When we started designing our release schedule, we had only two
requirements in mind:
that the master exist on analog, and,
that the music be great. That it be music that moves us.
That it be music that can stand the test of time, and continue to bring
satisfaction for years.
Of course that narrows it down to only a couple hundred
thousand possible titles. And in practical terms, it isn’t always up
to us whether we can get access to the titles we’d like. The holders
of the rights may or may not make them available. (All our music is
With those considerations in mind, here’s what to expect as we
announce the future releases. You can already see that we have broad
tastes ourselves. Just in the initial series you see Classical, Jazz,
Blues and Roots music. You will see more of those. For Series Two we've
added a rock classic, a solo classical piano title and a multi-platinum
title from one of the major pop stars. Considering how much all of us in the company love Blues, Roots
and Americana you can count on seeing more of those.
We are not limiting ourselves to audiophile spectaculars. If the music
is compelling, we’ll consider it. We are even offering a couple mono
are interested in hearing what you’d like us to pursue. You must be
patient about this—sometimes securing a title can be a very lengthy
exercise. But we’d like to hear from you regardless. Subscribers can
post their wish lists on the Tape Project
Tape Project Subscribers
"I just received my
copy of TP-018.
Wow. Another home run, in my opinion. I love this music and
musicianship--and the sound is just jaw-dropping! I just can't believe
something that was laid down in August, 1953, can have the sonic purity
and dynamics this tape has. Such a pleasure!
Thank you Tape Project!
Subscriber Kip Peterson, aka Kipdent
"ok; i've just played the
45rpm 2-disc Lp set (i don't think there is a DTD of this recording);
and then reel A, and i've just started reel B.
in my life of listening to recorded music, TP-017 is easily the most
real recording i've yet heard. there is simply no evidance of what i am
hearing being a recording. no, it's not real life in terms of degrees of
things. but the sense of any sort of microphone, tape recorder or
'stuff' is missing. the background is dead dead quiet.....i mean quiet.
the voice, the guitars, the harmonica, everything just exists in space
like they would if those things were in the room. there is simply no
character to identify the music as a product of something. in that way
it sounds real. if i was forced to explain in what way it does not sound
completely real i'd say there is a very very slight veil compared to if
Little Hatch (was still alive) and playing in my room....and maybe the
energy of the music is slightly less than fully real, but not much less.
i've not lived through the recording process and lived with work parts
of studio recordings so maybe this is standard stuff. but evidently when
it's live to 2-track of a completely acoustic, very simple recording
with (i would guess) no EQ or limiting with the best gear, modern tape
formulations and it's absolutely nailed then this is what you can
really spooky shit. what do you do for an encore? i suppose this might
be the tape to try a 1/2". i cannot imagine what that might sound
like. the Lp is very good, but fogetaboutit......it cannot touch this
Oh, and the music is wonderful. just don't drool all over the tape or
Little Hatch is in fine form and there is simply great tunes, tuneful
playing, and an emotional content which jumps out at you."
Charter Subscriber Mike
Lavigne, aka mikel
"I've got Reel B on right
now - like Larry, I had never heard of Little Hatch before - but this is
one helluva tape, both musically - great blues - and sonically. I don't
know if this was considered by the gang as being a risky release, but
sometimes risk taking brings great rewards, (a $500 tape of a relatively
unknown artist? sounds risky to me)and I think this is one of those
times. The music takes you back to Mississippi circa 1940, but in great
Charter Subscriber Thomas
Ream, aka TomR
"i was a fan of 'The
Band' back in the day and still am, but i was never that familiar with
this album or had listened to it that much. i had a couple of pressings,
a recent Capitol reissue and a very clean original pressing with 'RL'
(Robert Ludwig) in the deadwax. listening to both recently, the Original
is not surprisingly much better.....more clarity, better smoother top
end, and more body and decay. before i listened to the tape today i
again listened to the original pressing.
