Elettroacustica

About the Company

Elettroacustica — Italian Reel-to-Reel Tape Deck Manufacturer

Brand: Elettroacustica
Country: Italy
Active in Reel-to-Reel Production: Mid-1950s – late 1960s (approx.)
Market Focus: Consumer, educational, light professional
Reputation: Small-scale Italian craftsmanship; simple, reliable designs

Brand Background

• “Elettroacustica” (literally electro-acoustics in Italian) was used by several small Italian electronics workshops and companies, most often as:
  Elettroacustica [city or family name]
  Or simply as a product brand rather than a large corporation

• These firms emerged during Italy’s post-war industrial revival, particularly in northern Italy (Lombardy, Piedmont, Veneto).

• Production volumes were low, often regional, and documentation is sparse compared to major brands like Geloso, Magneti Marelli, or Allocchio Bacchini.

Entry into Reel-to-Reel Tape Recording

• Elettroacustica-branded reel-to-reel machines appeared in the mid-1950s, when magnetic tape recording began spreading through Italian households, schools, and cultural institutions.

• Early machines were:
  Mono
  Tube-based
  Intended for speech, music playback, and amateur recording

Typical early characteristics:

• Tape speeds: 3¾ ips (9.5 cm/s), sometimes 1⅞ ips

• Reel sizes: 5″ or 7″

• Full-track mono

• Two-head transports

• Heavy steel chassis with wooden cabinets

• Often sold with a built-in amplifier and speaker

Late 1950s–1960s: Maturity of Production

• During the late 1950s and early 1960s, Elettroacustica tape decks became more refined:
  Improved transport stability
  Better head assemblies
  Cleaner amplifier layouts

• Some later models adopted early transistor stages, though many remained valve-based well into the 1960s.

Features seen on later units:

• Two-speed operation (3¾ and 7½ ips on higher models)

• Line-level input/output for external amplifiers

• More compact tabletop formats

• Conservative, functional styling typical of Italian workshop production

Stereo recording was rare, though some machines supported stereo playback via external amplification.

Market Position

Elettroacustica decks occupied the lower-to-mid consumer tier of the Italian market and competed with:

• Geloso (lower models)

• Castelli Magnetofoni

• Minerva

• Radio Industria

• Early Philips imports

They were not studio machines and did not compete with professional brands like Studer or later Revox.

Decline and End of Production

• By the late 1960s, several pressures reduced demand:
  Arrival of high-quality Japanese tape decks
  Growth of compact cassette systems
  Consolidation of Italian electronics manufacturing

• Most Elettroacustica reel-to-reel production ended by the late 1960s or very early 1970s.

• Many small firms either:
  Closed
  Shifted to repair work
  Moved into loudspeakers or PA equipment

Legacy

• Elettroacustica reel-to-reel tape decks are today:
  Rare
  Mostly found in Italy or Southern Europe

• They are valued for:
  Hand-built character
  Simplicity and repairability
  Representation of Italy’s early tape-recording industry

They are not audiophile reference machines, but can sound surprisingly good when restored.

Summary

Elettroacustica was an Italian reel-to-reel tape deck brand active mainly from the mid-1950s through the late 1960s, produced by small manufacturers rather than a single large corporation. Its machines were mono, tube-based, and designed for home, educational, and amateur recording. While limited in production and technical ambition, Elettroacustica decks represent an important chapter in Italy’s post-war audio manufacturing tradition.