The legendary STELLAVOX "PRO TD9" tape machine returns to the market as a new device
Figure 1: Technical details with unique selling points that are hard to get enough of
Among the studio machines that still exist and function today, the upper league includes tape legends from Studer, Telefunken, Nagra and Ampex. These machines are all capable of recording and playing back old and new tape material at the highest level. All equipment is subject to an aging process, which sooner or later will require service. The repair offer is getting narrower and narrower in the professional field, because the people who know about it are unfortunately exposed to the same process...
This raises the question of which way to go when considering a purchase decision. Either one counts on a high price for well preserved used ones, which can move meanwhile with appropriate devices between 6,000 € and 15,000 €, exclusive service or repair costs, which can amount to 1,000 € or in addition, to 4,000 €.
An alternative offers the company SEPEA audio. In 2019, the owner Peter Sedlak had the grandiose idea to revive the Stellavox PRO TD9 in the form of new equipment. The price of 39,600.00 € comes from the high demands on the continued Swiss precision, the complexity of the technical solution and the hours of work of the technician. The resumption of production borders on the process of a new development: in order to understand the complex manufacturing process, SEPEA audio first analyzed and studied the original Stellavox documents. Then the resumption of the manufacturing steps was initiated. Many components could be examined and used from the purchased stock of the original Swiss Stellavox production. Some served as production samples so that original manufacturers could be contacted to have certain parts remanufactured to exact requirements. If the manufacturer no longer existed, new manufacturing companies had to be found to have the material re-manufactured to the original drawings and specifications. Technical progress allowed some improvements to the original material to iron out former chess points. Today, this combination is used to produce new machines that meet all modern requirements. At the beginning of production, the old/new ratio was 80/20, today it is 20/80. A 2-year warranty is provided.
Figure 2: View from the top of the unit without console
The Stellavox company was founded in 1955 by Georges Quellet, born in 1929 in Neuchâtel, Switzerland. It was sold to competitor Kudelski (Nagra) in 1964, but was re-established in 1968 and finally dissolved in 1988 with the former decline of the tape culture. In addition to the development of tape recorders, mixing consoles were also manufactured. In total, only a few hundred devices left the manufactory. Hardly to be surpassed in the ingenuity of development, the Stellavox TD9 device, which has become a legend, is considered the most sophisticated and best tape recorder ever made. "Everything about a Stellavox is special" is the slogan I hear very often. The design principle is fundamentally different from the designs known, for example, from Studer or Telefunken.
The story for this article began in 2021 when Peter Sedlak asked me if I could imagine reviewing a Stellavox PRO TD9. I agreed, without worrying about transportation from Slovakia to Berlin (and back). In late 2021, a tape friend from West Germany told me he was considering buying one and asked me what I thought. Conversations, thoughts and deliberations followed, which in the end led to the order. Because of the shortage of parts on the world market, the completion date dragged on. Then, in late summer 2022, the time had come. I asked my friend if he could imagine to drive via Berlin (Germany) to give me a ride and also to drive back via Berlin to be able to inspect, compare and photograph the machine at my place. He agreed.
Figure 3: Detail of the pulley
The trip took place on a Thursday in September 2022. Late in the evening we were at the hotel in Nové Mesto nad Váhom in Slovakia. The welcome on Friday morning was great and started with a guided tour through the "holy halls". At SEPEA audio there is no shortage of technology and audio tapes, so that as an interested person you can hardly stop marveling. Then in the listening room it stood, the brand new Stellavox PRO TD9. It was explained by the technicians and we were able to convince ourselves of its perfect operation by listening to a few tapes. Even here, the tonal results were promising. We could ask all questions, which were explained extensively and willingly. At noon we then drove back to Berlin, in the evening we set up the machine, listened to some more music and left the machine switched on so that the electronics could stay at operating temperature.
Figure 4*: Detail with open tape windings
On Saturday, after breakfast, we dived into the world of tapes and tried out the functions. This machine has quite a bit of equipment that needs to be visualized. For example, my fascination relates to the idea of being able to play pancake tape without having to rotate the tape layer 180°. All that is required is to flip two switches and stretch the wrap in reverse on the large platters. For large pancakes, one guides the tape around the small pulley located between the winding plates (see Fig. 3). A clever idea.