On the surface this album is an enjoyable listen, if a bit dark and
brooding compared to most Rock.....or even the Band's earlier Lps. But
after listening to it a few times recently i have come to really enjoy
it and get into it. it is quite well recorded and muscianship is top
notch. each cut has it's own vibe. it's not cookie-cutter rock'n
roll.....more cerebral in a way....but more rewarding after savoring
the original pressing (on the Rockport with Lyra Olympos) is good; but
in this case the tape is many levels better. in fact; it's really a
whole different experience on tape. the Tape has maybe double the
soundstage size, as well as dramatically more clearly rendering each
instrument. dynamics and clarity are similarly better. i recall hearing
a cut of this at RMAF and for whatever reason i did not have nearly this
good an impression then.
this will be a demo tape for me for sure and will be played often. great
Charter Subscriber Mike Lavigne, aka mikel
"this is a tasty
jazz session however you look at it. i'm no Jazz historian, but it seems
that this is Coltrane at his most accessable, and Kenny Burrell is a
perfect compliment to him. simply beautiful flowing melody with great
energy and yet relaxing and smooth. Burrell's guitar is pitch perfect
with a a big beautiful tone throughout.
"Why Was I Born", a brief duet at the start on reel 2, is just
magnificent. maybe perfect music. ahhhhhhhhh.....like a perfect sip of
scotch......only it's over too soon....you want it to go on and on.
this is one of those recordings that just flows and is over before you
i have the redbook XRCD and the AP 45 rpm reissue 2 disc pressing;
both of which i enjoy and have listened to quite a bit. this recording
has such a big fat sound that it would likely sound pretty damn good on
an i-pod. the XRCD is very nice, the 45 rpm is very, very good. i
listened to that first tonight and thought, maybe it will be as good as
the tape. the tape is quite a bit better. more vivid, much more
microdynamic, it makes the Lp sound slightly veiled. listen to the Paul
Chambers solo on 'Freight Trane'......compared to the tape Chambers bass
sounds muffled on the 45. it's missing the growl that jumps off the
great music, great recording, wonderful job on the tape guys, thanks."
Charter Subscriber Mike Lavigne, aka mikel
"Got my copy
yesterday. I've listened to it as well as the original vinyl releases of
both albums. The Church Windows was originally released as a 45RPM vinyl
taking up the whole record, while the Copland is 33RPM and one side of
the record (the other side is a song cycle by Copland). Here are my
first impressions. For both the sonics are typically great - like the
two earlier RR releases (Arnold Overtures and Exotic Dances). The Church
Windows has the most explosive and spectacular dynamics of all the TP
releases so far. The Tam Tam at the end of the second movement is
startling in its impact and the vibrations last a long, long time.
The fourth movement, particularly the bass drum whacks at the end also
shake the room - with both dynamics and deep, deep bass. Having big full
range speakers with a sub helps a lot. Steve W with his pair of Gotham
subs will shake the neighborhood. The Copland is a real contrast - a
small chamber group, where the music never gets very loud. There is
great clarity of sound and hearing the whole piece as originally written
gives a sense of the composition beyond the familiar "Simple
Gifts" theme at the end. In both cases, compared to the
vinyl, the vinyl sounds more veiled and in the Respighi, less dynamic.
I am using very similar electronics for both tape and vinyl - the
Bottlehead Prepro for the tape and the brand new (mine was the first)
Bottlehead Phono Pre (with adjustable EQ - though the RR is RIAA). BTW,
I was able to check the polarity of both tape and vinyl through my
Pacific Microsonics Model Two and Merging Technologies Pyramix software
and they are both positive.
Happy listening - this is definitely not background music."
Subscriber Larry Toy, aka astrotoy
Corners is indeed brilliant!! Mine arrived about 1 hour ago, and
it's spinning as I write this. Dead true to the LP, with so much more
body and weight, especially in the drums. Another home run guys! Right
away, I can tell this one is going to spend a lot of time mounted on the
Charter Subscriber Joe
Galbraith, aka JoeG
"As JoeG said on
the 'ready to launch' thread; 'Brilliant Corners' is Brilliant.....and i
agree with the rest of his comments too.
I'll add that in comparing TP-013 to the AP-45rpm Lp reissue (which i've
always enjoyed) the tape is more vivid and immediate. I love the celeste
that Monk plays on 'Pannonica' on the Lp; but the tape just adds that
extra energy and vivid liveness. This is one of those moments where the
line blurs between recording and reality.
