Reel-To-Reel Tape

The Beatles on tape: Australia’s rare reel-to-reel release
Commercial pre-recorded reel-to-reel tapes occupy one of the more curious corners of Australian recorded music history. Unlike vinyl records, which became the dominant home music format for decades, reel-to-reel tapes never truly entered the Australian mainstream. They were expensive, required relatively costly equipment, and arrived at exactly the wrong moment: just as more convenient tape formats were beginning to emerge.

Yet for a short period in the 1960s and 1970s, pre-recorded reels offered Australian listeners something special. They promised high-fidelity sound, stereo reproduction, and a sense of luxury that appealed to serious music lovers. Today, these tapes are fascinating collector items, not only because of their scarcity, but because they tell a different story from the familiar history of Australian vinyl.
A specialist format from the beginning
In Australia, reel-to-reel tape was better established as a recording medium than as a commercial playback format. Broadcasters, studios, educators and enthusiasts all used open-reel tape recorders, but the market for pre-recorded music tapes was much smaller.

The problem was simple: the machines were not cheap. For much of the 1950s and early 1960s, a reel-to-reel recorder was beyond the reach of many ordinary Australian households. By the time the machines became more affordable in the mid-1960s, the format was already facing competition from newer, smaller and more convenient alternatives.

As a result, commercial pre-recorded reels tended to appeal to a narrow audience. They were bought by hi-fi enthusiasts, classical music listeners, and a smaller group of pop collectors who wanted the best available sound or simply enjoyed the prestige of the format.

Why Australian record companies hesitated
Australian record companies did not embrace reel-to-reel in the same way they embraced vinyl. Pressing records locally was well established, but manufacturing and distributing tape was a different proposition. The market was smaller, the production process more specialised, and the retail price significantly higher.

Outside of Astor Records, local major companies showed only limited enthusiasm for manufacturing reel-to-reel music tapes in Australia. Astor was better placed than most because its parent company, Electronic Industries Ltd, expanded its factory in 1966 to include reel-to-reel tape manufacture.

Festival Records also made an attempt in the second half of the 1960s. In September 1966, Festival sub-licensed titles to Hanimex, the well-known Australian tape importer and manufacturer. This suggested there was at least some belief that a local pre-recorded reel market could develop.

EMI (Australia) took a different approach. Rather than committing heavily to local manufacture, EMI generally met demand through imported product. These imports came largely from EMI in the United Kingdom, Capitol in the United States, and London Records in the United States. This created one of the more interesting quirks of the Australian reel-to-reel market: in the late 1960s, a customer browsing a shop that stocked reel tapes could encounter a mixture of British and American releases, sometimes including albums that did not match the normal Australian LP catalogue. For collectors, this makes the format especially intriguing.
The price problem
Price was one of the greatest barriers to the commercial success of reel-to-reel tapes in Australia.

In 1967, some commercial reels were priced from around $6.45, while certain Capitol reels could cost as much as $10.10 - the image here shows the EMI (Australia) Tape Record Price List as at June 1967. At the time, this was a significant amount of money for a single album. Compared with $5.25 LPs, reel-to-reel tapes were a premium product.

The high price made sense in some ways. Tape was more expensive to manufacture and duplicate than a standard record. Packaging was also bulkier. The customer base was smaller, meaning the economics were less favourable. But from a consumer's point of view, reel-to-reel was simply an expensive way to buy music.

This meant the format was unlikely to win over teenagers or casual pop buyers. Instead, it remained more attractive to serious listeners who valued sound quality and were prepared to pay for it.
EMI (Australia) Tape Record Price List as at June 1967
Competition from PlayTape and the Compact Cassette
Timing was another major problem.

Reel-to-reel machines became more accessible to Australian consumers in the mid-1960s, but this coincided with the arrival of more convenient formats. PlayTape and the compact cassette both offered portability and ease of use. They were not necessarily superior in sound quality, but they were far more practical.

The compact cassette in particular changed the future of recorded music. It was small, easy to handle, and eventually became suitable for both home and car use. Once cassette technology improved, especially with better tape formulations and Dolby noise reduction, the convenience argument became overwhelming.

By the early 1970s, reel-to-reel already looked cumbersome to many consumers. Threading tape, handling reels and maintaining machines were part of the format's appeal for enthusiasts, but they were drawbacks for the average buyer.
The World Tape Club
The most important Australian story insofar as commercial pre-recorded Beatles reel-to-reel is the World Tape Club.

The World Tape Club was a division of Australia's World Record Club and began operations in February 1967. Its arrival was significant because it offered reel-to-reel tapes at prices below many standard commercial releases.

Over the following year, the club released 24 four-track stereo reel-to-reel tapes. These were issued at both 7.5ips and 3.75ips speeds. The faster 7.5ips tapes were priced at $4.75, while the 3.75ips tapes were priced at $3.75. These prices were still not cheap in everyday terms, but they were more attractive than the higher-priced commercial tapes, and vinyl, offered elsewhere.

World Tape Club tapes were manufactured by Electronic Industries Ltd. The 3.75ips versions were generally supplied on 5-inch spools. The 7.5ips versions were supplied on 7-inch spools when the playing time approached or exceeded about 36 minutes.

