Reel to reel signal to noise ratios appear low??

Over-compressed tells you why Lp's and reel stuff always sounds better. I have a significant collection of pre-recordered reel tapes that were done for broadcast stations. The source of the recordings were lp's. Since these were done professionally, years ago, they still sound great. They were recorded and mastered without any compression, but they were often compressed when they were actually broadcasted. Most of the tapes are 7.5 ips, dual track quarter inch tape. I have compares some of the tracks of these tapes with their lp, cd and cassette versions and often the reel version sounds the best.

The TEAC X2000R and AKAI GX-747DBX, both of which have DBX Type 1 built in, and can be used, or not used depending on the desires of the owner of the machine. These 2 particular machines have a Dynamic Range of 128 with DBX Type 1 switch engaged. That is better than digital. And my recordings tend to sound so, I must say people are very impressed when I let them listen to my reel to reel recordings. Ray

A lot of it, too, had to do with what the state-of-the-art of electro/mechanical (internal) component quality was limited by in its production tolerances 40-50 years' ago as well.

I mean: a well-known example (in vintage rebuild circles) involves a small-signal gain, TO-92 transistor Hitachi made in the '70s and '80s called a "2SC458".  EVERY AKAI reel deck made between (approx. 1972-1980) is full of them AND: THEY ARE NOISEY AS EVER with their terminals oxidized (now) practically like soot.

Replacing them, for instance, with a modern equivalent called a "2SC1845" having far better frequency headroom extension specs (in addition to: a re-capping done with, say, all Nichicon Muse aluminum electrolytics and small blocking/filtering caps of ruby or metal polyester)....WILL, SERIOUSLY, PUT THE DECK (even just a plain-Jane-ho-hum consumer Akai!) INTO A WHOLE NEW LEAGUE the manufacturer never could've imagined(!).  After all, even though one's average decent three-head/three-motor 1970s Akai wasn't a Scully 280 or Ampex 102: it was STILL a $600 hunk of equipment at the time (during what would've been the midst of a decade-long recession).

I did such a "hot-rodd" to the back-up Akai GX-365D I'd once found at a flea market for $25.  It's a 59lb. machine from 1971 and, as I knew my way around with a soldering iron: I felt there was nothing to lose (I later found NOS Nortronics heads to retrofit onto it and, scrapped the glass ones which always had the worst crosstalk of any brand).  THAT really changed things.

Off of a sine wive generator: it was now able to record from 11Hz to 21Khz at 7 1/2.  With the 15 capstan adapter (since it's a rare 4 speed model): it recorded 11Hz to 25Khz.