DC, for sure, and if i remember correctly it was prominantly featured in the beginning of the straighten it out video which had me pausing and rewinding the vhs rap city tape endlessly.
we did our first two albums on a tascam casette 8 track, and they still bang.
My favorite design/sounding home all in one studio is this jammy:
^this^ is what my non-digital ass has been using (and loving) since the cows took off, and probably what i will keep using until they come on back home (or '4YearGraduate' sells me a Tascam, whichever comes sooner)
Back in high school, I took an "electronic music" class, which was actually one other kid and me learning how to mess around with tape machines. We started off on an old Wollensak, learning how to do tape splices and make loops and whatnot, but when we stepped up to Tascams and Ampexes, I was amazed by the Return to Zero function. "You mean all I have to do is push this button, and it automatically winds the tape back to zero--and I can tell it wehere 'zero' is? Amazing!!!"
I had a Tascam 8-track cassette BITD, that was like the final frontier before I got an ADAT. I can't remember how good it sounded compared to the 4 tracks of the day though.
The machine pictured above is the Akai 1214, which is a 12 track recorder that uses motherfucking BETAMAX.
My step-dad, who lives out of state, brought one back from Asia during the Vietnam war. That and boxes of albums on reel. It needs a new belt but other than that it should be pipmin'.
He also has an old 70's reverb unit I can't wait to take off his hands. I'm going to call him and bug him about it now.
I used to run samples, hot, through a cassette deck to get some of that warm distortion but I haven't done that in years.
Akai manufactured tapes for it using betamax shells with audio tape. What's the width on a betamax tape? I bet it sounds pretty good.
In 1985, Akai introduced the MG1212, a 12 channel, 12 track recorder.[1] This innovative device used a special VHS-like cartridge (a MK-20), and was good for 10 minutes of continuous 12 track recording (19 cm per second) or 20 minutes at half speed (9.5 cm per second). One track (14) was permanently dedicated to recording absolute time, and another one for synchronization such as SMPTE or MTC. Each channel strip included dbx type-1 noise reduction and semi-parametric equalizers (with fixed bandwidths). The unit also had innovations like an electronic 2 bus system, a 12 stereo channel patch bay and auto punch in and out, among others. The unique transport design and noise reduction gave these units a recording quality rivaling that of more expensive 16 track machines using 1" tape. The MG-1212 was later replaced by the MG-1214, which improved the transport mechanism and overall performance.
Quick update. I estimate - all things going well it will cost me about $500 each time and labor to bring them back to NOS spec. That would be with either relapped or completely new heads on all three sides, giving them anothe 5-10 thousand hours of use.
And yes, Dj Day has one machine reserved that little booch.
i have a Fostex RD-8 that i am trying to unload (quick and cheap)
it's a digital 8-track that records on VHS tapes!
I had one of these (or similar) at some point but the tape mechanism broke & I then rigged it to use the interface to record through to an actual VCR for a bit before upgrading to some other unit, I think an ADAT is what I replaced it with. Laptop is much easier these days since I don't do much recording anymore lol
Quick update. I estimate - all things going well it will cost me about $500 each time and labor to bring them back to NOS spec. That would be with either relapped or completely new heads on all three sides, giving them anothe 5-10 thousand hours of use.
And yes, Dj Day has one machine reserved that little booch.
Holy shit--analog recording I could actually afford! Yes, plaese!
Quick update. I estimate - all things going well it will cost me about $500 each time and labor to bring them back to NOS spec. That would be with either relapped or completely new heads on all three sides, giving them anothe 5-10 thousand hours of use.
And yes, Dj Day has one machine reserved that little booch.
Holy shit--analog recording I could actually afford! Yes, plaese!
well, thats just my cost - i plan on changing out al rubber parts for NOS, pinch rolllers, heads, calibrate it etc. BUUUT - i doubt with that caliber of an overhaul there would be any used machines available like that anywhere for under 1K. I'll update with photos as we proceed!
can someone explain "calibrating the heads" or whatever with regards reel to reel? how/ what is there to do.
I'll try to summarize this in steps but i'm just shooting form the hip here and cutting and pasting from some manuals so i may forget something:
1) Checking azimuth and spacing to ensure the tape is hitting the head at an even angle so as not to wear out the top or bottom of the head unevenly. This can be checked by looking at phase with a scope. Once this is done once, it doesn't need ot be redone unless something major is done like a head swap or something else.
