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2022 Golden Ear: Metaxas & Sins Tourbillon T-RX Reel-to-Reel Tape Deck

Metaxas & Sins Tourbillon T-RX

Metaxas & Sins Tourbillon T-RX Reel-to-Reel Tape Deck

$36,000

Unlike just about every other tape deck currently sold, Kostas Metaxas’ re-do of the great Stellavox SP-8 is not a refurbished unit from the Golden Age of tape recording. It is a brand-new deck in a drop-dead gorgeous aluminum chassis that uses the best possible parts in circuits designed, updated, and configured (with Stellavox’s Georges Quellet’s blessings, BTW) by Kostas Metaxas on the basis of his nearly 40 years of recording experience with the SP-7/8. Like the original, the T-RX is a portable unit, easily moved (in its dedicated carrying case) from your room to a recording venue or to a fellow audiophile’s digs. But unlike the Stellavox SP-8, the Metaxas Tourbillon T-RX does not require adaptors to play ten-inch reels. It’ll do that—at 7½, 15, or 30ips—entirely on its own.

Over and above its astonishingly “cool” looks, the Tourbillon T-RX is a sonic wonder. I’ve heard a lot of tape decks over the years—from huge studio Ampexes and Studers to smaller-scale gems made by Nagra, ReVox, Otari, etc. I’ve also heard just about every iteration of Greg Beron’s marvelous United Home Audio Tascams, and (except for Greg’s latest, ultra-expensive SuperDeck), not a one of them outdoes the Tourbillon. It is the very quintessence of neutrality and completeness—those twin household audio gods that make ersatz sound like real. 

Alongside the UHA SuperDeck, the Metaxas Tourbillon T-RX is the highest fidelity audio component I’ve auditioned, consistently making the musicians on well-recorded tapes into near-visible presences and music sound as you hear it in life. Like my other Golden Ears, the Metaxas & Sins Tourbillon T-RX will also be a nominee for TAS’ annual Product of the Year Awards—and this one would be a Product of the Year in any decade, past or present.

Tags: ANALOG REEL-TO-REEL

Jonathan Valin

By Jonathan Valin

I’ve been a creative writer for most of life. Throughout the 80s and 90s, I wrote eleven novels and many stories—some of which were nominated for (and won) prizes, one of which was made into a not-very-good movie by Paramount, and all of which are still available hardbound and via download on Amazon. At the same time I taught creative writing at a couple of universities and worked brief stints in Hollywood. It looked as if teaching and writing more novels, stories, reviews, and scripts was going to be my life. Then HP called me up out of the blue, and everything changed. I’ve told this story several times, but it’s worth repeating because the second half of my life hinged on it. I’d been an audiophile since I was in my mid-teens, and did all the things a young audiophile did back then, buying what I could afford (mainly on the used market), hanging with audiophile friends almost exclusively, and poring over J. Gordon Holt’s Stereophile and Harry Pearson’s Absolute Sound. Come the early 90s, I took a year and a half off from writing my next novel and, music lover that I was, researched and wrote a book (now out of print) about my favorite classical records on the RCA label. Somehow Harry found out about that book (The RCA Bible), got my phone number (which was unlisted, so to this day I don’t know how he unearthed it), and called. Since I’d been reading him since I was a kid, I was shocked. “I feel like I’m talking to God,” I told him. “No,” said he, in that deep rumbling voice of his, “God is talking to you.” I laughed, of course. But in a way it worked out to be true, since from almost that moment forward I’ve devoted my life to writing about audio and music—first for Harry at TAS, then for Fi (the magazine I founded alongside Wayne Garcia), and in the new millennium at TAS again, when HP hired me back after Fi folded. It’s been an odd and, for the most part, serendipitous career, in which things have simply come my way, like Harry’s phone call, without me planning for them. For better and worse I’ve just gone with them on instinct and my talent to spin words, which is as close to being musical as I come.

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