I love that cut.
The horns and piano have more texture and more subtle action on the tape
and those drums really rock as Joe mentions.
This recording does demand your attention; it's all over the place and
there is just so much going on in so many interesting ways (i'm not so
good at articulating my meaning here, sorry) that with every listen it
seems you are going down a new path of understanding. Yet; it is easy to
listen casually too.....but why would you want to?
This tape further blows away my previous reservations about mono
recordings. This sounds real. Check out Desmond's bass toward the end of
'Bemsha Swing'....really really good on the Lp, magnificent on the tape.
I've listened to this two times all the way thru tonight already.....now
it's 'turn down the lights' time......a wee bit of single malt Lagavulin.....and
away we go again.
As Joe says, another home run!"
Charter Subscriber Mike Lavigne, aka mikel
"I like the LP
(played on the Rockport/Lyra Olympos/Allnic H3000). I am gaga over the
tape. This is compelling music. Maybe 'funk' is not everyone's cup of
tea....it's not my favorite genre. But this particular music and
recording with 'The Tape Project's' magic added is unresistable. I've
played the tape all the way thru twice. I want to play it again. the
music propells you along and you just hang on.
This tape is alive! it literally bursts with energy. The bass lines are
big, bold, and bloomy with seemingly unlimited dynamic range. Reminds me
of some of Bob Marley's best reggae bass tracks. If you have a full
range system (or headphones) you will thank the lord.
The LP is very good, and until you hear the tape it's hard to imagine it
getting much better. But the tape takes things to another level in most
every way. The bass is much more dynamically alive, quicker, more
textured, and decays more fully. The vocals on the LP seem a slight bit
veiled compared to the tape. It's much easier to hear each background
singer individually on the tape, each voice is more distinctive. The Lp
has a good sense of space. With the tape they are in my room playing and
the tape energizes every molecule of air in the room.
This is an example where you have a perfectly good LP of really fun
music; then the tape comes along and shows you what is possible in
I played 'Respect Yourself' and 'I'll Take You There' on the LP. Very
nice; i've heard them a thousand times. Then the tape. Like normal TV
(not HD) to Blue Ray. No easy way to explain it; ya gotta see it for
yourself to appreciate the difference. (i played the start of 'I'll Take
You There' 5 times it was sooo tasty!!!).
And play this loud.....the louder the better. This recording holds
together at warp 9.
Congrats to the crew for this choice, and for such a wonderful job on
this tape! You have set the bar very, very high for the rest of Series
Charter Subscriber Mike Lavigne, aka mikel
"This is great music and
one of the true classics of Jazz.....i had not listened to Saxophone
Collossus in quite awhile until tonight, and for the life of me i don't
know why. This should and will be in my frequent rotation.
the interplay of the group is simply wonderful, the pace is perfect, and
each cut delights. it's not so mellow, but never over the top
either.....very listenable, tuneful and easy for a non jazz freak to get
Mono? who cares? this recording is alive and once the music starts you
really don't even think about the fact it's not a stereo recording.
(maybe the fact that it's mono has caused me to overlook this for so
long.....if so my bad).
i love each cut; but my favorites are 'You don't know what loves is' and
'Blue 7'.....'Blue 7' might be as perfect a cut as i know of.....and
it's 11 minutes 15 seconds long......WOW! a real musical journey.
with music this fine, it seems crass to speak about recording
quality......but i know that is one part of our enjoyment. Sonny's tenor
sax is wonderful on the tape; very immediate, very dynamic, smooth as
butta one moment, ruff and gruff the next. the tape captures every
nuance and shade without stress or strain. it's all there. the tape also
captures the cymbles perfectly; which are prominent throughout the
recording.....as perfect as i've ever heard them recorded. overall; the
tape has great flow, is very dynamic and detailed.
TP-010 is a great sounding recording of wonderful music and i highly
recommend it.....great job and congrats to Doc, Paul and Romo (and crew)
for another winner! I feel very lucky to be able to own and play a fully
licensed 1/4" 15ips 1.5 generation master dub of Saxophone
I will be playing it often."