2) Demagnatize the heads
3) Choose reference level and appropriate MRL tape. This is amount of magnetism that is recorded onto magnetic tape when you record a "0vu" tone. A '+9 level' recording has more magnetism at "0vu" than a "+3 level" recording at "0vu". Say you want an Operating Level of '+5' on tape, and only have a +3 level test tape. Since 0 VU (your reference level on the RECORDER'S VU METERS)should equal +5 level, you would see -2 on the VU meter when a tape 2 db lower is played back.
Since +3 is 2 db lower than +5, you would set the Level Set Section of the test tape so the meter reads -2db VU. Thus '0VU' now equals +5, your chosen Operating Level. Then all the tones on the Test tape should equal that same '-2 VU' since all the tones on the tape are equal level... (remember in this case our Test Tone Tape is a "+3 level tape)
Thus ANY REFERENCE LEVEL at '0vu' will be '+4dbm' at the machine'soutput jacks. We set the playback and record levels to record a MAGNETIC LEVEL onto tape that corresponds to our desired 'referencelevel', but that reference level should always be adjusted so it reads '0vu' on the machine's vu meters... no matter if we choose a "+3" level,a "+6" level or a "+9" level... they all should read '0vu' on the TAPE RECORDER's VU meters.
Zero VU on the tape recorder (in playback and recording) is always equal to the desired 'reference level if the machine is aligned correctly.
4) Play the test tape. (700 hertz or 1000 hertz). Set this to 0 VU (if your test tape is at your desired reference level!!! if not you must compensate!! see above) Adjust only the REPRO LEVEL. Set the Level Set Section of the test tape for the correct VU meter reading if your operating level is different than the level on the Test Tape
5) Go to the 10 khz section of the MRL tape. Adjust REPRO HIGH FREQ EQ for the same setting as the Level Set Section. You may want to check the machine by playing various frequencies back and checking the output levels. Note that for low frequencies, fringing will take place and you will get incorrect low frequency readings (below 200 hertz). But you can see if the machine is "in the ballpark" using a test tape's low frequency section.
6) repeat the above steps in Sync mode making the same adjustments but adjusting the sync controls rather than the Repro controls...Sync level, Sync eq and so on....
7) put the MRL tape net to your favorite LEo Sayer record
8) Place a roll of the same type of tape (ATR, 456, 499 or GP9 etc. ) you will be recording onto the machine and of course one
you can erase. Place the machine in RECORD READY.
9) Feed a 1000 (or 700) hertz sine wave at +4 dbm to both channels of the recorder. Begin recording. Set the machine so it monitors REPRO, and the VU meter shows the REPRO output.
10) Adjust RECORD LEVEL till the meter reads 0 VU. This is now recording at your chosen operating level.
11) Feed 10khz to the recorder at +4 dbm. Set the oscilloscope to read phase. Adjust the RECORD HEAD AZIMUTH (only if you know how to do it), for proper AZIMUTH and phase on the 'scope, Monitoring REPRO.
12) Feed another frequency to the recorder again at +4 dbm. Check thePhase on the 'scope. If not in phase, readjust the RECORD AZIMUTH, and check with another frequency.
BIAS THE MACHINE
1) Bias should be done at the proper audio frequency for the speed
you're using. Note that there IS a relationship between gap distance
and the frequency you should use to set the bias, but as a general rule
you everyone uses 10 khz for all speeds, except 7 1/2 ips and slower speeds.
The "Proper" frequencies are 10 khz for 15 ips; 20 khz for 30 ips
and 5 khz for 7 1/2 ips. Almost everyone uses 10 khz, and changes
their "Overbias" level to compensate for the different speeds.
2) After setting rough RECORD LEVELs, Feed 10 khz to the recorder
at +4 dbm ( "0" VU) from your console. Begin recording, MONITORING REPRO.
(Azimuth MUST be already set on both the RECORD head and the REPRO head!!)
3) Turn the BIAS LEVEL pot Counter-Clockwise (less bias) until the
VU meter (which is monitoring REPRO) drops by about 2db or more.
Then turn the BIAS LEVEL control Clockwise until the VU meter shows
the maximum output of your 10 khz you are recording. Turn the
bias pot a little back and forth to make sure you are on the "peak".
