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Bing Crosby, a top movie and singing star, was stunned by the amazing sound quality and instantly saw the huge commercial potential of the new machines. Live music was the standard for American radio at the time and the major radio networks didn't permit the use of disc recording in many programs because of their comparatively poor sound quality. Crosby disliked the regimentation of live broadcasts 39 weeks a year, preferring the recording studio's relaxed atmosphere and ability to retain the best parts of a performance. He had asked NBC to let him pre-record his 1944-45 series on transcription discs, but the network refused, so Crosby had withdrawn from live radio for a year. ABC agreed to let him use transcription discs for the 1946-47 season, but listeners complained about the sound quality.

Mullin's tape recorder came along at precisely the right moment. Crosby realised that the new technology would enable him to pre-record his radio show with a sound quality that equalled live broadcasts, and that these tapes could be replayed many times with no appreciable loss of quality. Mullin was asked to tape one show as a test and was immediately hired as Crosby's chief engineer to pre-record the rest of the series.

Crosby's season premier on 1 October 1947 was the first magnetic tape broadcast in America. He became the first major American music star to use tape to pre-record radio broadcasts, and the first to master commercial recordings on tape. The taped Crosby radio shows were painstakingly edited through tape-splicing to give them a pace and flow that was wholly unprecedented in radio. Mullin even claims to have been the first to use "canned laughter"; at the insistence of Crosby's head writer, Bill Morrow, he inserted a segment of raucous laughter from an earlier show into a joke in a later show that hadn't worked well. Soon other radio performers were demanding the ability to prerecord their broadcasts with the high quality of tape, and the recording ban was lifted.

Keen to make use of the new recorders as soon as possible, Crosby invested $50,000 of his own money into the Californian electronics company Ampex, and the tiny six-man concern (headed by Alexander M. Poniatoff, whose initials became part of the company name) soon became the world leader in the development of tape recording, revolutionising radio and recording with its famous Model 200 tape deck, issued in 1948 and developed directly from Mullin's modified Magnetophons.

Tape recording at the BBC

The BBC acquired some Magnetophone machines in 1946 on an experimental basis, and these were used in the early stages of the new Third Programme to record and play back performances of operas from Germany (live relays being problematic because of the unreliability of the landlines in the immediate post-war period).

These machines were used until 1952, though most of the work continued to be done using the established media; but from 1948 a new British model became available from EMI: the BTR1. Though in many ways clumsy, its quality was good, and as it wasn't possible to obtain any more Magnetophones it was an obvious choice.

In 1963 The Beatles were allowed to enhance their recordings at the BBC by overdubbing. The BBC didn't have any multi track tapes. They would copy them onto another tape.

In the early 1950s the EMI BTR 2 became available (right); a much improved machine and generally liked. It became the standard in recording channels (rooms) for many years, and was in use until the end of the 1960s.

The machines were responsive, could run up to speed quite quickly, had light-touch operating buttons, forward-facing heads (The BTR 1s had rear-facing heads which made editing difficult), and were quick and easy to do the finest editing on.

The tape speed was eventually standardized at 15 ips for almost all work at Broadcasting House, and at 15 ips for music and 7½ ips for speech at Bush House. Broadcasting House also used the EMI TR90 and a Philips machine which was lightweight but very easy and quick to use: Bush House used several Leevers-Rich models.

The Studer range of machines had become pretty well the studio recording industry standard by the 1970s, and gradually these replaced the ageing BTR2s in recording rooms and studios. By the mid-2000s tape was pretty well out of use and had been replaced by digital playout systems.