BALLFINGER MP-002P Reel to Reel Tape Player, The Analogue Source!

I remembered my first hearing of the Reel to Reel (hereinafter referred to as R2R) format was about 7 years ago. It was at a local audiophile gathering, the host played a very familiar audiophile album, Patricia Barber “Companion” (PremonitionPREM90762 [R2]), through a vintage STUDER 810tape recorder in his High End audio system. What I heard then surprised me,…captivated me,…and the following words came to mind,

“an aural sensation, more music from familiar music,…must have that R2R in my audio system“.

Henceforth, I started purchasing R2R tapes and my first was from HORCH HOUSE, at their booth in Munich High End 2016…even though then I did not own a R2R tape player. I noticed the same with some analogue audiophile whom have started collecting records before buying their first turntable.

Fast forward to 2020, YY SOUND SYSTEMS Sdn Bhd decided to represent  BALLFINGER R2R tape players in Malaysia, and they wanted me to do a review…with the intention of reintroducing the R2R format to the local market. I did ask (Mr.) TK Han (the owner of YY SOUND SYSTEMS) what prompted the ‘uphill‘ endeavor and investment. He enthusiastically shared to me his first impressionable exposure to the R2R format as an assignee/student (decades ago) at the local broadcast station, and how captivated he was listening to it again at a number of recent audio events in Thailand. In short, I could say both of us were very much captivated by the long lasting aural sensation and sonic quality of the R2R format…

(it goes to show,…the audiophile in us cannot forget a good sonic quality,…definitely never an aural sensation).

He believes that the R2R as an analogue source can and will expose audiophile to their audio system’s fuller potential (if not to its fullest potential?).

Generously and with confidence in the R2R format, he loaned me his fully (professionally) restored STUDER 810that cost him around US$20,000, and some R2R tapes for the upcoming review.

Unavoidably, the delivery of the BALLFINGER was delayed due to the Covid-19 Pandemic and Lockdowns. On the hindsight, I have more time to acquaint myself with the R2R tape playback, the machine, its rituals, sonic differences and quality.

Playing those R2R tapes through that STUDER 810 allowed me to reminiscent how the format captivated me 7 years ago,…the glorious and generous midrange, filled with details (both micro and macro), space, depth, weight, density, body, bass, bloom, definition and the rounded delineation…and the R2R tape hiss. Here, the whole musical presentation was musically anchored tothe mid range, which reminded me of the good tube and/or the ‘righteous British-ish‘ sound quality.

However, I did notice that the extreme highs and lows were not as extended and energized when compared to my Ultra End Vinyl Record Sources. I did not mean that the resolution at both extreme ends were not enough there ‘there’. On the contrary, given the right R2R tapes, their resolution are to anyone’s expectation! To me, it was the ‘missing finality‘ at both extreme frequencies’ end that had me thinking(?).

Just a few months ago, TK Han contacted me that they have received the BALLFINGER and would be shipping a player only model to me for the review, the M-002P.

After a few short days, I received an ‘all new R2R Player‘ from Germany. The M-002P retails at €11,600 and consists of three (3) components; the (a) R2R tape machine/transport, (b) power supply and (c) playback (tape head) amplifier. Therefore, the user can alternate the playback amplifier with one from MERRILL AUDIO, DOSHI AUDIO, etc. However, in such instance, the user still have to power the provided playback amplifier since the controller system is in the same unit. (And) that the R2R tape machine/transport’s left XLR (only) and right XLR (only) outputs will be connected to the desired alternate playback amplifier and, it’s control XLR 4 poles output and power XLR 5 poles input will remain connected to the power supply. The following review is done with the provided BALLFINGER playback amplifier.

As mentioned above, the MP-002P is an all new 1/4″ R2R tape player only (not a refurbished player of old), with 21st Century Processor-Controlled and Directly Driven 3-motors drive with 1/4″ tape width. It’s Reel motors consisted of 2 Brushless DC pancake motors with rotor angle controlled sinusoidal commutation, and their Electric Brakes controlled by the tape tension control. Whereas the Capstan motor consisted of 1 Brushless DC pancake motor with rotor angle controlled sinusoidal commutation, and with 2 stepper motors for mechanical brake. The pinch roller is driven by servo drive with brushless DC motor.

