sounds beyond the baffles. However, the effect will be diminished. It’s a bit like watering down your pricey Left Bank Bordeaux. It will still taste nice, but the intensity of the Médoc magic will be lost.

Here’s a good test for setting up your speakers and listening chair. Play correlated (in phase) pink noise. You should hear a tight ball of static floating between the speakers. (If you don’t hear that, experiment with placement and toe-in before moving on.) Now play uncorrelated (decorrelated) pink noise. The static should be spread out from sidewall to sidewall. Move your head or chair in and out, then side to side. You’ll hear the effect become more and less dramatic. This is a down-and-dirty way to find your sweet spot. Pro tip: An 8’ equilateral triangle almost always works pretty well. We’ll leave room treatment out of the discussion for now.

The soundstage produced by uncorrelated pink noise won’t be as dramatically three-dimensional as “Whole Lotta Love,” of course, but you should clearly hear width beyond the stereo triangle. The signals reaching each ear are decorrelated and constantly changing, so the brain can’t anchor the sound to a physical point in space. This kind of fully decorrelated signal is rare in nature, and our brains evolved to pinpoint real-world sounds that matter to our survival—like where that lion's roar is coming from. When those localization cues break down, the brain throws up its proverbial hands, stops trying to assign a position, and instead interprets the sound as spread out across the room.

There’s a lot of advanced math to unpack here involving HRTF (head-related transfer function) and complex room reflections that alter the timing and frequency response of sounds hitting our pinnae. That would take many pages to explain thoroughly, and I don’t understand it anyway, so we’ll just move on, if that’s OK. Don’t hate me.

I should mention that while studio engineers were pushing phase boundaries on analog tape, hardware designers like David Hafler and Bob Carver realized they could build acoustic manipulation directly into the consumer's playback chain. They recognized that millions of standard stereo records already contained the acoustic keys needed to free the sound from the speakers; the electronics just needed to use those keys to unlock the doors.

Most effectively, in 1979 Carver introduced the C-4000 preamplifier with “Sonic Holography” built in. The Sonic Holography circuit took a tap of the left channel, inverted its phase, delayed it by approximately the time it takes sound to travel around the head, with frequency shaping to better match real acoustic crosstalk, and injected it into the right speaker. By partially cancelling the crosstalk using analog electronics, Carver's preamp dramatically expanded the soundstage. But was it what the artists and recording engineers intended? Well, it certainly was not what they monitored during the mix, and it didn’t work well with all recordings. It was a bit like colorizing black-and-white movie classics. Interesting, but not something many audiophiles wanted. It was a passing novelty.

Another hardware hero who created interesting devices to cancel crosstalk is Jim Fosgate, the legendary engineer behind Dolby Pro Logic II. He realized that phase anomalies often begin before the signal ever leaves the turntable. If a stylus has azimuth error, or if the cantilever, coils and magnet assembly are not optimized, mechanical crosstalk will cause the left and right channels to bleed into each other, diminishing the soundstage. Fosgate created the Fozgometer to make it easier to correct azimuth error, and then he took it further.

The Jolida Foz XT-R (currently manufactured and sold under the Black Ice Audio brand) uses phase cancellation applied to left-right leakage. By measuring channel bleed and injecting an identical, out-of-phase signal back into the audio path, the Foz XT-R dramatically improves channel separation, helping preserve the soundstage cut into an LP’s groove.

So now we’ve seen how manipulating phase, either in the mix or in playback, can create a spooky sense of instruments and ambience extending far beyond the speakers. In Part 2, we’ll look at how microphone techniques alone can produce a wide, three-dimensional image, and how digital processing over the last 25 years has made these effects more accessible than ever. In the meantime, happy listening to my playlist.

Note: Some of these tracks are more immersive than others. Some have impressively wide hall ambience, but don’t necessarily put instruments and voices outside the speakers. And finally, some systems will handle the complex phase cues better than others. Treat this as a fun experiment, not only for musical enjoyment, but for evaluating systems.

Wutti Lanrungroj Executive and founder of Brilliance Music & Studio, Thailand. A few more details.