Charter Subscriber Mike Lavigne, aka mikel
"Oh Boy, that sounded
nice! You just can't keep you feet from tapping all the way through
that album. And even though the famous Van Gelder "hole in the
middle" is in evidence on the vocal cuts Mose's voice fill
that void very nicely. Real intimate stuff for the most part and his
voice sounds is spot on in the realism department. It kinda reminds me
of one of those pictures that you have to look at just the right way
to see the baby or the dinosaur but once you see it, you can't not
see it. It's that same way with Mose Allison. Once you hear his vocal
style, you hear his influence everywhere!
And when this trio swings, it cooks! Farmer and Free just drives this
stuff. It must've been such a pleasure to watch Allison play since
"fluid" comes to mind every time I hear him. I know he was a
big Bud Powell fan and you can hear that on this album but Mose really
took that thing to another level and made it his own.
I know I should be saying more about the fidelity of this tape but
sometimes the music just doesn't allow that. At least not on the first
BTW Anyone know where this one was recorded. It sure doesn't
sound like an apartment in Jersey."
Charter Subscriber Steve
Koto, aka ironbut
"TP008 is an unqualified
i'm guessing no one is surprised about that. a first class 15ips master
dub of arguably the most popular live Jazz trio album of all time should
be outstanding; and it is...
what struck me first was the level of realism from a 47 year old
recording. from the very start i was there seated in a stage center
table; with Evans piano just to my right up on the stage and LaFaro's
bass to my left.....and Motian a bit back and left of center. every tiny
nuance was there and the subtlety of everything was spooky. like Ironbut;
i had the feeling that this was the complete picture of how it was. i
have many Bill Evans recordings. i've never heard the nuance and
subtlety of his playing like this. the fingering of the keys was
magical. really; the same with LaFaro. it was so intimate feeling i was
out of my listening comfort zone and i was trying to get my bearings. it
seemed to cross over into really real territory. made the hair stand up
and all that. looked over my shoulder a few times.
there was nothing between me and them. no mics or recording chain was
the brush work from Motian had this delicate 3-dimentionality to it and
such micro-dynamic life. the whole recording has such an alive level of
dynamic realism.....unveiled and natural.
everything had such a natural place in space front to back, side to
side, and top to bottom. nothing cookie cutter, just real life in real
space. i'm assuming that as close to the original event as this is
everything is in perfect phase. just music.
and oh, what music. perfect sound meets inspired playing; with
historically great synergy and talent. three guys at their individual
i had intended to write mostly about how this compared to the AP 45rpm
LP reissue.....which was my reference for 'Waltz for Debbie'. i have
been eagerly anticipating doing the comparison to see how a 45rpm LP
played on a top level tt compared to 'The Tape Project' 15ips 1/4"
version played on a top level RTR deck. but after doing the comparison,
it's easy to hear how the tape is better in every way and the 45rpm Lp
(as good as it is) is not really close to this level of realism."
Charter Subscriber Mike
Lavigne, aka mikel
"I got home from work
pretty worn out from the day. My mood quickly changed when I spied the
UPS box waiting patiently for me beside the door. I have to confess that
I didn't own this Reference Recording until now, but it was a favorite
demo CD at a local audio salon (Music Lovers). For those not familiar
with Exotic Dances from the Opera, it includes seven pieces from seven
different composers. Now I'm not the type that goes for the audiophile
extravaganzas and perhaps my prolonged absence from the local audio
shops has helped but each one of these selections just knocked my socks
off. Starting with the Rimsky-Korsakov, then one after the other stepped
up to the plate to hit the ball deeper into the stands until ending with
the Saint-Saens. I recall reading Doc's posting from CES (on the
Bottlehead forum since this one didn't exist yet) where he premiered the
tapes and he said that they were given a standing ovation. Well, I felt
like doing the same thing by them time this tape ended.
So what's so great about this tape,.. drum hits like I've never heard
outside of a concert hall. So realistic and full. You just have to hear
it to know. The woodwind solos are so concrete that you could easily
describe the players technique. No congestion on the gigantic swells (oh
god, did I say that the dynamic swing is amazing) at all. This thing
puts you there so solidly that when the music ended, my first thought
was "Why isn't anyone clapping?". But it isn't all swagger
either. There's a section where a cello comes to the fore and there's
all that resin, as we'd expect, but there's such a woody tone from the
box and a space that it occupies like I usually only hear from a
baritone singer on a great recording. Just fantastic!
