It seems that everything has long been decided in the world of audio technology. Digital formats, streaming services, and miniature speakers rule the roost. But on the wave of nostalgia and the search for authentic sound, a quiet revolution is taking place. Technologies that many had already written off are returning to the scene.
Among them is the cassette format, a symbol of an entire era. And it has not just become a collector's item. A new wave of enthusiasts and small companies is proving that cassettes not only have a soul, but also a future. They are creating modern decks, reissuing music on them, and rediscovering them for those who have never pressed the record button on a tape deck.
At the heart of this revival is ReVox. For audiophiles, this name is legendary. The Swiss company was renowned for the impeccable quality and engineering excellence of its equipment. Its cassette decks, such as the famous B215, were considered the gold standard.
Today, history is repeating itself. The announcement of the new ReVox is not just the release of another gadget. It is a bold gesture, a statement that analog sound and the highest quality of assembly are still relevant. It is a bridge between the glorious past and the technological present.
Let's figure out what this comeback is all about. Why is it important not only for vintage enthusiasts, but also for the entire audio industry? And what can the new ReVox offer in a world that seems to have long since moved on?
Background
When Willy Studer created the new Series B, the goal was to make not only a perfect product in terms of recording and playback quality, but also one that was durable and virtually indestructible. No matter how smoothly the motors run or how precisely the heads are positioned, the slightest deformation will affect the result.
Excluding this factor, Revox designs and manufactures a single frame, and to reduce its weight (for use in the home, on the radio, and in small studios), it uses aluminum with die-casting technology, where the mounting locations for the LPM components and head unit are laid out with precision accuracy.
The drive of the device is based on a three-motor system, where the motors themselves are designed and manufactured independently by Willie Studer GMBH. This task was set to fully optimize the characteristics of the product. For example, when heavy reels with thick professional tape begin to rotate, the motors must be powered by a higher starting voltage, which gradually decreases through a thyristor circuit to a normal operating voltage.
The low detonation coefficient (0.05% at 38 rpm, which is similar to that of the lower-end Studer A 807-810) was achieved thanks to a rotation speed control and correction system, as well as the precision manufacturing of the direct-drive spindle shaft, which is machined to an accuracy of 0.001 mm and then chrome-plated and artificially aged.
The absence of a complex LPM system was achieved thanks to an 8-bit processor that controls the tape tension monitoring system. The implementation of this design created a significant competitive advantage for Revox B series reel-to-reel tape recorders, including in the professional sector.
My personal experience with the B77 Mark II HS shows that on the new RTM LPR 35 or LPR 90 tape at 38 speeds, the deck perfectly records 20 kHz at 0 dB, and at standard measurements at -20 dB and 26 kHz. But personally, I prefer the SM 900-911 and their analogues.
The price of the most advanced version of the series, the B77 Mark II High Speed, reached 2,500 Deutschmarks…
The 19/38 IEC stamp under the right subwoofer tells the specialist that this device is indeed a B-77 Mark II HS, that is, the most professional version of the B line, the production volume of which was not so large, and this is the rarest and most sought-after example of such a Revox today.
Past Perfect personal
In the fall of '88, while traveling in West Berlin from train to train, I hung over the B77 in the window of a closed but brightly lit Hi-Fi store on Kudamm at night… If only I had known how to transport 20 kilos to Paris and then back to the USSR… But that train left forever…
In 2002, in Paris… yes, there, at Place Madeleine in the Hi-Fi Occasion store, the same B77 HS was priced at 870 euros… And the elderly vendeur propriétaire politely asked the foreign Monsieur if he would like to listen to it, since it was brand new… But I left, leaving behind the brand new Aiwa AD-F 990 I had bought for 200 euros.
Oh, if only we knew how the hands of the clock would turn in just a few years…
What are we waiting for?
While waiting for Godot, it's good to prepare yourself and appear before Him with worthy questions…
Since there was no official announcement of the program for purchasing used Revox equipment and restoring it at the factory on the Revox website, we asked Revox directly:
This was the unequivocal answer we received. We were also informed that the Revox.com website is under reconstruction and information about the program will be published later. Most importantly, during our conversation, we agreed on a test comparison of the new Revox.
The “new” Revox has serious competitors on the market, and these are the same Revox machines, only privately restored by other professionals:
— Urs Steiner (Urs Steiner/Techtrader) — one of the founders of the StuderRevox Museum and an employee of the company since the days of Willy Studer himself — Techtrader Revox B 77.
— Thomas Schröder and Revox Online (Thomas Schröder), who is currently the manager of Revox-Studer — Revox Online.