The next attraction is how the mechanism handles the tape material. All functions happen very softly when starting, stopping, or switching between functions, including rewinding. The tape is cushioned with the perfect amount of energy by the two large idler rollers on the left and right. The mechanism of the pressure roller acts very well coordinated with the starting of the tape transport motors. The shielding plate is automatically moved in front of the heads at start-up. The counter is extremely accurate and allows the belt to be automatically advanced or retracted to a pre-determined position. The edit function allows the tape to be moved to find a specific location manually. The "save" switch can be used to lock the recording function against accidental pressing of the switch. Further advantages are listed at the end of the article. The somewhat slow rewinding speed is noticeable. For private users usually not so important, for a professional operation perhaps hindering, if it's times faster should go. This can be set individually ex-factory.
Figure 5: Over-band frequency response
This machine can generally run at four different speeds (here 19 and 38 cm/s), which can also be changed to 9.5 or 76 cm/s at the customer's request. The current setting can be seen on the "housing block" labeled "HB9" in the center of the machine. For an additional charge, the tone head module can be exchanged to change from the ¼" version to ½". The outputs and inputs are equipped with the XLR studio standard. Battery operation (24 volts) is readily available.
To set the stage for the sonic evaluation, I made a frequency plot with my audio precision measuring station (Figure 5). The result fits at 38 cm/s into the tolerance range of the Telefunken M15 and Studer A807 machines used for the comparison. This has the advantage that all the machines mentioned are practically identical in terms of measurement. We listened with master tape copies from the blues, jazz, and classical areas. As already to be expected, we could hear differences between the models. In a direct comparison, it soon became clear that the Studer A807 couldn't keep up, because the sound image was a tad slimmer on each of the tapes we selected compared to the other two units, and at higher levels there was a bit more noise in the quiet parts. The Telefunken M15 did so well against the Stellavox PRO TD9 that we agreed we were looking at a stalemate. On both units, the tapes were reproduced with a special energy: With just the right amount of punch in the bass, a tonal balance across the playback frequency range, and a superb presence across the listening spectrum, making our session a gripping listening experience. We were electrified and couldn't resist playing more and more tapes.
For the recording review, we chose two pieces: The wonderful "Ain't No Sunshine" from "The Best Of" by Tommy Schneider & Friends (Kolibri Records), and the first movement from Schubert's Symphony No. 8 - befitting the SEPEA audio production. There was no difference to be heard between the original and the recording.
Figure 6: View of the electronics
At another point, however, there is a significant difference between the devices: The M15 is 49 years old. At any moment, there could be something wrong with the unit that would require major repair. The Stellavox PRO TD9, on the other hand, is a new machine with a two-year warranty. I would rate the chance of this machine coming through the next decades better.
Conclusion: In terms of compactness, compatibility, operation, tape transport and sound, the Stellavox PRO TD9 is very thin on the ground when it comes to competition. For me, it is one of the best machines on the globe. Looking at the entire performance spectrum, I don't know what else there should be in a tape recorder that could beat the sum of all its advantages. It's not inexpensive, but it's worth the price.
Figure 7*: Device including the console from SEPEA audio
Other advantages of the Stellavox PRO TD9:
Very low mechanical running noise, making it highly suitable for living rooms
Small dimensions compared to other professional studio tape machines
Easy to clean and demagnetize
Excellent tape guide
Good feel and operability of knobs and switches
Large pinch roller, no tight looping for tapes
Very easy tape loading
Built-in monitor speakers
Headphone and amplifier output
Very good operation manual
A number of accessories are available:
L-shaped wooden side panels
Trolley stand
VU meter bridge
Legs for vertical operation of the unit and also rack mounting
Various types of adapters are available from stock
Slide-ins various inch audio tape
Contact: orders@sepeaaudio.com Tel: +421905612447
Text: Claus Müller | Photos: Claus Müller, except*: SEPEA audio
Translated with www.DeepL.com/Translator (free version)