Packaging also evolved. Early Club releases were housed in rigid plastic boxes, usually black, with clear plastic lids. In 1973, these were replaced by left-opening cardboard boxes. For collectors today, these packaging differences are part of the appeal, helping identify different periods of release and reissue.

The Beatles and Australian Reel-To-Reel
For Beatles collectors, the Australian reel-to-reel story is small but highly significant.

Unlike the Australian Beatles vinyl catalogue, which is full of local pressings, label variations, reissues and anomalies, the local reel-to-reel catalogue is almost non-existent. Only one Beatles album was manufactured locally in Australia on reel-to-reel tape: Magical Mystery Tour And Other Splendid Hits.

The album was issued by the World Tape Club in May 1973. It was released in both 7.5ips and 3.75ips versions. The 7.5ips version carried catalogue number 8716, while the 3.75ips version carried catalogue number 8717.

Consistent with World Tape Club practice, the packaging for the two versions was essentially identical. The key difference was on the spine, where the non-applicable catalogue number was manually greyed out.

This release is important because it stands alone. It was not part of a broader Australian Beatles reel-to-reel program. EMI (Australia) had generally relied on imported Beatles-related reel tapes rather than local manufacture. That means Magical Mystery Tour And Other Splendid Hits holds a unique place in Australian Beatles collecting.

It also arrived late. By 1973, commercial interest in reel-to-reel had already declined sharply. In that sense, the Australian Magical Mystery Tour... reel was not the beginning of a new local Beatles tape catalogue, but rather a late survivor of a format nearing the end of its commercial life.
Imports and anomalies
Because EMI (Australia) and others often relied on imports, Australian reel-to-reel collecting can involve unusual combinations of overseas product and local retail history.

An imported reel might have a British or American catalogue identity but still show evidence of Australian sale, such as local price markings, import inspection stickers, or retailer markings. These details are important because they help establish how overseas reels entered the Australian market and how they were sold locally.

For Beatles collectors, this opens the door to anomalies that would not occur in the normal Australian LP discography. A United States reel of Yesterday And Today, for example, could appear in an Australian retail context even though the album itself was not part of the standard Australian Beatles LP catalogue in the same way.

That is part of the charm of the format. Australian reel-to-reel collecting is not always about locally manufactured items. Sometimes it is about imported objects that passed through Australian shops, homes and hi-fi systems.

The images shown here provide examples of imported reel-to-reel tapes and the local markings they carry.
Example of a reel imported from EMI UK. Notice the "AMCO Inspection" sticker, which was applied upon import
This imported reel does not have the AMCO sticker but does have a local price written in pencil ($5.75 - see top left)
The end of the format
By the mid-1970s, commercial pre-recorded reel-to-reel tapes had largely faded from the Australian market. The format had been overtaken by convenience.

Cassettes were smaller, cheaper, easier to store and easier to play. They were suitable for cars, portable players and casual home use. Reel-to-reel, by comparison, looked increasingly like a format for specialists. The final nail in the format's coffin was the introduction of Dolby noise reduction in cassette tape recording. Dolby noise reduction helped cassettes overcome one of their greatest weaknesses—tape hiss—and brought their sound quality close enough to conventional reel-to-reel for many consumers. Once combined with the cassette's convenience and affordability, reel-to-reel quickly began to look like an expensive and cumbersome format from another era.

The World Tape Club lasted longer than most. It continued offering reel-to-reel tapes until late 1977, outlasting other local activity by several years. Fittingly, one of its final reissues was Magical Mystery Tour And Other Splendid Hits in August 1977.

That final Beatles reissue gives the Australian reel-to-reel story a neat ending. The format that had once promised premium domestic sound quality ended as a niche collector and enthusiast medium, kept alive by a small but dedicated audience.

Collecting Australian Reel-To-Reel today
Today, commercial pre-recorded reel-to-reel tapes are among the more elusive Australian music collectibles. They were not produced in large numbers, they were expensive when new, and many have not survived in good condition.

Collectors look for several things: tape condition, box condition, catalogue numbers, speed, spool size, local manufacturing details, import stickers, price markings and completeness. Because tape is a fragile medium, playability is not guaranteed. Some reels may suffer from oxide loss, mould, poor storage, splicing issues or other age-related problems.

For Australian Beatles collectors, Magical Mystery Tour And Other Splendid Hits is the key local item. For broader Australian tape collectors, World Tape Club releases, Astor-related issues, Hanimex-linked Festival titles and imported EMI or Capitol reels with Australian provenance all have historical interest.

A small but fascinating chapter
Commercial pre-recorded reel-to-reel tapes never became a major Australian music format. They were too expensive, too specialised and too quickly overtaken by cassette technology.

But their failure to become mainstream is exactly what makes them interesting today. They represent a brief period when high-fidelity tape seemed like it might become an important home music format. They also reveal how Australian companies experimented with manufacturing, importing, licensing and club-based distribution.

In the end, reel-to-reel remained a connoisseur's format. It was admired more than it was widely adopted. But for collectors and historians, Australian commercial reels offer a rich side story: one of imported curiosities, short-lived local manufacture, World Tape Club ingenuity, and one remarkable Beatles release that stands almost alone.

The reels may not have sold in huge numbers, but they left behind one of the most intriguing footnotes in Australian recorded music history.