1. What is your all time favourite music album and why. When did you first hear it and do you still have the original copy.
   Harry Belafonte Live at Carnegie Hall on RCA Living Stereo LSO-6006, the best live recording I have heard. (I first heard it) Mid 1980, I do have the original and lot of reissue. The best reissue was by Classic Records.
   ​
2. What year did you start your shop and do you have any pictures of when it started.
   Audio Excellence was started in 1992. I have to find the pictures. We are in the same location till today but with renovation last year.
   ​[Editor: I got to see his renovations. Brilliantly done for the existing building. He creatively set up storage on the 2nd floor, above the main listening room. The building has listening rooms, Locked record and tape vault, repair rooms, offices, and of course his office. If in Bangkok you have to stop by.]
3. Why did you want to start your audio shop. Who influenced you to start this. Did anyone from the industry help you to start this. What were the first products you carried.
   I was living in Los Angeles and love audio, a couple friends gave me the idea to open up a shop in Bangkok.
   Yes, Harry Weisfeld of VPI, Luke Manley of VTL and Michael Corado.
   ​[Editor: note Harry is a big fan of Harry Belafonte live at Carnegie Hall also]
4. If you had to pick your favourite audio person who would that be. Where did you meet them, and do you still keep in contact with them. Dean Romanis VP of Krell, he is a great person with good heart. He has passed away around 2010

HIEND AUDIO WORLD, is a global social network for audiophiles.
​hiendaudio-world.com/signup/​

The Absolute Reel Sound No 2​
The Definitive Taxonomy of Tape
​Reviewed by Orest Voznyi

Prelude: The Mastering Titan—The Absolute Zenith
​In the hierarchy of high-fidelity audio, there is no higher peak than the Master Studio Tape Recorder. These are the “Big Iron” sovereigns—machines like the Studer A820 and Ampex ATR-102—that were never intended for a home, or even a standard broadcast booth. They were engineered for the “Sacred Final Pass”: the moment a multi-track recording is collapsed into its definitive two-track master.

• Why they are Number One in the World: A master studio recorder is not merely a player; it is a stabilized scientific platform. While consumer and even standard professional decks make compromises for space or cost, the Mastering Titan makes none. Every component—from the massive, precision-ground capstans to the high-voltage discrete Class-A electronics—is designed for infinite headroom and zero mechanical interference. They possess a rotational stability so precise that “wow and flutter” move from the realm of measurement into the realm of the theoretical.
• The Audiophile’s Holy Grail: For the serious collector, these machines represent the only way to hear a recording exactly as the engineer heard it at the moment of creation. They offer a “holographic” soundstage and a low-frequency authority that no digital-to-analog converter or turntable can replicate. In the music industry, they remain the gold standard for archival and high-end vinyl lacquer cutting. To own a Mastering Titan is to own the “Source of Truth”—the ultimate foundation upon which the world’s greatest musical legacies were built.

Defining the Taxonomy
To explore the world of reel-to-reel with precision, we must first establish a clear taxonomy. The landscape of magnetic recording is vast; attempting to catalog every machine ever produced is a fool’s errand. Instead, we shall focus on a curated selection of models that offer a true “sonic pedigree.”

Broadly, we must distinguish between two primary domains: Professional and Consumer hardware. However, even these categories require further dissection to be useful to the audiophile. Within the Professional realm, we find two distinct tiers:

1. Studio Mastering Decks: The undisputed titans of the format, designed for the final, critical stage of recording where transparency and headroom are absolute. These machines are built to handle high-output tape formulas at 30 IPS (76 cm/s) with surgical precision.
2. Production & Broadcast Workhorses: Machines built for durability and consistent performance in daily studio or radio environments. While often excellent, they are frequently optimized for mid-tier performance and ruggedness, leaving them with a sonic signature distinct from mastering-grade equipment.

Today, we will discuss the first tier: Studio Mastering Decks. In the realm of high-fidelity audio, few things command as much respect as these “big iron” gatekeepers of sound.

The Professional Titans (“The Big Iron”)

1. Studer A-820: The Masterpiece of Swiss Precision
​ Often cited as the pinnacle of analog technology, the A-820 was Willi Studer’s final statement in tape recording. It is a massive, microprocessor-controlled beast designed to handle tape with unprecedented gentleness.