Schröder has been restoring Revox and Studer equipment in his workshop for over 18 years.
— Domestic professional specialists. In particular, there were publications about them on Stereo: Interview with tape recorder restorer Andrei Shishlo.
The prices for the B-77 HS are approximately as follows:
— Techtrader — €4,200;
— Revox Online — €2,500;
— Domestic restorations — approximately €1,500.
Another option is to buy a used Revox and become a “DIY enthusiast.”
The appearance of a “newcomer” from Revox on the tape recorder market has already sparked a lively discussion on social media among those in the know. There was a similar reaction after the publication of articles on Stereo about the new Ballfinger. The intrigue was fueled by the failure of Revox's 2016 announcement of a brand new Revox model, in collaboration with Volker Lange and Lutz Precision, founder of the now defunct Horch House label, which produced copies of master tapes.
An unsuccessful project from Revox
Studer was sold to the Harman Group in 1994 by Willy Studer himself, while the Revox brand was bought by German investors and remained in its homeland of Germany, in Willingen-Schwenningen.
So what is the main thing we expect from the official reconstruction—an authentic restoration of the legendary Revox B77 model? First and foremost, authentic sound, as originally conceived by Willy Studer and his team.
Prototype of the semi-professional REVOX B77 PRO HS, which was never released into production (from the collection of Jurg Shopper)
The opening and its consequences
Well, it has finally arrived, and the most interesting part is yet to come.
The Revox that came to us for maintenance… that is, for technical inspection, is classified by the manufacturer as Very Best in terms of its original technical and cosmetic condition and the scope of factory renovations.
Revox B-77 Mark II in factory packaging from Revox Deutschland GmbH 
ReVox is back — and it's not just a remake of its former glory, but a real challenge to modern times. After a long hiatus, the brand is back on the scene with audio equipment that retains its legendary Swiss quality, but speaks the language of today: simplicity, honesty of sound, and minimalism that doesn't shout, but speaks. This is not nostalgia — it is a reminder that good things do not become obsolete, but simply wait for their moment to become necessary again.
Visual inspection and field tests
This is a new tape recorder, new in the sense of “completely new.” It is impossible to bring a device manufactured at least 30 years ago to such a condition outside of factory conditions. A careful inspection reveals a complete absence of local cosmetic repairs or any cleaning or touch-ups.
It is known that the Mark II modification began with factory serial number 100001. The guest who came to us has serial number 150067, which means it is the most recent model, released around 1992–1993. Officially, the last B77 Mark IIs left the assembly line in 1998. Since 1997, serial numbers and production have exceeded 200,000.
The body is made of modern and, naturally, very intelligent-looking gray plastic that is impact-resistant and high-quality, with a built-in carrying handle.
The new original heads, tone arms, and guide posts show no signs of restoration after wear and tear — they are also new. The left guide post rotates with control of parasitic tape vibrations. All guide rails have been replaced with rotating bearings (sic!).
Everything has been done to a very high standard, even though the LPM elements in some of the Good and Very Good category models have been restored from worn originals. It feels like a brand new car, and you are its first owner.
The idle speed of the reel-to-reel tape recorder is not tight and is very comfortable, and the tape can be loaded without much effort. The device is generally quiet: both in rewind mode and with the sound turned off.
Below, for comparison, is the average condition of a Revox B77, purchased privately after average “technical maintenance.”
But here's the first problem: the identical size of the input and output sockets for RCA cables means that you can't use audiophile-brand cables, which caused us some trouble. Revox does not supply its own RCA cables. The same goes for the power cable — in the presented device, you can only connect the standard cable from the set without any modifications.
Inside, there is complete German order and no “collective farm.” Die erste Kolonne marschiert, die zweite Kolonne marschiert…
Not all discrete elements of the recording and playback amplifiers are authentic, which is understandable, but the input stages use Siemens BC550C transistors. More details about the component base will follow later.
Another significant nuance of the test subject is the design of the sub-reel assembly.
This is a more domestic version, with no possibility of installing pancake and AEG reels for use with kilometer-long rolls of professional thick tape such as SM900-911. In our case, such tape is limited in use to only 762 m on reels and 33 minutes of recording, which is not very convenient. But the device is initially configured by the manufacturer for RTM tapes such as LPR 35 1100 m — and the owner has to live with them.
By the way, the set naturally includes official documents from Revox GMBH with a one-year warranty.