THEN CONTINUE TURNING THE BIAS LEVEL CONTROL
CLOCKWISE (more bias) UNTIL THE VU METER DROPS 3.5db PAST
THIS PEAK READING... for Ampex 456. If you're using 499
or GP 9 tapes overbias by 4 db, at 15 ips...
THESE SPECS ARE FOR 15 ips !!!!
IMHO, I liek to overbias my machines because i liek how it makes the tape sound above 10K, it rounds it out and is murder on high hats.. just lovely.
19) Feed 1000 hz to the recorder at +4 dbm. Adjust RECORD LEVEL
until the VU meter reads 0 VU. (Monitoring REPRO)
20) Feed 10khz to the recorder at +4 dbm. Adjust RECORD HIGH
FREQ EQ (proper speed) until the VU meter reads 0 VU. (Monitoring
REPRO).
21) Feed 50 hz to the recorder (at 15 ips) or 80 hz to 100 hz (for 30 ips),
to the recorder at +4 dbm. Carefully adjust the
REPRODUCE LOW FREQUENCY EQ (proper speed) until the VU
meter reads 0 VU. (monitoring REPRO).
22) Stop the machine. Select INPUT. Adjust the INPUT LEVEL for a
0 VU reading (monitoring INPUT) Note that on some machines this
step must be done before adjusting RECORD LEVEL, since INPUT
LEVEL feeds RECORD LEVEL. Check your machine to see if this is the case!
23) Begin recording again. If you have changed BIAS, select BIAS,
and adjust BIAS CAL until the vu meter reads 0 VU (monitoring
BIAS). Careful , don't adjust BIAS LEVEL, just BIAS
CAL (on Ampex machines).
24) Begin recording your tones at the head of the tape. Label your
tape as to operating level, frequency of the tones you've put on the tape
(1khz, 10khz, low freq.), state Dolby 'A' or 'SR' or state NO DOLBY,
and note track format and speed, as well as type of tape. If DOLBY A,
put Dolby Tone after low freq. tone, if Dolby SR put the SR set-up
signal onto tape.
Example of label on tape box and a +3 reference level:
2 Track, 15 ips, 456 tape : Tones at head
1khz, 10khz, 50 hz at 0 VU (+3 level: 250 nW/m)
No Dolby
25) Use 30 seconds for 1 khz and for other tones. You
may also want to put 1 khz on your left track only to establish which
track should be left.
---- you should do a few practice alignments before you do any serious
recording. Make sure all the levels match, and that the machine
sounds great!
Akai manufactured tapes for it using betamax shells with audio tape. What's the width on a betamax tape? I bet it sounds pretty good.
For people who are interested in the Akai MG-1212/1214s, as I once was, make sure you check thoroughly into the tape situation before buying. From what I understand, the tape shells are close to Betamax but not quite the same. I've heard reports of people using Betamax or refilling Betamax tapes with poor results. If you get some of the MJ20k tapes with your unit though, people have had success refilling the shell with Ampex 456 1/2" tape, which would not sound bad at all.
Here's a couple links to discussion about tapes and availablility:
Speaking of reel tape in a cartridge format, has anybody run into Elcasets? Basically like a giant cassette with 1/4" tape inside. Supposed to sound pretty great. It's crazy how perfect analog was when digital started taking over.
Comments
DC, for sure, and if i remember correctly it was prominantly featured in the beginning of the straighten it out video which had me pausing and rewinding the vhs rap city tape endlessly.
we did our first two albums on a tascam casette 8 track, and they still bang.
My favorite design/sounding home all in one studio is this jammy:
^this^ is what my non-digital ass has been using (and loving) since the cows took off, and probably what i will keep using until they come on back home (or '4YearGraduate' sells me a Tascam, whichever comes sooner)
Back in high school, I took an "electronic music" class, which was actually one other kid and me learning how to mess around with tape machines. We started off on an old Wollensak, learning how to do tape splices and make loops and whatnot, but when we stepped up to Tascams and Ampexes, I was amazed by the Return to Zero function. "You mean all I have to do is push this button, and it automatically winds the tape back to zero--and I can tell it wehere 'zero' is? Amazing!!!"
Ah, technological naivete....
Only ever seen it in catalogs...it's probably serious.
that's a lot of track real estate on a cassette, hope the dolby is pumping
I had a Tascam 8-track cassette BITD, that was like the final frontier before I got an ADAT. I can't remember how good it sounded compared to the 4 tracks of the day though.