• Technical Detail: It features a sophisticated five-motor transport (three DC spooling motors and two for the pinch roller unit) and accommodates massive 14-inch reels. Its software-driven alignment allows it to store multiple calibration profiles (e.g., Tape A/Tape B) in non-volatile memory.
• The Sound: Known for its exceptional transparency and near-silent noise floor, it does not color the sound but preserves the source with outstanding stereo imaging and powerful low-frequency performance. It is widely considered a benchmark in analog studio recording.
• The Catch: It is incredibly complex. The internal software and proprietary bus system require a specialist technician to maintain the sophisticated digital control and alignment parameters.

2. Studer A-816: The Specialized Masterpiece for the German Market
​Produced between 1989 and 1996, the A-816 was developed primarily as a high-precision tool for the German broadcasting market (ARD). It is the refined successor to the Studer A-81.

• Technical Detail: Built on a rigid, light-alloy chassis, it follows German broadcast tradition with the head block turned toward the reels. It was almost universally equipped with Butterfly heads (wider track width) for superior signal-to-noise ratios and reduced “fringe” effects.
• The Sound: This is often the quietest character in the Studer line. Its electronics represent the final, most refined stage of Studer’s analog development—offering a neutral, ultra-wide soundstage.
• The Catch: Exceptionally rare. Its use of early ’90s Surface Mount Device (SMD) technology makes board-level repairs a task for only the most elite technicians.

3. Studer A-812: The High-End Workhorse
​ If the A-820 is the flagship limousine, the A-812 is the elite sports sedan. It inherits much of the A-820’s sophisticated DNA—sharing the same high-performance heads and core audio electronics—but delivers that performance in a more versatile, studio-friendly footprint.

• Technical Detail: Produced from 1985 to 1996, it was the most widespread studio master recorder of the 800 series. It accommodates 12.5-inch reels and features a “Library Wind” mode to ensure perfectly even tape packing.
• The Sound: Very similar to Studer A-820. Prized by audiophiles for its elegant look, with wooden side panels that make it especially well-suited for home listening rooms.
• The Catch: Its microprocessors and early digital displays are now decades old and can be finicky to repair without specialized parts.

4. Studer A-80: The Industry Legend
​The machine that defined the sound of the 1970s. From Pink Floyd to ABBA, the A-80 was the “Rolls Royce” of the studio world for nearly two decades.

• Technical Detail: A masterpiece of discrete circuitry and overbuilt mechanical engineering. It utilizes a servo-controlled AC capstan motor and is built on a heavy die-cast aluminum chassis.
• The Sound: It possesses a distinct “weight” and harmonic density. It imparts the classic “analog soul”—a slightly warmer, little more saturated character that later digitally controlled machines can sometimes lack.
• The Catch: Relies purely on mechanical and analog alignment. Owners must be comfortable using an oscilloscope and a screwdriver for periodic calibration.

5. Ampex ATR-102: The American “Analog Glue” Legend
​The ATR-102 is the definitive American mastering deck. Introduced in 1976, it revolutionized tape handling with its unique open-loop transport design.

• Technical Detail: It features a unique pinch-rollerless transport. By using a large, high-friction capstan and a sophisticated servo system, it achieves nearly non-existent speed drift and ultra-low wow and flutter.
• The Sound: Provides legendary “glue” to a mix—subtle harmonic saturation and a “punchy” low end. It is widely considered by many engineers to be the most “musical” tape recorder ever built.
• The Catch: The transport is “intelligent” but aggressive. If not perfectly calibrated to the specific tape thickness, it can be extremely hard on the edges of your master tapes.

6. Otari MTR-15: The Japanese Precision Giant
​The MTR-15 was Otari’s high-end mastering response to the Studer 800 series. It is a masterpiece of Japanese industrial logic and efficiency.

• Technical Detail: Features a sophisticated Auto-Alignment system. With the press of a button, the machine automatically calibrates bias, level, and EQ to the specific tape formula in seconds.
• The Sound: Known for a “modern,” crisp, and high-resolution sound. It has a characteristic “head bump” (low-frequency resonance) that adds a satisfying foundation to the music.
• The Catch: It is a purely industrial machine. It lacks the “luxury” aesthetic of the Swiss decks, feeling more like a piece of high-end laboratory equipment.

7. Sony APR-5003: The Electronic Overachiever
​Following Sony’s acquisition of MCI in 1982, they produced the APR-5000 series, which many engineers believe features the best stock playback electronics ever made.