The main thing
So, let's start listening…
Let me say right away that, in the opinion of an advanced user, Revox came to us “cold.” Not in the sense of needing to warm up a tape recorder brought in from the cold October weather, but in the sense of running it for no more than 5-7 hours. And, honestly, we had to run the newcomer for an hour and a half before we could start evaluating and comparing it. Comparing — because we had three of them…
Also participating in the listening session were: Stanislav Sochinsky, one of the founders and CEO of ALEF, owner of Kontrapunkt Trading, which is the official distributor of Revox in Russia, Revox-Kontrapunkt. Andrey Shishlo @OnTape, already well known to forum members, acted as the main technical expert.
We started listening with John Davis' chamber jazz trio, released in a master copy by SmartAudio Lab.
This recording was made with a reference magnetization flux of 320 nanoweber per meter (nWb/m). At the same time, on the tested device, the level of 0 dB corresponds to a magnetization flux of 257 nWb/m during playback — and everything is quite comfortable.
Our test subject produced a full-bodied, physical, and tonally authentic sound, without any genre-specific coloring, with good panning and spacious instrument imaging. And we can confidently say that after a few weeks of active use, it will reach a very respectable level. And that's with the stock power cable.
It should be noted that Revox deliberately did not make any audiophile changes to the basic parameters. The sound is straight off the assembly line… and there is plenty of scope for the owner to tinker with it after the warranty period has expired. We did not hear any significant difference in sound, adjusted for the underheating of the factory device, compared to its competitors — except that the soundstage was deeper and slightly wider in the B77 in Andrei Shishlo's version. And it won in terms of dynamics — taking into account the setting of 514 nWb/m.
But in 1977, Willy Studer proposed a comprehensive system concept consisting of the Revox B77 and B750 amplifier, B760 FM tuner, B790 record player, and BX speaker system—as a single unit in terms of sound characteristics. And what about today? Today, I am sure that you will not hear the sound from the late 70s, even if you miraculously get a device from the last years of production “out of the box” – the components are aging.
Several B77s that I had dealt with before sounded excellent, but differently, having come from the hands of different restoration masters — including my own. There is a certain sophistication in comparing a device with factory settings to a similar one that has undergone a serious audiophile renovation. It is known, for example, that Mark Levinson and Bob Manley optimized “stock” Studers for use in recording and mastering studios, and what they did with the basic settings differed significantly from the original.
But then the following happened: Revox states that the acceptable and permissible magnetization flux level can exceed the original 257 nanovolts by two times during playback, i.e., 514 nanovolts and a peak indicator level of +3 dB from the nominal value.
So we set the tape recorder a difficult task — the London Symphony Orchestra and David Oistrakh. A copy made on my Revox, where the settings are 0 dB and there are 514 nanovolts. Material from the official tape of The Tape Project: David Oistrakh/London Symphony Orchestra Horenstein-Hindemith.
Everything was very comfortable during the introduction and piano passages, but during the fortissimo with wind instruments and percussion, the VU meter needles flew to the far right corner of the red sector — and we all thought we heard distortion… With the other two Revoxes, everything was under control.
At the very least, this means that the distributor should have some positive feedback from Revox GMBH to discuss the settings that are optimal for audiophile use, rather than museum or collection use. Which is what Stanislav Sochinsky intends to do – not without our participation.
I want to be honest and say that when my device was restored, the diaplot and variable speed functions were completely removed, along with many other features from the “pro package” that are unnecessary when using the tape recorder as an analog source for a home system. This significantly changed the audiophile character of the sound compared to the factory original. How and what exactly? This is Andrey Shishlo's personal know-how – if he wants, he will tell you himself.
We are not looking for easy ways out — and then a copy of the official TBM-63 Isao Suzuki Trio — Black Orpheus — UL 38-0063 tape was installed on the newcomer.
One of the most indicative of the quality and level of the source and system is the work of the Japanese double bass player, with its frenzied dynamic range. In quiet moments, one could simply listen, but at the peaks, the story with Oistrakh repeated itself.
But don't let that bother you if you intend to purchase this factory “lifestyle hi-fi” and use it as an analog transport in your system, purchasing official releases from STS, Fone Records, IPHI, and others, where the tape's flow rate is initially within the range of 270-320 nanovolts.
But if you are going to record anything on differently tuned tape recorders, this aspect needs to be taken into account. Nevertheless, we heard the concept of Revox factory sound – some of the advantages of individual upgrades only emphasize the potential that was originally inherent in this device.
However, there is a mystery surrounding the factory setting of 257 nWb/m, as the original manual states: maximum level – 510 nWb/m and at +6 db VU CCIR – 514 nWb/m.
Well, if you have €6,000 to spend on this tape recorder. However, Revox currently has three models available in its refurbished line: the Revox A77 High Speed will cost future owners €4,500, the B 77 will cost €6,000, and the PR99 will cost approximately €6,500.
