The discussion has gained attention as archives, record labels, and collectors increasingly digitize aging analog master tapes. While transferring recordings into digital formats addresses physical media degradation, it introduces a different challenge: ensuring those files remain accessible and intact for decades.

Archivists interviewed in recent industry discussions argue that cloud services remain valuable for access and distribution, but many continue to maintain offline copies using Linear Tape-Open (LTO) technology for long-term preservation.

Historic Music Archives Highlight Preservation Challenges

The issue is particularly relevant for large music collections such as the archive maintained by the Grateful Dead organization.

According to comments provided to Jambands.com, archivist David Lemieux still relies on physical tape holdings when production teams require historical recordings. Engineer Jeffrey Norman evaluates tape condition before restoration and mastering work begins on archived performances.

The collection includes hundreds of live recordings spanning multiple decades. Bringing those recordings into modern formats required large-scale tape transfers, high-resolution digitization, and mastering processes designed to preserve historically significant performances.

Brad Serling, founder of nugs.net, described the effort as one of the largest tape-transfer projects undertaken in rock music.

The archive’s survival illustrates a key preservation principle often cited by archivists: physical media stored under controlled conditions can remain accessible across generations, regardless of changes in software platforms, licensing agreements, or technology companies.

Cloud Storage Raises Long-Term Preservation Questions

At a digital preservation workshop held during an international preservation conference, participants outlined several unresolved concerns surrounding exclusive reliance on cloud storage.

Among the issues discussed were the difficulty of independently verifying whether cloud copies stored across different regions are truly isolated, challenges associated with validating data integrity without relying on vendor-provided tools, and uncertainty surrounding data retrieval costs.

Digital preservation researcher David Rosenthal previously examined cloud archive economics and reported that retrieval fees can become substantial when organizations need to recover large collections or periodically verify stored data.

Archivists also note that durability claims published by cloud providers primarily address hardware reliability. They do not necessarily account for risks associated with software errors, human mistakes, malicious actions, or organizational decisions that may affect data availability.

Service Closures Demonstrate Additional Risks

Several high-profile platform shutdowns are frequently cited within preservation circles as examples of long-term uncertainty.

MySpace confirmed in 2019 that music uploaded between 2003 and 2015 was no longer accessible following a server migration. Technologist Andy Baio estimated that approximately 50 million songs from around 14 million artists were affected.

Google Play Music ceased operations in 2020, with remaining user data deleted after migration deadlines expired. Ultraviolet, a cloud-based digital media locker supported by major entertainment companies, also shut down after serving millions of users.

Archivists often reference such examples to illustrate that access to cloud-hosted collections ultimately depends on the continued operation of the underlying service.

LTO Tape Continues to Evolve

Despite perceptions that tape storage belongs to an earlier era of computing, the format continues to receive new development.

According to information cited in the report, Fujifilm began shipping LTO-10 cartridges in early 2026. The format offers 40TB of native storage capacity and up to 100TB of compressed capacity, increasing available storage compared with previous generations.

Industry shipment data also indicates continued demand for the format. LTO technology remains widely used by organizations responsible for preserving large datasets, including media archives and enterprise data centers.

Cost is another factor cited by preservation professionals. LTO cartridges involve an upfront hardware and media purchase, whereas cloud storage typically operates through recurring subscription and retrieval fees.

A further advantage is physical isolation. Once removed from a tape drive, cartridges remain disconnected from networks, reducing exposure to ransomware attacks, service outages, and policy changes affecting online platforms.

Preservation Strategies Increasingly Combine Multiple Technologies

Industry analysts increasingly frame the debate as a question of balance rather than replacement.

According to comments cited from IDC, organizations are adopting storage strategies based on business requirements rather than choosing exclusively between cloud and tape infrastructure.

In practice, cloud platforms often support accessibility, collaboration, and distribution, while offline tape copies serve as long-term preservation assets.

