The transcription of this episode to help digest the information contained in it:
This is an audio version of a PowerPoint presentation that I deliver to audiences at audio shows and hi fi shows across the UK and it's on buying a real to reel tape recorder. I've been working in the format since 1988 over 30 years and it's probably easy to assume, and it's a mistake really, (that) there is a certain level of knowledge by people getting back into this format: We know what the different types of tape are, the different track formats, what the speeds are and what machine you'll need to place say pre-recorded tapes. Or if you're planning on creating your own.
So really the salient points that you need to consider are application are you going to use it for playback only or to record and play? Because there are some machines and new machines available because they are making new machines there as at least four to my knowledge on the market now, but one of which is a playback only machine. So that's something to consider. Are you going to create your own collection on tape after that we've got real size. What size of reels do you wish to play? They come in a whole selection from 3 inch, even up to 14 inch or have to say I wouldn't touch 3-inch diameter reels. They're really only for sort of not taking machines that were created in the 1950s through to the 1970s and big 14-inch reels, you can no longer buy the tape for them. and they only go on specialist machines. but between there you've got say 5-inch reels, 7-inch diameter reels and the ones that seem to be most desirable, 10.5-inch diameter reels. They will obviously dictate the recording time based on the tape, speed of the machine. And I'll come through to that in a minute.
After that track layout. Do you want two or four tracks? Now when we come to four track machines there are two formats of four track. There are two tracks and then turn the tape over to play the other two tracks. Much like a record, you play side one and then you play side two. On side one it will play track one and three which is the left and right track respectively of the stereo recording, turn the tape over and it will play track two and four left and right track respectively of the other side. Now that's not to be confused with 4 track multitrack machines that are used in recording where perhaps you can put a backing track down on track one of a guitar or a keyboard and then on track 2, 3, 4 you can sing along to it or add other instruments. They are really specialist machines used for multitrack recording and are outside the scope of this presentation. You've also got two track machines. They're the one that's most common. They will play a stereo track. But how they put that left and right track down on the tape is as a already mentioned. Is it a double-sided machine or does it use half of the tape to play the left track and the other half of the tape to play the right track?
Tape speeds: 3.75 through to 15 ips. They're the only tape speeds I would consider. Three and three four is the slowest speed I would consider for any decent quality. There are machines that will even go half that speed, but I really discount them. They're really kind of getting into almost I said note taking machines or ones that were I would not class as even semi-professional. The vast majority machines will run at seven and a half inches per second. And this is what a lot of the pre-recorded tapes of the 1960s through to the 1970s were recorded at. And finally professional format of 15 inches per second. There is a 30 inches per second format machine that is for professional use only. So you've got 3, 3 quarter, 7.5 and 15 inches per second. Earlier I spoke about reel size. You've really got the amount of tape obviously held on a reel and the tape speed that it's moving past the heads at would dictate the recording time you're going to get on a reel. To give you an example a 10.5”-inch reel running at 15 inches per second if it's fully full of course with tape would give you half an hour of recording time.
After that single or bidirectional play machines. This is what I mentioned about double-sided tapes playing tracks 1, 3 and 2 and 4 bit. To play it the other side you physically have to turn the tape over. Some machines will once they get to the end of one side will usually by metal foil that's in the tape will bridge a contact and tell the machine to go into the opposite direction and it will play that other side of the tape. The tape instead of the conventional left to right direction it will move it from right to left and it'll play the other side of the Tape in the opposite direction, and you can get some machines that will both record and play in either direction. Alth though the vast majority of bidirectional play machines will play in either direction but only usually record in one direction which is usually the conventional left to right tape movement
EQ that is a whole subject for discussion NAB or IEC which is also, you might read CCIR IEC and CCIR EQ is exactly the same thing. That's something you need to consider. if you're buying pre-recorded tapes it will have an effect on the replay quality but quite honestly not a massive amount. But I'll talk about that.
And finally new or used which also has an impact on your budget. Of course, now the vast majority of machines will be used and I'd only consider ones from say the 1970s through to the 1990s. Tape machine manufacture really dropped out by 1992. That's when everything stopped. Although Atari did carry on making machines a little bit later than that. But the vast majority of tank manufacturers finished by 1992. from 1970s onwards they started to use transistors in the audio and control and you're also getting software control on the transport Instead of having mechanical switches to put the machine into record and play. There were soft touch buttons, and these are the machines I would consider machines such as Akai and Revox. Those kind of machines from that era 1972 to 1990 are the ones to consider if you're going for the used market if you have the money. as I said there are new machines being made, you could consider new, but they are considerably expensive. The actual manufacturing and the size of machine dictates the shipping costs, that kind of thing. you could consider new ones but be aware you're not going to pick those up at any cheap price at all.
