The UHA Audiophile Reel To Reel Tape Decks!
Five New Decks For 2022:
All Made in the USA
1.) Phase11
2.) Phase12
3.) Ultima5
An optional Outboard Power Supply
is available for the above three decks
PLUS!
Two All New – UHA SuperDecks
4.) SuperDeck Playback Only Deck
5.) SuperRecordDeck All New Recording System
SuperDecks Feature Three Components:
The Tape Transport
The Outbpard Head Amp
The Outboard Power Supply
Plus the Optional UHA Rack System
The Absolute Sound Gives Awards To
Two UHA TAPE DECKS!
The Absolute Sound Magazine 2022 Editors Choice:
Tape Decks 2022
United Home Audio Ultima 4
High-quality 15ips reel-to-reel tapes are (direct-to-disc LPs aside) the ne plus ultra of analog sources—unrivaled in fidelity, musicality, and, alas, expense. If you can afford genuine first- or second-generation dubs of great mastertapes, then you can also afford a deck that plays them back with all their fidelity and musicality intact. In JV’s experience, Greg Beron’s UHA Ultima 4 OPS-DC is just such a product—one of the highest-fidelity source components JV has heard, with phenomenal bass power and extension, matchlessly continuous dynamics top to bottom, unrivaled resolution, astonishing transient speed, and simply gorgeous tone color. For those of you with the moolah and the itch to come even closer to the sound of the real thing, the Ultima 4 OPS-DC is the ticket to ride.
United Home Audio SuperDeck
his completely refurbished, three-box, 15ips, Tascam reel-to-reel tape deck, with bespoke enclosures, boards, parts, damping, and wiring, is the best effort yet from tape maven Greg Beron—and one of the two most lifelike source components JV has yet heard in his home. Though the speed, color, resolution, and, above all else, vanishingly low noise of the DS Audio Grand Master optical cartridge and EQ units have pushed vinyl playback considerably closer to the sound of tape, LPs still aren’t as naturally full in tone, continuous in duration and intensity, or audibly complete in their presentation as R2R tapes through the UHA SuperDeck. Of course, two-track open-reel tapes have built-in sonic advantages—not the least of which is the sheer amount of information laid down in their wider tracks and the higher resolution with which those tracks are scanned—all of which you can hear, par excellence, with Beron’s great new machine. Given the price of pre-recorded R2R tapes, the SuperDeck may be a wealthy man’s game, but if you have the dough and a hankering for the sound of the real thing, it will be tough to find a better full-sized tape player.
AVShowrooms.com
Peter Breuninger of AVShowrooms:
“The best source component in audio…
presenting the United Home Audio Super Deck!”
More UHA Tape Deck info pages below:
Why buy a UHA-HQ Reel to Reel Deck?
The Ultimate Source Component!
UHA Outboard Power Supply dimensions
Dimensions = 19″ wide X 15″ deep (rack footprint, the handles on the front add 2″) X 8″ tall
48.3cm wide X 38.1cm deep (rack footprint, the handles on the front add 5.08cm”)x 20.3cm tall
unrivaled resolution, astonishing transient speed, and simply gorgeous tone color.”
NEW February 2013!
Read Jonathan Valin’s (The Absolute Sound Magazine) latest blog on the UHA Phase11
United Home Audio’s New Tape Deck and Next-Gen Reel-to-Reel Tapes
Jonathan Valin speaking about hearing the Master Tape copy of The Beatles Sgt. Pepper.
I want to be very clear here, because, truthfully, I would’ve swooned if the mastertape of Sgt. Pepper had sounded terrible. Which, BTW, is pretty much the way the album (in stereo) has always sounded, no matter whose version you’re talking about. Anemic in the bass, dry and brittle and bath-tubey in the mids, crudely mixed (very left/right) with obvious manifold overdubs. Oh, there are some variations from cut to cut, but for the most part Sgt. Pepper didn’t make it to Number One on Rolling Stone’s list of the 100 Best Rock Albums of All Time—or Number One, with a dagger, in my heart—because of its audiophile-grade sound.
But the sound wasn’t awful. It was anything but awful.
If you think The Beatles couldn’t rock, I truly wish you had the same chance that I had—to hear this mastertape on this stereo via Greg’s Phase 11 machine. Folks, to say that this was a “better” sound, even “an extraordinarily better” sound, doesn’t cut it. This was a revolution.
I don’t know where to begin; the net effect was so overwhelming. Of course, the bass is the weakest thing on vinyl and digital. You hardly even know Paul is playing, much less rocking. But on the mastertape…on the mastertape, boys, it is an entirely different story. Here is Paul’s bass guitar the way you’ve always wanted to hear it—full, deep, incredibly powerful, and so clear and defined in pitch and articulation that it is easy to tell the McCartney was a heckuva player. Same for Ringo’s drum licks—some of which, like the bass, almost literally knock you on your ass with their slam—same with George’s garden of guitars. And the voices! It was like having John Lennon and Paul McCartney in my room with me. It goes without saying that there wasn’t a single cut that didn’t hold surprises in store—things I’d never heard and I’ve heard this album countless times.
Given the importance Sgt. Pepper has had in my life, the whole thing was so amazing it left me agog. I have never heard rock and roll reproduced more powerfully and realistically in my home or at a show in my entire life. And, guess what, it was just the start. Because thanks to Greg and Bruce I also got to hear a mastertape of the anti-Beatles, The Doors, performing “Crawlin’ King Snake” and that creepy “Hyacinth House” from L.A. Woman. When black bluesmen, like John Lee Hooker, sing “Crawlin’ King Snake” or “Back Door Man” the humor comes from the disparity between the “innocent” text and the sexual subtext. When The Doors’ Jim Morrison sings them, there is no subtext—and no humor. There was a reason why they called this guy “The Lizard King.”
By Mike Melanowski:
This particular deck contains all of Greg’s latest upgrades – as of now, the only other deck that is built to this level is Greg’s personal deck.
Due to production delays, the deck was not broken in. Greg normally breaks-in the deck for 100 hours or so. Yet, even cold out of the box, the sound is stunning. I only have about 15 hours of listening, but I can tell you that it is a game changer. Of course, the tape can only be as good as the original source, but when you have a great tape – it is utter magic.
Even with the differences between the sound of individual tapes, there are a few consistent observations that I have noticed. The low-end blows away even the best vinyl. The low-end impact and definition is “off the scale.”
The tape sound has a top-to-bottom seamless coherence. The speakers often disappear and the soundstage extends out in every direction – the walls in the room seem to just melt away. With the right tape, there is a 3d holographic imaging unlike anything that I have ever heard. Again, with the right tape, the dynamics can knock your socks off. All of these characteristics, play right into the strengths of the Tenor components. It’s very synergistic…
I want to congratulate Greg Beron on a magnificent achievement with the deck. It is incredibly rare that a person can move an entire industry forward – you have. For almost 50 years I have been incrementally improving my audio system. Your deck has provided me the single biggest system improvement ever- it is a quantum leap forward.
