Anyone buys master tape dubs ?

some of us run all three and can discern the relative strengths and weaknesses. High speed tape is fantastic, so is a world class A2D and DAC, or a great LP system.... music lovers will chase more than one I think, out of necessity and of course rewarding the artist...

have fun, do upgrade those deck electronics and do level match between sources, some people just like the gain juice.....and don’t know why.....

If someone is interested in exchanging tape´s, let me know.

and if you go one step further to tube based outboard playback electronics, the sound is even more mind blowing. I have a pair of MTR-15s and an 812.Originally hot rodded the stock electronics with better parts, made a really nice improvement. Then was over at a friends house who has an MTR-10, and had just added outboard playback electronics.......WOW, I was blown away, so ended up going that route. For those interested, not many options now for tube based playback electronics. Decware offers one, that sounds really good. Other option is to use a really good tube based phono stage and convert the RIAA EQ curve to NAB or IEC. One of decks uses an EAR 834 phono stage with the EQ changed from RIAA to NAB. Makes a great sounding tube playback preamp unit.

@inna
When I source a new production master, I duplicate the master onto a) new tape and b) as a digital 192/24 .wav file.
As tomic601 mentioned, it is really important to make sure that you reproduce the music, as it was intended. I’m a firm believer that every tape should have line up tones at the head (or tail), so that you can i) check that your repro head azimuth is correct for that tape and ii) that you can match the level and frequency response of the original recorder machine.
I then do a zero level transfer onto new tape stock (I have several R2R machines) using Dolby SR noise reduction (Dolby 363 with SR/A cards), so that you don’t lose another 2-3 dB S/N with the transfer. The master is then rewound and I do a second zero level transfer (192/24 .wav) via my Prism Sound Lyra 2 A2D onto my Mac Pro hard drive. The original production master is then stored safely.
I can then play the Dolby SR tape copy or the digital file to my heart’s content, knowing that I won’t be degrading the original production master by repeatedly playing it.
Charlie

topoxforddoc,
I see. Dealing with tape, besides superior sound quality, is such an audiophile endeavor. You really get in touch with things.

With prices so high exchanging tapes seems to be the way to go. But also because of many dubs that you just can't get unless you are or were in the industry. Including concerts that were recorded but never released.