For music collectors and audiophiles maintaining personal libraries, archivists recommend a similar approach. Local backups, exported library files, and multiple storage locations can reduce dependence on any single service or platform.

Long-Term Preservation Remains a Human Challenge

The discussion ultimately extends beyond technology.

Research cited from Harvard’s Library Innovation Lab suggests that neglect and failure to maintain archives often pose greater threats than hardware failures themselves.

Whether recordings reside on magnetic tape, hard drives, cloud servers, or future storage technologies, preservation depends on continued oversight, migration planning, and active management.

For archivists responsible for safeguarding historic recordings, modern tape remains part of that strategy—not as a replacement for cloud infrastructure, but as an additional layer designed to improve long-term survivability.

Tags: LTO Tape, Music Archives, Digital Preservation, Cloud Storage, Grateful Dead Archive, Data Backup, Audio Restoration, Fujifilm

The post Music Archivists Continue Backing Up Digital Collections to Modern Tape Storage appeared first on Journos News - Breaking News, World News, Top Stories, Todays Headlines and Flash Reports.

Written: August 7, 2025 – 14:00 (U.S. Eastern Time)

Vintage audio equipment evokes feelings of nostalgia, craftsmanship, and superior analog sound. However, beneath the iconic styling and warm tones lies a list of technical and mechanical issues that even seasoned collectors face. Whether you’re restoring a tube amplifier or maintaining a turntable from the 1970s, these common pitfalls are part of the journey.

1. Aging Capacitors Lead to Costly Circuit Damage

Many vintage components rely on electrolytic capacitors that degrade over time. When these capacitors leak, they corrode nearby circuit traces and components. Preventative recapping is essential—and often costly—to maintain performance and prevent irreversible damage.

2. RIFA Safety Capacitors Fail in Dramatic Fashion

RIFA capacitors are known for catastrophic failures, producing smoke and debris when they explode. These parts absorb moisture and crack internally, making them hazardous. Replacing them with modern X2-rated safety capacitors is strongly recommended.

3. Replacement Parts Can Be Nearly Impossible to Source

From discontinued ICs to custom semiconductors, many vintage audio systems use components no longer in production. This makes repairs difficult and sometimes financially impractical unless donor units or circuit modifications are used.

4. Selenium Rectifiers Emit Toxic Fumes

Selenium rectifiers are outdated and can emit harmful odors when they fail. Most restorers replace them with modern silicon diodes to enhance performance and eliminate health risks.

5. High Voltage Today Can Stress Vintage Designs

Vintage gear was built for 110–117V AC power. Modern household voltage often exceeds 120V, which can overstress power supplies and components. Many audiophiles use variacs or bucking transformers to protect their gear.

6. Foam Speaker Surrounds Rot Over Time

Foam surrounds, used in many speakers for enhanced bass, are prone to disintegration due to environmental exposure. Refoaming is possible but may not restore original performance.

7. Rubber Belts and Idlers Degrade and Disrupt Playback

Decks that rely on rubber belts or idler wheels suffer from speed instability as the rubber ages. Replacement belts are often available, but sourcing high-quality idler wheels is more difficult.

8. Plastics in Older Units Become Brittle and Break Easily

The plastics used in vintage gear often degrade, cracking during routine maintenance. While some parts can be 3D-printed, matching the original appearance and function remains a challenge.

9. Sticky Rubber Can Ruin Surrounding Components

Rubber parts in older devices can become sticky over time, damaging other components they touch. Cleaning degraded rubber requires care to avoid harming wood finishes or delicate surfaces.

10. Tape Deck Components Wear and Affect Performance

Pinch rollers and capstans in tape decks wear over time, reducing speed stability and increasing the risk of tape damage. Professional rebuilds are available but costly.

11. Factory Adjustments Are Difficult to Access

Many vintage devices use glue or thread-locking compound to secure adjustment points. Accessing and calibrating these often requires disassembly and specialized tools.