So, let's look at our application: Reel Size.
As I said we've got 3-inch suit to 14-inch reels but really consider reels of tape either at 5-inch, a 7-inch or 10.5” inch diameter. The other thing to look at is of course the tape type I mentioned earlier that you can at 15 inches per second with a full reel of tape on a 10 and a half inch diameter spool get half an hour s recording to that's with standard play tape you can actually get double and triple play tapes which will extend that recording time through to an hour or even 90 minutes running at 15 inches per second. Although I would caution using triple play tape, because the way they get more tape on the reel is to make the oxide on the tape, the actual rust basically that holds a magnetic information, the magnetic signal and the backing that it's stuck to. They make those two things very thin, in order to fit a lot more tape onto the reel. And that means the tape is not mechanically robust. And if you're shuttling the tape backwards and forwards, it can mean sometimes you can easily damage the tape if the machine snaps or snags or it might run off the transport. With triple play tape being so thin, it is very, very prone to damage. Double play tape is okay. There's a company called RTM Recording the Masters. they're a French company and they make a brand of tape called LPR35, which is a long play tape. And you'll probably get about 45 minutes to an hour of recording time on a 10 and point half inch reel using double play tape. But the main tapes I would consider using are standard play 1.5mm thick recording tape, which will give you that 30 minutes of recording time at 10.5”-inch reel. On a 7-inch reel it'll give you about 15 minutes running at 15 inch per second. And on a five inch, about seven and a half minutes of recording time. Of course, if you're halving the speed, say to 7 a half inches per second, you just double rows recording times. So, you'll got an hour at seven and a half inches per second on, on a 10.5”- inch reel through to 15 minutes and a 5-inch reel and again half your tape speed, again three and three quarters. You get half an hour on a5-inch reel, up to nearly two hours on a ten a half inch spool using standard play tape. But of course, there's always that trade off in audio quality. the lower tape speed you are prone to increase tape noise. And if there's any dropouts, if there's effectively any holes in the oxide, which means you can get a slight reduction, even no audio recorded on that hole. It depends how big the, the imperfection in the magnetic surface of the tape is. Of course, the longer the tape speed, the larger the dropout is going to be because obviously it's taking a longer time to pass the recording. Head track layout.
Two or four tracks: Well, the machines I would consider are two track machines. The vast majority of machines you will come across run a two track I'm thinking of particularly such as something like the Revox B77. That will be a two-track machine. It will take a quarter inch wide tape and effectively divide it in half. It's not quite in half, it's actually smaller, because we have got things called guard bands either side of their two tracks, to protect the two tracks from interfering with each other. But it'll take a quarter inch tape roughly divided it half the top half of the track. As you look at the tape going past the heads will be the left channel and the bottom track will be the right channel. When we get into a four track machines, which will have side one and side two. They further divide the machine into four. I said even less than that because we have our guard bands to take into account. As you look at the tape on the heads, the top track is the left track of side one. we then jumped around to the third track which is the right track of side one. And then up a little bit, jump up we have the right track of side two and right at the bottom of the tape we have the left track of side two. So in other words when you turn the tape over we have got a left and right track in the right position to replay the other side of the tape. When you get into machines and bidirectional, so they'll play the tape in one direction and then reverse and play it in the opposite direction. They invariably have a second head which is set where the replay heads are set slightly lower to pick up the left and right tracks appropriately on the other side of the tape. So, when the tape is played in the opposite direction, it replays the audio on that side of the tape in the correct way.