As I've said in a previous post, I've found the selections to be more
than I could have asked for, but all for different reasons. TP 005 and
006 are classic performances that original LP's would set you back as
much or more than the pristine tapes that are offered. But 007 (lord,
I've gone this far without any Ian Fleming references and I'm not going
to start now,..MoneyPenny) really gets the "showoff" in me
excited. If ever there was a release that shows the impressive side of
what our tapes and systems can do, this is it!
When you get this tape,.. your neighbors are going to know it!"
Steve Koto, aka ironbut
"Got it about 2PM. I've
already played about half of the Bruch Scottish Fantasy. Wonderful.
Oistrakh can really play the fiddle. Another winner for TP. :-) I am
comparing it to my vinyl copy, an original London (not Decca) (matrix
1E) pressing. The tape has an openness and depth and breadth of image
that is lacking in the vinyl - though the latter is really very good...The
Hindemith is even better than the Bruch. Very nice."
Charter Subscriber Larry
Toy, aka Astrotoy
"The thing I really love
about this release is how natural sounding it is. I get so used to the
overloaded, audiophile hyped sound that sometimes when I go to
performances of the SF Symphony, I start out a little underwhelmed. But
as the music and performance unfolds, and I resign myself to following
the conductors hands and the composers intentions, the score reveals
itself like a well lit road with an unknown destination. TP-006 allows
this to happen. I've waited so long and searched so hard for a recording
that I could say this about with no reservation. From the resiny edge of
Oistrakl's bow, to the tremendous crashes of multiple percussive
instruments, it falls on my ears as it should. No distractions,.. just
you and the music.
Nice job guys!"
Steve Koto, aka ironbut
Comparing TP-005 to
"I was in Paul and
Michael's studio on Wed and Michael handed me TP-005. The Suite Española
has been one of my favorite demo records. I have an early London
(grooved label, 1G lacquer) and a Speaker's Corner reissue (which to
me is inferior to the early London). The dynamic range, with many
quick crescendos, lots of percussion - clicking castanets and
attractive tunes, make this record a lot of fun. Before TP-005, I
thought that the London was a great disc. But, after comparing the
first cut - TP-005 is the clear winner. Two points - the depth and
subtlety of the lower levels of the orchestra is amazing - you can
hear into the orchestra so much more deeply - the bouncing bows of
violins within the first minute of the piece is a good example.
Second, the ease of the dynamic transitions, as in the other tapes -
no strain. Another winner. I've got to go back and listen again.
Having heard a couple of excerpts from the "Exotic Dances"
album in demos - can't wait for the next one."
Larry Toy, aka Astrotoy
really enjoying the tapes tonight ;) Just got in the new cj GAT preamp
(fully broken in) - what a combo and the tapes sound out of this
world! Am also listening to a Siemens CCa gold pin in the Repro
tonight. Sounds darn good.
wanted to say that one tape that doesn't get a lot of mention that I
think really sounds spectacular is the Robert Cray. It sounds so real-esp.
if you've heard this type of music live!!!
Myles B. Astor, PhD
TP-003 - Oh my!
"Well, I finally
got my homebrew preamp to a point where it's about listenable and hooked
it up to my new Flux Magnetics head in my spare RS-1500 headblock.
TP-003 (Arnold Overtures) has been on hand for a while, but I didn't
want to listen until I had the IEC eq working, and that meant getting
the preamp up and running. Wow.... I finally understand what
everybody's talking about. Everything about the recording is just
so right. There's just this orchestra out there in space, well not
exactly in space, it's an orchestra in a complete acoustic environment
and after a few moments I found myself listening with this big grin on
my face, even giggling at parts of the goofy Christmas Overture.
Beautiful, full clearly articulated lows, sweet highs and everything
else in between just in the right place. I've never heard anything
else like it in my house. To docb, romo and Paul you've hit it out
the park! Thanks."
Lane, aka Scully 280
"Until last night I
had only used my tape Seduction in NAB mode on 4 track tapes at 7.5 IPS
on my RS-1506. The results haven't been ideal as the level seemed lower
than other sources.