12. Dust in Potentiometers and Switches Causes Audio Dropouts

Vintage gear frequently uses open-frame pots and switches that attract dust and moisture. Even with contact cleaner, repeated cleaning may be necessary—or parts may need full replacement.

13. Selector Switches Wear Out and Are Hard to Replace

Input selector switches often fail due to worn plating and corrosion. Original replacements are rare, and fixes require labor-intensive retrofitting or custom fabrication.

14. Some Vintage Amps Overheat and Fail

Aging solid-state amplifiers can suffer from thermal runaway due to transistor drift and improper biasing. If not caught early, overheating can destroy output stages entirely.

15. Tubes Require Ongoing Maintenance and Costly Replacements

Tube gear needs periodic bias checks and tube replacements. Some designs are user-friendly, while others require precision tools and matched tube sets, which can be expensive.

16. Modern Speakers Can Overload Vintage Amps

Many vintage amps are optimized for stable 8-ohm loads. Modern speakers with lower impedance or complex crossovers may push these amps beyond their design limits. Impedance-matching transformers or high-efficiency speakers are safer options.

17. Idler-Drive Turntables Can Transmit Motor Noise

Idler-wheel turntables, though prized for torque, may introduce rumble if not maintained. Restoring these decks with new wheels and damping can greatly reduce noise.

18. Setup Challenges with Vintage Tonearms

Some vintage tonearms offer limited adjustment options or were made for obsolete cartridges. Proper alignment may require special tools or part replacements for optimal tracking and sound quality.

19. Anti-Skate Systems Lose Accuracy Over Time

Spring- or magnet-based anti-skate mechanisms degrade with age. When misaligned, they cause uneven channel balance and record wear. Replacing or recalibrating these systems can be difficult due to part scarcity.

20. Persistent Hum from Power Supplies Is Hard to Eliminate

Vintage transformers and poor internal layouts can introduce audible hum. Even after replacing capacitors, some designs continue to emit low-frequency buzz that’s hard to fully resolve.

21. Over-Sensitive Protection Circuits Can Disable Gear

Protection systems in vintage amps were often over-engineered and intolerant of small variations. Drift in components can cause the amp to shut down unnecessarily. Proper recalibration requires technical expertise and time.

Final Thoughts

Vintage audio gear carries unmatched character and craftsmanship. But it also demands ongoing maintenance, technical skill, and sometimes costly restoration. Collectors and audiophiles willing to face these challenges are rewarded with timeless sound—but it’s not a hobby for the faint of heart.

Source: Headphonesty – 21 Things Even Seasoned Collectors Hate About Vintage Audio Gear

The post Vintage Audio Gear: The Hidden Challenges Every Collector Faces appeared first on Journos News - Breaking News, World News, Top Stories, Todays Headlines and Flash Reports.

Some myths refuse to die — and sellers are counting on it.

If you’ve dipped a toe into the world of vintage audio, you’ve probably heard it all: “They don’t make them like they used to,” or “You need 200 watts for 200-watt speakers.” The gear is cool, no doubt — big knobs, glowing meters, and the satisfying clunk of a heavy switch — but that doesn’t mean all the advice out there is sound.

In fact, many newcomers fall for expensive myths that can leave them broke, confused, and frustrated. Here are 10 of the biggest traps — and what you actually need to know before you spend a dime.

1. “They Don’t Make Stereo Equipment Like They Used To”

Sure, those 1970s receivers look like tanks. And yes, a lot of modern gear feels plasticky. But that doesn’t mean great gear isn’t being made today — it just lives in a different part of the market.

Back in the day, a top-tier Marantz or Pioneer might cost $1,200. Adjusted for inflation, that’s over $6,000 today. Brands like McIntosh, Luxman, Accuphase, and Yamaha still make stunning, audiophile-grade gear. You just won’t find it at your local big-box store.

Bottom line: You can absolutely buy gear built to the same standards (or better) — if you’re willing to pay high-end prices. Don’t confuse mass-market gear with the whole industry.