Tape speeds: I've touched on 3.75, 7.5 and 15 inches per second. The general rule is the faster the tape speed, the better you get lower tape noise. The effect of tape dropouts is minimised, and you do get a better high frequency response. Basically, you're getting lower tape noise. So tape noise is effectively the magnetic particles scraping across the head, plus the audio electronics which all tend to be at a higher frequency. They can mask the higher frequencies of the audio that you want to record and replay. But the higher the tape speed, the lower the tape noise and therefore you're getting this bonus of a better HF response. The cons of a higher tape speed are well the general rule, the faster the tape speed the shorter the recording time on the reel, I've touched on that. Unless you're going for a long play tape, you're only going to get half an hour's recording time on a 10.5”-inch reel at 15 inches per second you get increased cost per inch. This is something we have to bear in mind. A reel of fresh tape. I touched on that 10, a half inch diameter reel of tape that's going to cost you around 50 pounds, $50 and that excludes your shipping cost in any local taxes. And if also if you want it on nice aluminium reel because they do actually apply it on cheaper plastic reels, if you want it on a nice aluminium reel, it's going to cost you a little bit more than that and you are going to get a slight reduction in the LF response. It's strange that the faster the tape speed you get a better HF response. But you do get a slight reduction in the LF response. But it's really only relative to when you're running the machine at 30 inches per second, which is outside the brief of this particular webinar. Yes, some purists will say it will start to suffer the faster the tape speed, but I wouldn't really take that as a major issue. Go for your fastest tape speed you possibly can based on the cost of the tape and of course the recording time that you want off that particular diameter sized reel.
Single or bidirectional play machines: The pros, yes. You get a long playback time, you've no need to manually turn over the tape. You can play a tape perhaps on a pre-recorded tape running at seven and a half inches per second. You get half an hour, maybe even 45 minutes on one side and without changing the tape physically, the machine will get to the end of side one and automatically reverse and play the other 45 minutes of side too. There is a compromise though. In my experience of working on bidirectional machines, I have never found both directions to be equal in quality. There is always a compromise. You can set the tape up to run say from the conventional left to right. It will run past the erase head, run past the record head, run past the replay head, all nicely through the transport and you can set the machine up for the optimum there. When you have a bidirectional machine, invariably you have a second replay head which as I said earlier, the heads are slightly in a different position relative to the other head. So when the tape is played in the opposite direction, it can pick those two, other tracks up from the other side. You're moving the tape in the opposite direction and perhaps your pinch roll is not in the optimum direction. Some bidirectional machines do have twin pinch rollers. Got to take that into account as well. You've got a pinch roller will need replacing. You've got a two pinch roller machine. That's double the cost. But I've just found both in tape speed or tape handling, but also the audio quality. Both sides are never identical in each direction. There's always compromises, to be made. It's not necessarily that the conventional direction left to right is worse than the reverse direction of right to left. It could be the other way around. It could find that the reverse direction is actually better quality. The machine is. It just sounds that little bit better. But basically, you pays your money and takes your choice. Do you want that long playback time and ease of use or do you say no, I want the best quality I can possibly get out of my machine.
Well, there are New Machines. I've touched on that. About four manufacturers. there is a company called Ballfinger from Germany. a man called Roland Schinder is producing some great machines. Now Ballfinger, it's a great name, isn't it? But it came originally from Roland who was a designer, created a very strange light, sort of a desktop light. It was a very thin upright sort of bar and then there was a large ball on the end, and it was called the ball Finger Light. Well, he's a designer, German designer and taken his experience to tape machines which he always wanted to create. And the machine he's created, or one of the machines he's created is the Ballfinger MO-63 machine. It's a lovely machine. It's available in both replay only and record. And replay. Replay only on a tape machine is not that complicated. Once you ve crack the transport of moving, the mechanics of moving the tape from left to right, the actual audio side of replaying a tape is not that complicated. When you start getting into recording though, you, as well as your extra recording amps, your extra record head, you've also got a thing called your BIOS amplifier and you need to make other changes to the machine, to accommodate the recording side. So the complexity goes up. So he makes a replay only machine and a record machine, but correspondingly they vary in price. And obviously doesn't take a genius to work out that recording machine is a lot more expensive than the replay only machine. Thorens make the TM1600. Now this is actually made by Ballfinger. It's a badge engineered machine using parts of their transport of their MO-63 but it's replay only. If you're checking my past episodes of the Press Play podcast you will see an interview I recorded with the CEO of Thorens and I asked him why it was a replay only machine and he told me Thorin's philosophy is they make turntables, they replay only devices and therefore the Thorens reel to reel tape recorder offering will be replay only. Some people think well, why replay only? Well obviously it can take advantage of the many pre-recorded tapes that were produced either vintage ones from the 1960s through say to the 1970s or you can get now pre-recorded tapes, audio file grade ones at record companies and recording companies are producing to play on that machine. So you've got your new machines. There is also a couple of tape machines from a company called Metaxis and Sins Costas Metaxis. He's a chap, living in Greece now but I believe he held from Australia. Again, searched through the Press Play podcast past episodes and I think it's around episode 13. I did a two part podcast with Costas about the machines and his philosophy of bringing these beautifully engineered machines to the market. He bases them on the Stellarox machine, which was a Swiss machine, a beautifully engineered like typical Swiss watch type engineering. The Stellavox and Nagra, they are a similar genre machine. He bases his machine called the TRX on the Stellarox. Ah, beautifully looking machine, lots of milled aluminium in both natural silver but also anodized red. And he's also produced another machine called the Papillon if I remember, which is French for butterfly. And the actual design of the machine, very skeletal looking design. He's produced that and I think he's produced that in limited numbers. These machines though, they are not cheap. I mean I mentioned the Ballfinger. I think you're looking at something like $25,000 or something like that for the replay only. And I'm probably heading towards $30,000 for the record version. I think the Thorens machine is probably about 14,000 dollars if I remember or something like that. Costas' machines are even more than that. He told me the Papillon was about $80,000 to buy, and he was making that in limited quantities, and he was selling them. So, it shows that there is a market and people prepared to pay that kind of money.
