4 comments

  1. Yeah that was crazy. He was working with Kanye West, it might even be the same producer that does Amy Winehouse and Lilly Allens stuff. Dont forgetto subscribe to Tape Op E-mail you from work, on my way there now speak in a bit PPS there was a corrupted file in that folder I was telling you. There was no set up problem with Pro Tools, so it must be something else Me

  2. Hi Paul

    I get SOS now and again just to figure out how the new stuff works and get a feel for prices, performance and methodology. If I can get our old tapes I may be needing a reel-to-reel to transfer everything with max clarity to hard drive and also to get all the unreleased stuff out as well. We did heaps that we didn’t consider worthy at the time but may be okay now.

    Did you see the one where they interviewed the rec engineer who did “Crazy” by Gnarls Berkely? I liked it when he said he had to leave one place and go to another ‘cos it was too dangerous as ALL the musicians at the studio had guns. Made me laugh.

    Rees

  3. Cool thanks for that. Trust me if I had a spare £150 plus I would get one, but I dont. So Im trying to get as close as I can. I know what you mean about that old tape sound. I dont get cds anymore, I only buy vinyl now. Its the sound I love. I like the computter for editing, automation and the convenience, but I love the analogue sound. Ive been working in my head for a while now trying to figure out how to rework my recording to get that sound Im lovin. When you get 5mins Ill tell you. Just cant type as fast as my mind works. If you know of any reel to reels going cheap let me know! I get this magazine each month called Sound on Sound. Its amazing, they interview all the top old school producer/engineers/artists and specific albums. They recently did one on Les Paul. Quite amazing. There is another great (free) paper called Tape Op. If you check it out on the website you can get a free subscription. It comes from the States. Looking for ward to the next e-mail Paul

  4. Seems like a good thing for the time although I don’t believe the claim that it records up to 20kHz. I’m pretty sure that you can’t fit enough magnetic domains on a tape running at 1 7/8 inches per sec to get that high. The top frequency limit is due to the head gap width compared to the tape speed. The real limit is obviously the gap in the head. If it’s too small, then it’s not really a gap so nothing works. So there is an absolute minimum gap width. If you need higher frequencies, the tape has to go faster.

    However, it’s got built-in test tones to align the heads and setup the bias to the tape, which is good. I’ve forgotten how to do that, but it’s simple enough. Unfortunately, from the article, it’s a cut down 1000 which would have been a lot better, having three heads. I don’t know if you know but for optimum design and performance, the record head has significant structural differences to the playback head. If they are rolled into one (as here), either or both of the record and playback functions will be comprimised. The erase head is always separate so that’s why it’s called a two head machine.

    BTW, I recently read that it was THE Les Paul who suggested and implemented using the record head as playback so that he could play along with himself on a previous recording. This is what’s called the “punch-in” function or similar. So Les Paul invented multi-track recording!

    SUMMARY: looks okay but why don’t you get an old revox(studer) or tascam or NEAL or Otari reel-to-reel? The moving parts are bigger so don’t wear as much, you’ll get more headroom and have more fun. I can tell you that it’s really fiddly editting cassette tape!!! 1/4 inch or bigger is loads easier.

    Have a look at this bloke’s site: https://www.analogrules.com/buymachines.html for tape dicussions etc. Nice pix of knackered heads!

    I tell you what. See if you can get “Sweet Deceiver” by “Kevin Ayers”. This has the warmest, clearest sounding recording (with the analogue sound!) I’ve ever heard, especially some of the slow ones. It was done in 1975 on an Otari 8-track which was about as good as you could get at the time. These machines didn’t last long as the rush was on to get 16,20,24 and then 48 track recorders in the big studios so the “little” 8-tracks were just chucked out! However, give all the tunes a listen if you can. You feel like you are there and all warm at the same time. The thing was that the 8 tracks were on 1″ tape on the Otari, so 1/8″ per track roughly. 48-tracks are only on 2″ tape which is 1/24″ or a quarter the width, so not so many little magnets holding the sound. Of course, they used the best mics etc, but someone has to do it, and do it right. The only track I’ve never liked is Guru Banana, you’ll hear why if you get it. Failing that, I’ve got it in my big box here.

    Rees

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