The machine pictured above is the Akai 1214, which is a 12 track recorder that uses motherfucking BETAMAX.
My step-dad, who lives out of state, brought one back from Asia during the Vietnam war. That and boxes of albums on reel. It needs a new belt but other than that it should be pipmin'.
He also has an old 70's reverb unit I can't wait to take off his hands. I'm going to call him and bug him about it now.
I used to run samples, hot, through a cassette deck to get some of that warm distortion but I haven't done that in years.
Yes plaese and thank you.
it's a digital 8-track that records on VHS tapes!
And yes, Dj Day has one machine reserved that little booch.
Holy shit--analog recording I could actually afford! Yes, plaese!
well, thats just my cost - i plan on changing out al rubber parts for NOS, pinch rolllers, heads, calibrate it etc. BUUUT - i doubt with that caliber of an overhaul there would be any used machines available like that anywhere for under 1K. I'll update with photos as we proceed!
I'll try to summarize this in steps but i'm just shooting form the hip here and cutting and pasting from some manuals so i may forget something:
1) Checking azimuth and spacing to ensure the tape is hitting the head at an even angle so as not to wear out the top or bottom of the head unevenly. This can be checked by looking at phase with a scope. Once this is done once, it doesn't need ot be redone unless something major is done like a head swap or something else.
2) Demagnatize the heads
3) Choose reference level and appropriate MRL tape. This is amount of magnetism that is recorded onto magnetic tape when you record a "0vu" tone. A '+9 level' recording has more magnetism at "0vu" than a "+3 level" recording at "0vu". Say you want an Operating Level of '+5' on tape, and only have a +3 level test tape. Since 0 VU (your reference level on the RECORDER'S VU METERS)should equal +5 level, you would see -2 on the VU meter when a tape 2 db lower is played back.
Since +3 is 2 db lower than +5, you would set the Level Set Section of the test tape so the meter reads -2db VU. Thus '0VU' now equals +5, your chosen Operating Level. Then all the tones on the Test tape should equal that same '-2 VU' since all the tones on the tape are equal level... (remember in this case our Test Tone Tape is a "+3 level tape)
Thus ANY REFERENCE LEVEL at '0vu' will be '+4dbm' at the machine'soutput jacks. We set the playback and record levels to record a MAGNETIC LEVEL onto tape that corresponds to our desired 'referencelevel', but that reference level should always be adjusted so it reads '0vu' on the machine's vu meters... no matter if we choose a "+3" level,a "+6" level or a "+9" level... they all should read '0vu' on the TAPE RECORDER's VU meters.
Zero VU on the tape recorder (in playback and recording) is always equal to the desired 'reference level if the machine is aligned correctly.
4) Play the test tape. (700 hertz or 1000 hertz). Set this to 0 VU (if your test tape is at your desired reference level!!! if not you must compensate!! see above) Adjust only the REPRO LEVEL. Set the Level Set Section of the test tape for the correct VU meter reading if your operating level is different than the level on the Test Tape
5) Go to the 10 khz section of the MRL tape. Adjust REPRO HIGH FREQ EQ for the same setting as the Level Set Section. You may want to check the machine by playing various frequencies back and checking the output levels. Note that for low frequencies, fringing will take place and you will get incorrect low frequency readings (below 200 hertz). But you can see if the machine is "in the ballpark" using a test tape's low frequency section.
6) repeat the above steps in Sync mode making the same adjustments but adjusting the sync controls rather than the Repro controls...Sync level, Sync eq and so on....
7) put the MRL tape net to your favorite LEo Sayer record
8) Place a roll of the same type of tape (ATR, 456, 499 or GP9 etc. ) you will be recording onto the machine and of course one
you can erase. Place the machine in RECORD READY.
9) Feed a 1000 (or 700) hertz sine wave at +4 dbm to both channels of the recorder. Begin recording. Set the machine so it monitors REPRO, and the VU meter shows the REPRO output.
10) Adjust RECORD LEVEL till the meter reads 0 VU. This is now recording at your chosen operating level.
11) Feed 10khz to the recorder at +4 dbm. Set the oscilloscope to read phase. Adjust the RECORD HEAD AZIMUTH (only if you know how to do it), for proper AZIMUTH and phase on the 'scope, Monitoring REPRO.