If your budgets a little bit less than that. Well maybe you'll consider where the vast majority of machines will come from. Those being used machines hailing from the 1970s through to 1990s I'm thinking such as the TEAC A series and the X series. But also, there's the Akai machines as well. Pioneer, they made some lovely machines. The RT 707 and the RT 909 and of course Studer had their Revox brand. You could consider the A77 or B7& from Revox or look at their Studer offerings which are further up the scale such as the B62 or the B67 or indeed the A807. If you really want to spend a lot of money, then you can go up to the studio A810 which is a fully professional studio machine. But even a good quality one of those is going to cost you about £4,000. And if you want a pristine one you're looking at least six, a half thousand pounds. Six half thousand dollars for one of those. Pioneer, they do produce the beautifully looking RT909. lovely big blue display, big counters, bidirectional machine finished typically in pioneer 1980s style silver finish. They are fetching around $1,000 to $1,500 now for good quality ones. People like them because they look nice in their listening rooms, nice in their living rooms. TEAC A series, they produced a whole range of machines. The TEAC A2000 machine up to the 7000 series were all 1970 style with wooden side cheeks on the very simple machines and very well built and quite nice sounding machines as well. But you will be looking probably around $350 to $400 plus probably up to $1,000 for a good one of those. The other thing to consider is you might get the machine running well. Good transport, handling, good tape speed, tape runs through the heads nicely, good audio quality to both record and replay. But if you then want the machine to look pristine on the outside with no scratches and damage because you've got to remember these machines are heading towards 50 years old. Some of them with the earlier TEAC A Series you've got to realise that that kind of finish on the machine start to cost where you're Looking for replacement panels or wooden side cheeks to be made or refurbished. the other desirable ones are things such as the TEAC X-2000 and X-1000. The TEAC X-2000 was the machine that appeared in the cult film Pulp Fiction and a result of that has got quite a following and people are after those. They're very desirable machines. A little bit lower down in spec but please don't dismiss it is the X-1000 they did an X-1000R which is reversible. You can consider their semi-pro offering such as the X-10 which is quite a nice machine and some of the Tascams, because TEAC morphed into Tascam. Some of the Tascam machines such as the semi-pro Tascam 32 and 32B are certainly worth considering.
Akai produced some lovely machines, their GX range. a lot of people get into the entry level machines such as Ah, their GX4000 series. Mainly they were mechanical in the way that they moved the tape. You had big sur of switches and levers to put the machine into play or record or fast forward and rewind. Although the electronics are still very good. Quite a small compact machine to have in your listening room. They date from about the early 70s. nice little machines but they're starting to show their age in terms of mechanics and they do need some work done internally to grease all the mechanical parts because it's all rods and levers that are moving underneath the deck plate. Moving into their later GXs such as their 6635 which is a very desirable and nice-looking machine. that's certainly something to consider. Bigger footprint, quite a large heavy machine but does look very nice. I mean indeed some of the Japanese machines like the Pioneers and the Akai are nice to look at. Whereas perhaps the TEAC A series and the Revox A77 and B77 nice as they are and I wouldn't dismiss them, they do look a little bit industrial. So that's something to consider. But you're looking probably prices from anything from $350 easily $2,000 for pristine one of those.