We were sent the very best condition units, according to the accompanying documents.
Above in the video: in fact, an announcement of the second part of the material — a detailed comparison in Kontrapunkt. Try to find the 10 differences yourself…
Andrey Shishlo's preliminary opinion on the technical aspects
"Restored and repainted: plastic body and sub-reels. However, unlike the originals, they now lack the soft touch effect, as paint with a texturing additive has been used.
New metal locks have been installed on the reel stands.
The reel holders are not designed for use with professional “pancakes” for tape on AEG cores.
New fasteners are used for all external parts of the case and sub-reels.
New guides and tape deflectors have been installed in the tape path.
It seems that the bearings in all the original motors have been replaced.
The fixed bypass rods typical for this model have been replaced with rotating bearings — incidentally, this was one of the most common upgrades made by owners of these tape recorders.
New magnetic heads have been installed, and they are clearly newly manufactured, not from warehouse stocks from the 90s.
The front panel has been relabeled with a sticker from a version with a different speed. The chassis is probably also from a version with a lower speed. In this tape recorder, the use of a motor for 38 rpm requires a slightly different tape path geometry. We did not check whether these changes were made, but we hope that the factory is aware of this and that everything was done correctly. At least, we did not notice any particular problems during playback during our session, but we did not have much time.
New brake bands and brake drums have been installed. However, the brake adjustment is too “soft,” and the reel with the tape stops unusually slowly.
The power connector is still the original one, which means you can only use the original cable. Replacing this connector with a standard one is also a common upgrade, since the standard one doesn't allow you to use high-quality cables.
The RCA input and output terminals are located “as usual” at a distance of 13 mm, which causes traditional problems when connecting high-quality cables — the connectors simply do not fit at such a small distance. They (the input terminals) are usually replaced with others — and there are even special kits on the market for such an upgrade, but here everything has remained as it is.
The electrical diagram shows that all electrolytic capacitors and trimming resistors have been completely replaced. However, their quality raises questions in some places — most of them have been replaced with a little-known brand, and only some of the parts in the audio circuits are from the reputable manufacturer Vishay. Although, to be honest, I would have used something more interesting from Nichikon or Panasonic.
Judging by the descriptions, the device is tuned to the modern RMG LPR35 tape with a level of 320 nWb/m, which somewhat contradicts the manufacturer's statement.
Sincerely, Andrey Shishlo.
Revox A77 ready for shipment after restoration
We don't agree on everything – and that's okay. Especially since there is no common point of reference for this topic!
We also asked Stanislav Sochinsky a few questions:
BigD: Stanislav, tell us, when did you first come up with the idea of working with Revox tape recorders?
C.S.: I started asking them questions about continuing the tape recorder manufacturing process somewhere around 2005–2006. Incidentally, that was when the first American releases on tape appeared on the market. They replied that they would think about it, but somehow uncertainly.
BigD: When did the current Revox restoration project begin?
S.S.: A couple of years ago, Revox GmbH changed management, and they themselves approached us with a question about how relevant the promotion of Revox devices after factory restoration was on the Russian market.
BigD: How does Revox management see the project's prospects?
S.S.: They have now completed pre-sale preparation of approximately 40 A77 and B77 high-speed units, in roughly equal proportions, and only a few PR99s.
Andrey Shishlo: And why are there so few 99 models?
S.S.: And most of them are in the professional sphere — and they don't really want to part with them.
Andrey Shishlo: And the A 700 and C 270 are not represented at all?
S.S.: Not yet, but maybe only for now…
Another important point: of the more than 150,000 Revox B 77s, there were critically few High Speed versions with a speed of 38 cm/sec — less than 10%. But Revox professionally rebuilds both the A 77 and B 77 from the 9-19 cm/sec version to 38 cm/sec, which increases demand. You can also limit yourself to 19 cm/sec and 4 tracks… but why? And what is better: 400 files with albums in high resolution or 17 kg of iron analog box for €6,000?
Revox B77 rebuilt to 38 rpm
ReVox's return to the market is more than just rebranding a familiar name. It is a deliberate attempt to create a product that combines the reliability of the past with the technologies and expectations of today. They don't just want to remind people of themselves, they want to offer something relevant and competitive.
It is still too early to draw any definitive conclusions about its long-term success. A confident start and public attention are an excellent beginning, but the real test will come with time. The main question is whether the brand will be able to maintain interest and prove its viability in everyday use.
One thing is certain: the story of ReVox has taken an unexpected turn. This project reminds us that anything is possible in the dynamic technology market. We will be watching with interest to see what the next chapter holds for this legend in its new incarnation.