The playback head’s core material is of permalloy and with 2.75mm track width. It even comes with 2 sensors for tape tension and a speed sensor at the right roller. It can play at both speed; 19 cm/s and 38 cm/s, and has 2 common equalizations; NAB and CCIR. In summary, the MP-002P should be able to cater all 1/4″ R2R Tape Playback.

Here in my listening den, I was able to compare the BALLFINGER MP-002P that retails at no more than the asking price of a High End MC Phono Cartridge (which was but a single component in a total Ultra End Vinyl Record Source), with a number of Ultra End Turntables, MC Cartridges, Tonearms, and Phono Stages/ Amplifiers, and one DS AUDIO MASTER-1 Optical Phono System. 

Upfront, I would say that the BALLFINGER MP-002P have beaten all my analogue record sources in term of Price to Performance Ratio! 

However, some consider the main drawback for the R2R format is the source material (software); availability, cost, storage and (en)durability. I discovered that since the rise in its acceptance, there are now more than thirty (30) audiophile music labels (2xHD, 2TRACKMASTERS, ABC RECORDS, ACOUSTIC SOUNDS, ANALOGUE MASTERING SERVICES, ANALOGUE PRODUCTIONS ULTRA TAPE, ANALOGY RECORDS, BEL CANTO MUSICALE, CHASING THE DRAGON, DELMARK RECORDS, FONE RECORDS, GROOVE NOTE, HEMIOLA RECORDS, HIGH DEFINITION TAPE TRANSFERS, HORCH HOUSE, INTERNATIONAL PHONOGRAPH INC, MASTER TAPE SOUND LAB, OMAD RECORDS, OPEN REEL RECORDS, OPUS 3, PREMONITION RECORDS, QUINTON RECORDS, REEL TO REEL TAPES RUSSIA, SMART AUDIO RECORDING LAB, STS ANALOG, THE TAPE PROJECT, TONE PEARLS, TRJ RECORDS, ULTRA ANALOGUE RECORDINGS, YARLUNG RECORDS, Base 2 Music, Anne Bisson, Djabe, Lyn Stanley, etc) that produce some of their catalog in R2R tapes.

A direct transfer from the master tapes to the current R2R tapes of better tape material, at an asking price between US$299-US$450 or slightly more per album (which may be lesser than the asking price for some of the first pressing vinyl records?).

Upon the first listen to the BALLFINGER MP-002P in my audio system, immediately I was reminded of that,

“aural sensation, more music from familiar music“

After finishing but the first track in the reel, I was so affected emotionally and in full excitement that I rushed out from my listening den to call TK Han. I shared to him that there was “more music” and the huge difference in sonic quality between the BALLFINGER compared to his refurbished STUDER…He giggled and said “it was to be expected“.

(Again) I thought I was already familiar with the recording of ARNOLD “OVERTURE” (Reference Recordings RR-48 and Reference Mastercuts RM-1518), through the heavy rotations at my Ultra End Vinyl Record Sources (being the demo disc), AND through that STUDER (The Tape Project TP-003).

“I thought wrong“

Apart from the constant tape hiss which was not really that audible here especially when the music started playing (maybe my mind was so used to audible background noise and able to shut it out due to the many years listening to the vinyl surface noise, clicks and pops?).

Here, I heard it as if for the first time,…same music, same musicians and same conductor, but MORE MUSIC in the whole presentation and venue.

At that philharmonic orchestra presentation with an assembly of many playing musicians, I could still easily hear more layers, textures, intricacies, body and dimensions of each tone that emanated from each (not just the main) musician/instrument. Furthermore, there were even audible ‘micro detail‘ that clearly differentiated the different material used in different instrument. If I be bold to illustrate, a wood expert/audiophile would be able to identify the different breed of wood used in different instrument through different organic  sound. Equally, metal in different shape, size and type of different instrument was easily differentiated through the different metallic sound.