The Revox B77. We can't do any presentation without mentioning that the most desirable one of the Revox B77 range is the Mik2 high-speed which means it runs at 7.5 and 15 inches per second. As I said can be quite an industrial looking machine for some people taste, all silver edging and then sort of this grey green facia finish, both top and bottom. But they made nearly 500,000 of these machines and they are actually quite simple to maintain. So as a result, there's a lot of them around, there's a lot of parts available for them and indeed there's companies now making new boards using new electronics, new electronic components, which are probably actually quieter and better with the components they've used than the original one that Revox used in the 1980s. But they're still very, very nice machines. Very solid, quite simple to use, a no-frills machine and the audio quality is very, very nice as a result.
EQ NAB or IEC CCIR: NAB stands for National Association of Broadcasters and IEC stands for International Electro Technical Committee, if I remember, the former is an American organisation, and the latter is a European or Pan European organisation. When recording formats were introduced in say the late 1940s through to 1950s, it was realised that magnetic recording is inherently nonlinear. You can't just put a frequency of say 100Hz in at one particular level and then put 1Khz or 10Khz a higher frequency at the same level and expect it to go onto the tape in the same volume or the same level as the other frequencies. It is inherently nonlinear in the way the magnetic recording process works. The other issue they had in the 1950s with audio electronics, there was potential for mains hum and other electronic noises when some of these machines were valve technology before they moved over to transistors and IC devices for the audio and control electronics. And they were inherently noisier, there was more hiss coming out of the electronics and thus going on to the tape. So the NAB, the National Association of Broadcasters, decided there'd be a tone control curve, effectively an EQ curve. EQ stands for equalisation in both the record, the way that the audio is treated before it's put on the tape and then similarly in replay, the reverse treatment as it comes off the tape to give you a pleasing replay result. And what they decided to do was in record they would boost the lower frequencies and reduce the higher frequencies of the audio that was recorded. It reduces the higher frequencies by about 10 dBs at about 20 kHz. Don't worry too much about that. But it does effectively roll the audio off from about 2 a half kilohertz upwards in a gentle slope up to 20 kHz. this was to get over some of the tape hit issues in replay. It reduces that low frequency replay level to compensate for the boost that was done on recording. In effect also reducing the mains hum that might be evident the on the tape. And also boosted the HF in the quieter electronics rather than just recording the material flat onto the tape with the idea that it would then make the replay sound a linear frequency response from the lower frequencies through to the higher frequencies. Tape technology moves on through to the SOR19 60s and it was decided by the IEC, the International Electrotechnical Commission in Europe that you didn't need to worry about the low frequency boost anymore that the NAB had introduced. And they just put that low frequency just untreated as it came out of the amplifier. It went straight through the record amplifiers of the machine and onto the tape with the hf. They still rolled it off a little bit as part of the equalisation curve. And then in replay the HF boosted slightly to compensate for the drop in HF when they recorded it. Now if you have an NAB recorded tape and you play it back on an IEC EQED machine or vice versa IEC recorded tape on a NAB recorded machine there will be some slight replay differences but not a major one. If you have an IEC tape and play it on an NAB machine it will result in the low frequencies being at a lower level by about 2 decibels or vice versa. So if you have an NAB tape played on an IEC machine the base frequency will be about 2 decibels higher. It will be slightly noticeable if you know what you're looking for. But really 2 decibels is not going to be a great shake and I wouldn't worry too much about it. The high frequency roll-off on and recording and boosting on replays is really pretty much the same so that shouldn't have any effect. You will find though a lot of pre-recorded tapes from America will be recorded to the NAB standard. And if you live in Europe, you're likely to have an IEC equalised machine. some machines are ah, switchable machine I'm thinking in particular is the Revox A77 that has a switch on the front for either IEC or nab and that's to replay IEC or NAB tapes. It will only record in the amplifier equalisation that it's set up for and that will usually be a sticker on the back that will say IEC or NAB record amps. However, if you've got a pre-recorded tape that's been recorded in, say, America in the 1960s to the NAB standard. You can switch your A77 to NAB and it will return play, okay. Or vice versa and IEC tape. You can switch it to IEC and it will, happily play there.
