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Unread postPosted: Sat Aug 13, 2011 9:49 am 
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Same here. I'm using a complete analog path upto the recording device. It is a dedicated hard disk recorder using an ADAT technique. I visited my friend who runs one of last three remaining commercial tracking studio in Massachusetts. He still has a Studer 24 track. The 2 inch tape runs approximately $300 a reel and the charge to do an analog project vs. a protools project commands a healthy price. Either way, he still uses a complete analog processing and mixing path instead of soft-modeled alternatives whether the project is done in protools or tape. Likewise, I'll use a complete analog path whether I'm doing an ADAT recording or Logic 9.

There are two major differences in the processes:
1) perceived quality of recording on analog analog tape vs. digital recordings.
2) ADAT and analog recording vs. Protools recording.

The factors determining process 1 are thankfully beyond this discussion. The factors determining process 2 lie in protools' tool chain allowing nearly unlimited 'editing abuse', such as intonation adjustment, drum sound substitution, copy and paste Sonata form, synthetic backing vocals, andvirtual instrument creation to name a very few. Whereas ADAT and analog provide little or no platform for abusive over-editing.

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Unread postPosted: Sun Aug 14, 2011 10:20 am 
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skywriter wrote:
Same here. I'm using a complete analog path upto the recording device.

Studer...never could afford such a machine myself. But for a short time I'd a Revox A77 [from the same manufacture]. As it was completely broken out of the box, I switched finally to TEAC [A3300 series]. After 40+ years I'm still very happy with them [I do own a couple of TEAC boxes] and I've no reason to part with them...in fact, I've no idea with what machines I could replace my current ones at all [I do have several hundreds of mostly live recordings on tape you will be never be able to get again - how should I replay them tomorrow if not on my boxes?]

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Unread postPosted: Sun Aug 14, 2011 2:35 pm 
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Oskar45 wrote:
skywriter wrote:
Same here. I'm using a complete analog path upto the recording device.

Studer...never could afford such a machine myself. But for a short time I'd a Revox A77 [from the same manufacture]. As it was completely broken out of the box, I switched finally to TEAC [A3300 series]. [/quote[

maintenance on the thing is horrendous. god forbid if you need a part, not just calibration.

Oskar45 wrote:
After 40+ years I'm still very happy with them [I do own a couple of TEAC boxes] and I've no reason to part with them...in fact, I've no idea with what machines I could replace my current ones at all [I do have several hundreds of mostly live recordings on tape you will be never be able to get again - how should I replay them tomorrow if not on my boxes?]


yes, fantastic question. the answer that has the biggest impact is "how did you store them for those 40 years?". I had 10 one quarter inch reels of 8 track multitrack Ampex 456 i stored badly for nearly 20 years. When I went to play them i acted as if this was the last time I would play them. I had gain-staged the equipment ( I had never used the equipment for this process before) the best I could to reduce any noise, and played out to a multitrack 8 track ADAT so i could re-mix/master them. Sadly much of the emulsion sloughed off onto the read head and jammed the read aperture solid. oh well. Other than a sad story I don't have nay hints on how to avoid problems. I would spend as much time proportional to the importance of the tape studying recording.com et. al. to figure it out. there must be good way to avoid it. nobody is going to have a time-machine though. there is always great risk.

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Unread postPosted: Mon Aug 15, 2011 2:47 am 
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As over here it's next to impossible to obtain raw open-reels anymore, for new recordings I'd switched to Roland's Edirol FA-101 quite some time ago. In fact, I'm considering to re-record some of my most precious items from tape to CD [sort of pseudo-digitalization :-)] But since I own several hundreds of tapes this will be a rather tedious process, I fear...

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Unread postPosted: Mon Aug 15, 2011 6:43 am 
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yeah that's been the case from time to time. i believe that when you're in the recording industry you have a great deal more resources to draw upon than an 'amateur' in a similar vein.

i'm looking for a 'reverse rackmount' shelf that i can mount in front of the rack to seat a 2 octave USB keyboard to do sound design for the full size keyboards across the room.

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