• Technical Detail: It features a Z-80 microprocessor for transport control and built-in center-track timecode capabilities. It uses a unique “balanced” tape path system to reduce friction.
• The Sound: Exceptionally clean, airy, and detailed. It has a “hi-fi” character that emphasizes fine detail and transient response, making it a favorite for classical recordings.
• The Catch: Sony “orphaned” this machine early. Parts are proprietary and very difficult to source, making it a high-risk/high-reward choice.

8. Nagra T-Audio: The Beautiful Outlier
​When discussing the giants of magnetic recording, we must address the Swiss firm Nagra. Machines like their flagship T-Audio are undeniably striking—masterpieces of unique construction and exquisite industrial design. For many audiophiles, a Nagra is the ultimate “object of desire.”
​
However, with great respect to the Nagra company, from the perspective of a fundamental listening system, my advice is to approach them with extreme caution—or avoid them entirely.

• Field Heritage vs. Studio Reality: While the Nagra legacy was forged in the demanding world of field reporting and film synchronization, the T-Audio was their ambitious leap into the studio. However, unlike the “Big Iron” Studer or Ampex machines—which were designed from the ground up as stationary, heavy-duty mastering foundations—the Nagra retains a more compact, transportable architecture that presents its own unique set of maintenance challenges.
• The Repair Paradox: These machines are notoriously difficult to service. Their internal architecture is exceptionally dense and complex, requiring specialized tools and horological-grade knowledge that are vanishingly rare today.
• The Parts Crisis: Genuine spare parts for legacy Nagra machines are increasingly difficult to source. Acquiring one today often means inheriting a “mechanical ticking clock” that, once broken, may stay broken forever.

The Absolute Reel Sound Buyer’s Guide

Buying a professional tape deck isn’t like buying a modern DAC or CD player; it’s more like buying a vintage sports car. The mechanical health is just as important as the electronics. Before you commit to a “Titan,” perform these four simple checks:

1. Check the “Tires” (The Heads): The heads are the heart of the machine and the most expensive parts to replace. Run your fingernail gently across the front of the tape head. If you feel a “step” or a deep groove, the heads are near the end of their life. Use a magnifying glass to look at the center; if the tiny vertical line (the gap) looks uneven, the head is “tired.”

2. Watch the Movement (The Transport): Listen to a recording of a single, steady note (like a piano). If the pitch “wavers,” the motors or rubber rollers are failing. Run the tape in “Fast Forward” and hit “Stop.” It should come to a quick, smooth halt. If the tape sags or snaps, the braking system needs repair.

3. Listen for “Ghosts” (The Electronics): Turn up your speakers with the machine on but the tape stopped. If you hear “frying eggs” or random pops, internal electrical components are failing. Look inside for small, cracked plastic components (capacitors); in vintage audio, these are nicknamed “smoke bombs.”

4. Know Your “Mechanic” (Service & Parts): Before buying a Sony or a Nagra, ask: “Who is going to fix this?” Professional machines require specialized tools and “master tapes” for calibration. If you don’t have a local specialist, stick to more common models like the Studer A-80 or A-812, where parts are easier to find.

Note: If you are seeking the absolute pinnacle of sound quality combined with the peak of late-era analog engineering, focus your attention on the Studer A-820, Studer A-812, Ampex ATR-102, or the Otari MTR-15. These machines represent the high-water mark of human achievement in the magnetic domain.
​
​To be continued…

Used Chasing the Dragon Copy Master Tapes for Sale by Editor.

Michael Valentine is the famed recording engineer and owner of Chasing the Dragon Label. He is known for its superb recordings and production.
Website: chasingthedragon.co.uk​
​
​Chasing The Dragon - Espana​
Reel To Reel Tape
15ips, 1/4".
Very lightly played.
$350 Shipped to Continental USA.

Chasing The Dragon - Pure Reference​
Reel To Reel Tape
15ips, 1/4".
Very lightly played.
$350 Shipped to Continental USA.

Send us your comments, pictures of your systems and bitcoin. ​
​NewsletterEditor@MerrillAudio.net​
With your permission I will print your comments in a future edition and save the bitcoin to buy Alan a new pair of speakers.