2. “You Need a 200-Watt Amp for Your 200-Watt Speakers”

This one’s a classic money pit. That “200W” label on your speaker? It just means the maximum it can handle, not what it needs.

Most people only use 5 to 10 watts when listening at home. Even cranking it for a party, you might only hit 30 watts with moderately efficient speakers. The number that really matters is sensitivity, not power.

Don’t fall for the “bigger is better” trap — most of the time, it just means “more expensive and unnecessary.”

3. “Vintage Audio Is Rare and Only Getting Scarcer”

You’ll hear this from sellers trying to justify inflated prices. But the truth? Most vintage gear isn’t rare — it was mass-produced in huge numbers.

Brands like Sansui, Marantz, and Pioneer shipped millions of units in the ’70s and ’80s. And now, as boomers downsize or pass on their collections, more of that gear is showing up in estate sales, Craigslist, and Facebook Marketplace.

Yes, a few specific models are rare. But the average unit? There are still plenty out there. Be patient, stay alert, and avoid the panic-buy mindset.

4. “The Value Will Only Go Up”

Sorry, but vintage gear is not the next Bitcoin. A few flagship models may hold or gain value, but most were never rare to begin with — and prices are already softening.

The core buying audience (mostly Gen X and boomers) is aging out of collecting. Younger audiophiles often prefer compact streamers, headphones, or Bluetooth setups.

If you’re buying for the love of music, go for it. But don’t expect your mid-range receiver to fund your retirement.

5. “Recapping Destroys the Vintage Sound”

This one’s part science fiction, part nostalgia. Some insist that replacing original capacitors kills the “mojo.” But in reality, old capacitors drift, leak, and degrade your sound.

Recapping restores the original performance — the sound the designers actually intended. That soft, hazy tone some collectors love? Often it’s just dying electronics.

A professional recap might run $250–$400, but it can save you from a total failure (and from losing irreplaceable parts). It’s not sacrilege — it’s maintenance.

6. “70s Solid-State Gear Sounds Just Like Tubes”

Nice idea, but not quite. Tube amps and solid-state amps behave very differently. Tubes tend to add pleasant, smooth distortion. Solid-state is generally more precise — and when it distorts, it’s harsher.

Some ’70s gear, like Marantz or Sansui, leaned warm. But none of it truly mimics tube sound. If that buttery tube warmth is what you want? Just buy a tube amp.

7. “Vintage Sound” Is Always Better

“Vintage sound” has become a buzzword, but let’s be real — a lot of that character comes from worn-out parts, not timeless engineering.

Back when these amps were new, the goal was clean, accurate sound. What we now call “warmth” was often unintended — a byproduct of aging components like leaky capacitors.

If you like that softer, nostalgic tone, that’s valid! Just know it often comes at the cost of performance and reliability — and usually requires expensive servicing.

8. Digital vs. Analog: “Digital Is Always Worse”

The digital vs. analog debate is heated — but most of what you’re hearing comes from mastering choices, not the format itself.

Vinyl tends to sound warmer partly because it’s mastered more gently. Digital releases can be compressed or harsh, especially when aimed at earbuds or car speakers.

But well-mastered digital? It’s stunningly accurate. And if you like analog’s character — the tape hiss, the warmth — that’s cool, too. Just know that it’s a preference, not an absolute.

9. “If It Powers On, It’s Fine”

Powering on doesn’t mean it’s healthy — just like a car can start with no brakes.

Old gear can “work” while still having serious issues. Dying capacitors, out-of-spec resistors, and dry solder joints can hurt sound quality or even fry critical components. And that’s before we even mention fire hazards or electric shocks.

Rule of thumb: if the gear hasn’t been serviced, budget 20–30% of the purchase price for repairs.

10. “You Can’t Mix Vintage and Modern Gear”

This myth keeps people boxed in. But the truth? Mixing eras is totally doable — and often smart.