Given that the micro details were not swallow up by the orchestra, it would not be difficult to share and believe that the images of the musicians were specific, constant, (3) dimensional, weighted, palpable and well anchored (never ‘shifty’). In addition, they were well defined and delineated, but the outlines were naturally rounded and never etch. I would add that that STUDER 810 presented the same images with slightly softer delineation that resulted in lesser points gained in the total presentation.

Later, at the listening of LOWELL GRAHAM “WINDS OF WAR AND PEACE” (Analogue Productions Ultra Tape RRAP 0012), I realized that the ‘more music‘ included ‘(higher) transparency‘. That projected a higher level of accuracy to the size and dimension of the venue, the orchestra hall. It was obvious audibly that there was more space and air between the assembly of musicians to the back and side walls of the hall,…and even, between each musician/ instrument within a section of the same instrument. Such I considered to be a ‘luxury‘ of audible space and air, which have lent distinctiveness to each musician/instrument. Thus, there was never a complicated and congested passage that robbed any instrument of its distinctiveness.

At my next play of the familiar OSCAR PETERSON “WE GET REQUEST” (Analogue Productions Ultra Tape RRAP 0025), I noticed the similar ‘luxury‘,…(here) with the addition of ‘pin-point location‘ of the musician/instrument. Here, it was clear to me that the drummer, (Mr.) Ed Thigpen and his drums was actually located further back in the venue/soundstage (compared to where I was used to hearing him). (And) each time he hit hard at his drum, it would transmit a bass slam that would originate from that (further back) location in the soundstage. The projection of the distanced bass slam to the listening position, and yet without any diminishing impact/energy, lent another level up to ‘analogue realism’.

Given a great recording in the R2R format such as HUGH MASAKALA “HOPE” (Analogue Productions Ultra Tape RRAP 0004), the sonic quality and presentation here will out shine most! Playing that R2R tape through the MP-002P means quite literally, having the whole trope performing ‘live’ in my listening den and, the behemoth GRYPHON AUDIO KODO four (4) towers loudspeakers chasing after their act! Till that moment, I have yet heard the KODO worked so hard. It was like every artist/musicians/instrument providing ‘unadulterated raw feed‘ and  in full/ultimate bandwidth to the loudspeakers…trumpet, saxophone, flute and percussion were freed up to push to their respective highest frequencies, and while drum/bass to its lowest frequencies, and with ultimate transient of energy. Each low bass note/slam was defined, delineated, articulated and, was delivered fast, hard and with more than enough ‘depth charge (bomb)‘ energy to shake the very foundation of my listening den of roughly 18’W x 28’L x 8’H.

Hence, any previous reservation I have, of the format’s ‘missing finality‘ at both extreme frequencies’ ends ended here.

In a lesser aggressive presentation such as “LIVE CONCERT” LUCIANO PAVAROTTI- REEL ONE (Hemiolia Records HRPRE 18000076P), I found Pavarotti’s vocal to be equally raw, unadulterated, intimately close, distinct, rich, textured, organic, sensuous, dimensional and well weighted as if he was alive, a man and rehearsing in my listening den. That sensational experience also reminded me that I enjoyed the same vocal quality from Hugh Masakala and the accompanying vocalists but at a higher tone and in a much more aggressive musical presentation. At both instances, the size and scale of the artists’ mouth in relation to the accompanying musicians/instruments remained realistic, even at much higher volume,…and never did the accompanying music, aggressive or not, drowned the artist(s)’ vocal.

The R2R format and its sonic quality has given me the surprise of ‘more music‘ from familiar music, so much so that I deemed it, an ‘aural sensation‘. That aural sensation has captivated me since 7 years ago and that captivation has been reinforced and interest reinstated with the all new R2R player, the BALLFINGER MP-002P, its sonic performance and, the wider availability of source material.

I better call TK Han of YY SOUND SYSTEMS to deal me in.