12) Feed another frequency to the recorder again at +4 dbm. Check thePhase on the 'scope. If not in phase, readjust the RECORD AZIMUTH, and check with another frequency.
BIAS THE MACHINE
1) Bias should be done at the proper audio frequency for the speed
you're using. Note that there IS a relationship between gap distance
and the frequency you should use to set the bias, but as a general rule
you everyone uses 10 khz for all speeds, except 7 1/2 ips and slower speeds.
The "Proper" frequencies are 10 khz for 15 ips; 20 khz for 30 ips
and 5 khz for 7 1/2 ips. Almost everyone uses 10 khz, and changes
their "Overbias" level to compensate for the different speeds.
2) After setting rough RECORD LEVELs, Feed 10 khz to the recorder
at +4 dbm ( "0" VU) from your console. Begin recording, MONITORING REPRO.
(Azimuth MUST be already set on both the RECORD head and the REPRO head!!)
3) Turn the BIAS LEVEL pot Counter-Clockwise (less bias) until the
VU meter (which is monitoring REPRO) drops by about 2db or more.
Then turn the BIAS LEVEL control Clockwise until the VU meter shows
the maximum output of your 10 khz you are recording. Turn the
bias pot a little back and forth to make sure you are on the "peak".
THEN CONTINUE TURNING THE BIAS LEVEL CONTROL
CLOCKWISE (more bias) UNTIL THE VU METER DROPS 3.5db PAST
THIS PEAK READING... for Ampex 456. If you're using 499
or GP 9 tapes overbias by 4 db, at 15 ips...
THESE SPECS ARE FOR 15 ips !!!!
IMHO, I liek to overbias my machines because i liek how it makes the tape sound above 10K, it rounds it out and is murder on high hats.. just lovely.
19) Feed 1000 hz to the recorder at +4 dbm. Adjust RECORD LEVEL
until the VU meter reads 0 VU. (Monitoring REPRO)
20) Feed 10khz to the recorder at +4 dbm. Adjust RECORD HIGH
FREQ EQ (proper speed) until the VU meter reads 0 VU. (Monitoring
REPRO).
to the recorder at +4 dbm. Carefully adjust the
REPRODUCE LOW FREQUENCY EQ (proper speed) until the VU
meter reads 0 VU. (monitoring REPRO).
22) Stop the machine. Select INPUT. Adjust the INPUT LEVEL for a
0 VU reading (monitoring INPUT) Note that on some machines this
step must be done before adjusting RECORD LEVEL, since INPUT
LEVEL feeds RECORD LEVEL. Check your machine to see if this is the case!
23) Begin recording again. If you have changed BIAS, select BIAS,
and adjust BIAS CAL until the vu meter reads 0 VU (monitoring
BIAS). Careful , don't adjust BIAS LEVEL, just BIAS
CAL (on Ampex machines).
24) Begin recording your tones at the head of the tape. Label your
tape as to operating level, frequency of the tones you've put on the tape
(1khz, 10khz, low freq.), state Dolby 'A' or 'SR' or state NO DOLBY,
and note track format and speed, as well as type of tape. If DOLBY A,
put Dolby Tone after low freq. tone, if Dolby SR put the SR set-up
signal onto tape.
Example of label on tape box and a +3 reference level:
2 Track, 15 ips, 456 tape : Tones at head
1khz, 10khz, 50 hz at 0 VU (+3 level: 250 nW/m)
No Dolby
25) Use 30 seconds for 1 khz and for other tones. You
may also want to put 1 khz on your left track only to establish which
track should be left.
---- you should do a few practice alignments before you do any serious
recording. Make sure all the levels match, and that the machine
sounds great!
For people who are interested in the Akai MG-1212/1214s, as I once was, make sure you check thoroughly into the tape situation before buying. From what I understand, the tape shells are close to Betamax but not quite the same. I've heard reports of people using Betamax or refilling Betamax tapes with poor results. If you get some of the MJ20k tapes with your unit though, people have had success refilling the shell with Ampex 456 1/2" tape, which would not sound bad at all.
Here's a couple links to discussion about tapes and availablility:
http://www.audiobanter.com/showthread.php?t=66649
http://messageboard.tapeop.com/viewtopic.php?p=537031
Speaking of reel tape in a cartridge format, has anybody run into Elcasets? Basically like a giant cassette with 1/4" tape inside. Supposed to sound pretty great. It's crazy how perfect analog was when digital started taking over.