Want to stream Spotify on a 1970s receiver? Get a DAC (digital-to-analog converter). Want your vintage amp to play TV sound? Use an optical-to-RCA converter.

With a little planning, you can build a system that blends the warmth of vintage with the convenience of today — no compromises needed.

Bottom Line: Don’t Let the Myths Make the Decisions for You

Vintage audio can be incredibly rewarding — rich in history, sound, and aesthetic. But it’s also full of half-truths, outdated advice, and seller-driven hype. If you’re in it for the music and the joy of the gear, stay curious — and don’t be afraid to question the lore.

You’ll spend less, stress less, and get way more out of the journey.

Source: Headphonesty – 10 Vintage Audio Myths Keeping Collectors Broke, Confused, and Burned Out

The post 10 Vintage Audio Myths That Cost Collectors Big Money appeared first on Journos News - Breaking News, World News, Top Stories, Todays Headlines and Flash Reports.

8 Vintage Audio Legends That Aren’t Worth the Hype (or the Headache)

These iconic audio components may look cool—but owning them is a costly, frustrating experience you’ll want to avoid.

There’s no denying the allure of vintage audio gear. The tactile knobs, glowing meters, and warm analog sound can feel like a direct line to music’s golden era. But let’s be real—some of the most legendary equipment from the past isn’t aging gracefully. In fact, a few are downright nightmares to own, unless you’re a die-hard restorer with deep pockets and even deeper patience.

Below, we’re calling out eight once-revered pieces of vintage audio gear that have earned a place on every collector’s “Do Not Buy” list. We’ve rated each on a “Headache Score” scale ( to ) based on reliability, maintenance hassles, sound quality, and the true cost of ownership.

1. Bose 901 Speakers

— The EQ-Dependent Diva

What looked revolutionary in 1968 now feels like a cautionary tale. The Bose 901s use nine drivers per cabinet and depend entirely on a proprietary active equalizer. Without it, they’re literally unusable—and sadly, many used pairs come without this critical piece.

Even with the EQ, the sound quality is polarizing at best (think: boomy bass, nasal mids, no sparkle). Throw in decaying foam surrounds and compatibility headaches with modern gear, and it’s easy to see why these speakers are better left in the past.

Deal-Breakers:

• Needs proprietary EQ (often missing)
• Foam surrounds rot over time
• EQ can overload modern equipment
• Underwhelming sound

Costs Add Up:

• Speakers: $300–$700
• EQ (if missing): $50–$300
• Re-foaming: $150–$300

Buy This Instead:

• Modern: KEF Q350
• Vintage: JBL L100 Century

2. Monster Receivers (Marantz 2600, Pioneer SX-1980, Sansui G-22000)

— Big, Hot, and Overhyped

These ’70s-era behemoths were built for bragging rights during the “receiver wars,” but today they’re more of a burden than a blessing. Their oversized designs generate intense heat, cooking components and causing premature failures. Parts are nearly impossible to find, and their sound doesn’t justify the massive price tags.

Deal-Breakers:

• Overheats easily
• Scarce and expensive parts
• Ridiculously heavy (70–80 lbs)
• Pricey due to collector hype

Costs Add Up:

• Receiver: $3,000–$10,000
• Restoration: $900–$2,000+

Buy This Instead:

• Modern: Yamaha A-S801
• Vintage: Marantz 2275

3. Phase Linear 700 Power Amp

— The “Flame Linear” Fiasco

The nickname says it all. The Phase Linear 700 might look like a muscle amp, but it’s a walking fire hazard. It lacks protection circuits, runs hot enough to cook eggs, and is notorious for destroying both itself and the speakers it’s connected to.