The vast majority of Japanese machines and European machines, such as your Akai, and your TEAC, your Studer/Revox’ will all be IEC record and replay. But I said they might be switchable as well. American machines such as your Ampex’, which you might come across will more likely be NAB. But I'm also thinking machines such as purely professional ones here, MCI, they are switchable between NAB and IEC equalisation curves.
Stock faults: These are things you might need to look out for if you're planning to buy a, used machine. All these machines are a minimum of 30 years old now. As I said, they stopped making reel-to-reels in around 1992 and as a result they are well passed their manufacturer's expected lifespan. Machines being electromechanical devices will wear out. The rubber parts will dry out, the electronic components will dry out. Capacitors especially, there's no such thing as, as a permanent seal. And what can happen is the electrolytic, as it's called, within the capacitors can leak out and the capacitors can fail and sometimes go pop with great effects. Smoke piles out the machine. Not the end of the world. Just switch the machine off if it does it. But you will need to consider to get those capacitors replaced before they go pop. it's a thing known as recapping. And you'll see a lot of people talk about that on the various social media forums I mentioned about rubber, your pinch rollers, some machines such as a TEAC and your Akai and Pioneer’ have rubber belts inside them to drive the capstan from the motor ages rather than use is really, the enemy of rubber belts. People say, oh, it hasn't been used in about two years, yes, but that means the rubber belt has sat in one position. I've literally seen the belts as they go around, have a kink in them because they've been, turned around the rollers and just been left on the roller for so long that they've got their own sort of shape. And of course, rubber will dry out. Some rubber, bands as well also turn to goo. It turns to like a tar substance and I've had that just wrap itself around the inside of the machines as well and sprays all over the inside and it takes quite a long time to clear all this tar-like muck off.
These are electro-magnetic machines. They've got a lot of mechanical moving parts inside them. I mentioned about the little Akai GX4000s with lots of rods moving around. The problems they have is the grease they used on the machines dries out and it goes solid and doesn't do its lubrication job anymore. And therefore, the poor old machine is very creaky and you have to consider stripping all that old grease off. You clean it all off and then re lubricate it with new usually lithium grease which is a high temperature grease that doesn't run. So, you've got those things to consider to keep the machines working. And these are the stock faults that you might well find on some machines.
The other thing that people do get concerned about is headwear on a machine. Tape running across a metal head that's effectively rust iron oxide stuck on a backing on a metal head. It's like a file. It's actually wearing the head down as the tape runs over and it will put a wear patch into the machine. you can get the heads, what's called, re-lapped which is putting the profile back onto the head. It does take some hours off the head when you do a re-lap but it will improve the transport and restore the frequency response of the head. But that's only if the head has got enough life left in it to be relaxed. If the head is so worn that you try and attempt to re-lapp it, you can actually just wreck the head and it's dead. It's past its life expectancy. Re-lapping is not that expensive to do albeit you then have to set the heads back up on the head block. If you have to buy new heads, heads are being made, but they're not that readily available. They are available if you know where to look for them. But you'll still be paying several hundred dollars for a complete set of heads. Remember some of these machines might have four heads on them and a raised head, two replay heads if it's bidirectional and a record head. some machines like the Akai GX-77 which is a bi-directional machine, will record and replay in both directions. Meaning it has a complete set of two replay heads, two record heads and two e raised head. Six heads on the machine all being in contact with the tape and being worn regardless of the tape direction. So as a result of that, you could be up for replacing all six heads on a machine, which will not be cheap.
So lastly, you've got to think about what your Budget is, when you're buying a machine, not just the purchase price. And you might think you've got a great deal there, but what's the actual cost going to be once you've bought the machine? Don't think within age of these machines of a minimum of 30 years old, sometimes up to 50 years old, that you're going to get a machine that's fresh out of the box and you can just sit it on your shelf, plug it in and listen away. I'm afraid with this format it doesn't work like that.
Well, I hope this, audio version of this presentation of buying a Realtor Real Machine has answered a few questions. I'm more than happy to take questions. If you wish to drop me a line, you can do that via my Facebook page, Real Resilience and through Facebook messenger or if you go on my website realresilience.co.uk there's an inquiry book, a repair form. Please send me your inquiry that way and I’ll aim to get, in touch with you within say, 48 hours or two working days, not over the weekend. If you send the message on a Friday, expect the answer by hopefully Monday or Tuesday the following week and I'll be more than happy to offer my advice there.
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