Introduced in 1949, the Ampex 300 Tape Recorder was a landmark development in professional recording technology, following the success of the Ampex 200A. It quickly became the industry’s standard machine for studio and broadcast mastering, establishing Ampex as the leader in magnetic recording worldwide. The Ampex 300 series was designed to meet the demanding needs of professional users requiring the highest fidelity and reliability for monophonic and stereophonic recording. Built with heavy-duty construction and precision mechanics, the Ampex 300 provided virtually negligible flutter and wow, and its low distortion and wide frequency response ensured recordings of unmatched clarity.
Electrically, the Ampex 300 series was offered with one to four channels and up to eight in custom configurations. It supported multiple equalisation standards including NAB, CCIR, and Ampex Master Equalisation (AME), the latter providing an additional 7 dB of signal-to-noise improvement across the 2 kHz to 6 kHz range, an important advantage when mastering 4-track stereo tapes. Each channel employed a modular plug-in chassis design with tube electronics that could be removed for maintenance or upgraded as technology advanced. Frequency response extended from 30 Hz to 15 000 Hz, with a signal-to-noise ratio exceeding 60 dB and wow and flutter so low they were effectively inaudible.
Ampex also introduced the optional “Sel-Sync” (Selective Synchronisation) system on the 300-3SS and 300-4SS variants. This innovation allowed the use of a record head as a temporary playback head, enabling sound-on-sound overdubbing while other channels were still recording. This capability transformed the creative possibilities of recording, famously adopted by Les Paul and Mary Ford for their pioneering multitrack recordings. The Ampex 300 series could be ordered as console or unmounted versions, and single-channel models could later be converted to three-channel units through available upgrade kits.
Durability and precision were hallmarks of the Ampex 300. Its alignment remained stable after thousands of operating hours, with long-life magnetic heads maintaining performance for up to 18 000 hours of use. Maintenance was simplified by the plug-in modular design and easy access to all key components. The unit’s reliability, superior audio performance, and ease of servicing made it the preferred choice for studios worldwide throughout the 1950s and early 1960s. By the time the Ampex 351 succeeded it in the early 1960s, the Ampex 300 had already become a studio legend, forming the backbone of countless historic recordings.
Features
- Negligible flutter and wow, ensuring distortion-free master recordings
- Flat frequency response from 30 Hz to 15 000 Hz
- Multiple equalisation standards: NAB, CCIR, and Ampex Master Equalisation (AME)
- Three heavy-duty motors for superior tape handling and precision
- Massive flywheel and precision capstan drive for steady operation
- Fast start/stop and slow transport control with recessed buttons
- Long-life magnetic heads lasting up to 18 000 hours
- Available in single, two, three, or four-channel configurations (expandable to eight)
- Optional “Sel-Sync” system enabling sound-on-sound recording
- Console and unmounted versions available
- Rugged, modular design with plug-in tube electronics
- Virtually maintenance-free under continuous studio operation
- Guaranteed adherence to all published performance specifications