Deal-Breakers:

• No speaker protection
• Catastrophic component failures
• Unsafe without extensive mods
• Repairs are costly and recurring

Costs Add Up:

• Amp: $400–$800
• Safety mods + refresh: $500–$1,000
• Replacing fried speakers: potentially priceless

Buy This Instead:

• Modern: Emotiva XPA-2 Gen3
• Vintage: Crown DC-300A

4. Linn Sondek LP12 Turntable

— Legendary… and Temperamental

The LP12 has serious audiophile cred, but maintaining one can feel like tuning a race car every weekend. Its spring-suspended design is ultra-sensitive to floors, positioning, and alignment. And if you’re chasing upgrade paths, be warned: Linn’s endless aftermarket options add up quickly.

Deal-Breakers:

• Touchy suspension setup
• Inconsistent sound performance
• Endless (and expensive) upgrade rabbit hole
• Needs expert tuning and regular servicing

Costs Add Up:

• Turntable: $1,000–$5,000
• Setup + annual service: $250–$500
• Upgrades: $500–$3,000+

Buy This Instead:

• Modern: Rega Planar 6
• Vintage: Thorens TD-160

5. Bang & Olufsen Beogram Turntables

— Beauty with a Price (and a Catch)

Beograms are undeniably gorgeous, but that elegance hides serious drawbacks. They use proprietary cartridges (rare and costly) and feature fragile electronics and finicky linear tracking systems that are tough to repair when they go wrong—and they will go wrong.

Deal-Breakers:

• Hard-to-find cartridges
• Delicate, failure-prone electronics
• Little-to-no support from B&O
• Complex, fragile tracking systems

Costs Add Up:

• Turntable: $200–$800
• Cartridge: $200–$500
• Repairs: $200–$400

Buy This Instead:

• Modern: Pro-Ject Debut Carbon EVO
• Vintage: Technics SL-1200

6. Magnavox “Astro-Sonic” Console Stereos

— Style Over Substance

These mid-century console units look amazing in a vintage living room—but behind the charm is underpowered, outdated tech. Proprietary parts, failing changers, and crumbling electronics make them restoration nightmares. You’re better off repurposing the cabinet than trying to get great sound from it.

Deal-Breakers:

• Obsolete components
• Poor sound quality
• Extremely heavy (100+ lbs)
• Multiple failure points (amp, speakers, turntable)

Costs Add Up:

• Console: $50–$200
• Restoration + refinishing: $500–$1,500

Buy This Instead:

• Modern: Wrensilva Standard One

7. Quadraphonic Receivers

— Surround Sound’s Dead-End Ancestor

Quadraphonic sound was an ambitious idea in the ’70s—but the competing formats (SQ, QS, CD-4) and lack of media made it a confusing flop. The decoding gear is finicky, the records are rare, and most people end up using these massive receivers in plain old stereo mode anyway.

Deal-Breakers:

• Confusing, incompatible formats
• Rare, pricey quad LPs
• Delicate, error-prone decoders
• Twice the amps = twice the trouble

Costs Add Up:

• Receiver: $500–$1,200
• Decoder repair: $200–$400
• Quad LPs: hard to find and expensive

Buy This Instead:

• Modern: Denon AVR-S970H
• Vintage: Pioneer SX-850

8. Vintage Tape Decks (Cassette & Reel-to-Reel)

— Analog Nostalgia, Mechanical Mayhem

Tape has its charm—but maintaining a deck is a full-time job. Belts melt, heads wear, rollers harden, and old tapes can shed oxide and gunk up your gear. Even top models like Revox or Nakamichi need frequent servicing and are becoming harder to repair properly.

Deal-Breakers:

• Belt and roller degradation
• Tape shedding damages heads
• Calibration is complex and costly
• Techs and parts are vanishing

Costs Add Up:

• Deck: $100–$1,000
• Overhaul: $200–$500
• Belt/roller/head servicing: $150–$300

Buy This Instead:

• If You Must: Restored Nakamichi CR-3A

The Bottom Line: Nostalgia Isn’t Always Worth the Noise

We get it—vintage gear is beautiful. But not all legends age well. Before you dive headfirst into the retro rabbit hole, know what you’re getting into. Some components are better admired from afar (or in a museum) than on your shelf.

Choose wisely, and you can enjoy that analog warmth without the burnout.