Last night I cleaned the tape path and loaded up reel one of the Arnold
Overtures (TP-003). Wow! Signal level was perfect. I poured two
fingers of Lagavulin single malt and enjoyed 30+ minutes of incredible
Thanks to Doc and the Tape Project gang."
Subscriber AZ Gary
"We opened a bottle
of wine and threaded up TP-002 tonight. Another home run for the Tape
Project. The sound of the guitar and Dave Alvin's voice reached out to
us, not in a hyped up "audiophile" way, but in an emotional
way, just as live music does. Can't wait for TP-003!"
I have not sat down with
this tape since shortly after receiving it. It arrived shortly after my
deck and pre. Now that we have a lot more time on the deck and the right
cable synergy, all can say is: Wow! This is a really fine tape. It has a
delta blues/California folk feel to it, despite the fact that the lyrics
are kind of dark and sad. Excellent soundstage and instrument spread,
and like TP009, the vocals are locked dead center. Now that we're 9
tapes into Series 1, perhaps more of you are like me: you haven't been
listening to this one as much as in the early days when we only had a
couple of tapes. do yourself a favor and mount these reels on your deck,
turn the lights down low, and enjoy...
Joe Galbraith, a.k.a JoeG
Yesterday I finally was able to play my first Tape Project tape:
TP-001 Jacqui Naylor, The Number White.
I'm using a Technics RS-1500 deck (without any of Doc mods -yet-) with
its stock heads wired directly to a Seduction modified for tape
playback, an extended
Foreplay III and a pair of 45 amps (basically BHs excites) to a
pair of edgarhorns.
I suscribed to the TP about a year ago, brought my tapes home after
Christmas and finished my Seduction a few weeks ago but still needed
some break-in time.
All I can say is Wow! This is the way it is supposed to be. The music
and the singer's voice are as natural as they can be. You could listen
to this stuff for hours and not get tired... Just fantastic.
My only problem is that I couldn't crank up the volume up because my
kids were sleeping. I guess I need to start
working on my home's S.E.X.
amp with Ni iron and BH cable upgrade on two sets of HD-600s that
I have ready for whenever I finish my home theater.
Believe me, if you're thinking about jumping into the TP now is the
time, when Series One titles are still available: you won't regret it."
"Mmm! Huh,.. did
someone say something! Oh Yeah,.. I am listening to it right now. Talk
about engaging! Nice job Romo. I think this is the mixing/mastering
equivalent to the fear that TV stars had about close-ups when they
caught wind of what HD TV was capable of. That's if you can stop tapping
your foot long enough to listen into the mix. This sounds so good that
it's hard not to be transported to the Camellia room. I was thinking
that it might sound better than the demo tape but maybe it's more of a
matter of getting the intent of the album and the mood of the players.
The comments at the end of the cuts are wonderful. I don't know if
they're on the CD but I'm a real sucker for this kind of thing.
The package came in perfect condition. The engraving looks mighty nice
and I love the foil edge art. The pictures don't do justice to the
package as a whole.
Michael's right though. I wouldn't put a $30 rib eye on the grill and
figure that you'll listen to just one cut. You can forget about that!
You won't want it to ever end!
Thanks guys,.. we're doin' the antler dance tonight!"
ironbut, about TP-001, Jacqui Naylor, The Number White
"Paul - package received,
and I must say, very,very impressive. I am finishing up my MTR-10
alignment this weekend (just received my new heads from JRF), and hope
to have TP-001 spinning for the holiday. My thanks to you and Doc and
Michael for this wonderful initiative. Looking forward to all my
selections in the coming weeks."
"I have received the
TP-001 tape and I am extremely pleased with the results of the deck and
the tape itself. Goose pimple good."
"Mine arrived today..and
I am pretty stoked. The packaging and presentation are
outstanding.....the pictures don't do it justice. My hat is off to Doc
B, Romo and Paul."
"I received TP 001
Wednesday evening. You have done an excellent job with The Tape
Project. It is an absolute first class job in every detail.
It was a true sense of satisfaction to hear the music and made the
wait and effort into putting my system together well worth it. I
wish you much success."