Audiophilepure

https://www.analogplanet.com/content/reel-reel-revival-part-2-format%E2%80%99s-sonic-advantages-some-major-players-and-why-threading-tape

Ballfinger tape machines are made in Germany, and are known for their blend of traditional analog sound with modern design aesthetics. They are crafted with high-strength aluminum and focus on professional use while appealing to enthusiasts. The company designs and manufactures all components in-house, from drive motors to servo units, ensuring quality control and precision. The M 063 H6, in particular, has been highlighted for its advanced tape transport control, which prevents looping and tape deformation, and its high-quality audio electronics. These machines can handle 1/4in or 1/2in tape widths, with options for direct drive and various tape speeds.

https://www.soundstagehifi.com/index.php/equipment-reviews/1930-psb-imagine-t65-loudspeaker

I pitted the PSB T65s against my reference speakers, the Gold 300 5G towers ($9500/pair), from the British loudspeaker brand Monitor Audio. The Gold 300 is a three-way design employing a micro-pleated-diaphragm (MPD) tweeter, a 2.5″ midrange driver, and dual 8″ woofers. Aesthetically, there’s not much contest here, at least to my eyes. The T65s are good-looking speakers, but anyone viewing them side by side against the Gold 300s will doubtless notice the British speakers’ more luxurious fit and finish, which is entirely expected, being almost five times as expensive.

Sonically, the gap wasn’t nearly as wide. On “Glory Bound,” from Martin Sexton’s Black Sheep (16/44.1 ALAC, KOCH Records), the transparent PSBs provided a vivid and clear image of Sexton’s guitar, bringing out its warm resonance and accentuating Sexton’s playing dynamics. His voice had a lifelike quality, but it also had unusual weight in the lowest register that caught my attention. Switching over to the Monitor Audios, I heard no such emphasis in the lower range. I also found their presentation sharper and clearer than that of the PSBs, although they appeared to be trading some warmth for that crisper, more articulate sound.

I had used the AirLens with the DirectStream DAC Mk2, and that combo did not have as supple and tonally rich sound as the AirLens with the dual Strata Mk2. That was only one of the big surprises in store for me during this review – and they were nearly all good surprises. My creativity spurred by positive results, I thought of the possibility of pairing of the DAC/tube pre/D Billie Amp Mk2 with the robust solid-state DAC/pre/D of the Strata Mk2! My first configuration would place the Strata Mk2 on the bass and the Billie Mk2 on the mid/treble. Then, I would switch them! Within minutes I came up with a dozen discrete configurations and setups between such a pairing, starting with which integrated would handle the bass and which would handle the mid/treble. No one knows the best result; the system would have to be built. That’s why I love being a system builder! It’s a continuous process of discovery and beautiful new experiences! As the systems become more compelling, I am more emotionally moved, sometimes to tears. I used to think that crying while listening was nonsense, but now with age and appreciation of the beauty of the performance and the exquisite reproduction of it, at times I cry. Boring systems do not make me cry, but I do not judge systems by their emotional effect.