Source: Headphonesty – 8 Vintage Audio Icons That Should Belong on Every Collector’s ‘Do Not Buy’ List

The post Vintage Audio Gear That’ll Break Your Heart and Your Wallet appeared first on Journos News - Breaking News, World News, Top Stories, Todays Headlines and Flash Reports.

In Manchester, Mars Tapes is one of the last shops in the UK dedicated exclusively to selling music on cassette tapes. Co-owner Alex Tadross says business is thriving. “When the Oasis tour was announced, we sold out of pretty much everything related to Oasis,” he explains.

Cassettes from the 80s, especially those of Kate Bush, are also big sellers. Tadross attributes this surge to the popular Netflix show Stranger Things, which featured her music. He adds, “We get a mix of customers. Many are in their 20s and teenagers discovering cassettes for the first time, but we also have customers in their 40s and 50s buying them for nostalgic reasons.”

The shop’s own branded cassette players are also in demand. “We’ve had people come in to buy their first cassette players,” says Tadross.

Mars Tapes’ success is part of a larger trend of people seeking out and restoring vintage audio equipment. Between 2020 and 2024, Google searches for “CD player repair near me” increased by 23%, while searches for “audio equipment repair near me” grew by 91%, according to data from SEMRush. A Statista report also forecasts that the global electronics repair market will double in size, from $122 billion in 2021 to $240 billion by 2033.

But why are music lovers turning away from digital music services and seeking alternatives?

For some, modern devices like Bluetooth speakers and earbuds lack the unique character of older equipment. “The market is flooded with devices that prioritize price and convenience but offer a sterile, impersonal experience,” says Sarah Dodge, strategic design manager at the Ellen MacArthur Foundation. “When you repair something, you develop an attachment to it, which makes the experience more empowering and rewarding.”

Mark Maher, who runs Perton Electronics in the West Midlands, was once a manager for a multinational power transmission company. But as demand for repairs grew, he decided to leave his job and focus on fixing audio equipment full-time. “It got so out of hand that I had to close the contact section of my website,” Maher explains. He has been restoring a wide range of audio gear, including Sony Walkmans, radio tape decks, and portable CD players—items that customers are eager to restore for nostalgic reasons.

Maher believes vintage equipment is more durable and repairable than modern gadgets. “Things were built better back then,” he says. “They’re much easier to fix, and there’s a shortage of people who can repair them now.”

Maher also runs a YouTube channel, Mend it Mark, which has nearly 100,000 subscribers.

The refurbished tech marketplace, Back Market, reports that its audio equipment category has grown by an average of 123% annually since it launched in 2016, with record players being the top sellers. At the Fixing Factory, a repair center in Camden, London, manager Dermot Jones says audio equipment makes up a large portion of the repairs they handle. “Old gear lasts longer, and we can often find service manuals for equipment up to the 1980s,” he explains. “In contrast, modern equipment is often designed to break and is hard to fix.”

Jones also points out that older equipment often comes with diagrams inside, making it easier for technicians to repair.

This growing interest in repair is in line with the circular economy, which aims to keep products in use for as long as possible. Sarah Dodge explains, “Instead of sending products like CD players to landfill, repairing them ensures that all the energy used to create them isn’t wasted.”

For many people, restoring old audio equipment brings back powerful memories. Mike Hammond from Wolverhampton shared the story of fixing a record player his wife, Ellen, received as a gift from her parents in 1960. After it broke, Mike found Mark Maher to repair it just in time for Christmas. “On Christmas Day, I asked Ellen to go into the utility room, where she found the record player playing A Hard Day’s Night by The Beatles,” Mike recalls.

Ellen’s reaction was emotional. “There were tears,” she says. “Some of my cousins visited and said, ‘Oh my god, we remember seeing that record player at your house.’”

This heartfelt story exemplifies why vintage audio equipment is experiencing a resurgence—not just for its sound, but for the memories it helps revive.

Source

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