"Mike Rivers" wrote in message
news:znr1097236165k@trad...

In article Deg9d.12291$na.6246@trnddc04 writes:

Gotcha. The calibration problem is still there however. Not every studio
will operate at the same level.
So get out that little tool and calibrate like there ain't no tomorrow
(because there probably won't be one soon).

This is why we put reference tones at the head of a tape. It's no
different than knowing that the tape is recorded at 15 or 30 ips, or
that a digital file is 44.1 or 48 kHz (or maybe 192 kHz, which my
hardware won't play at all)


Even with the tones you still have to calibrate every channel to setup the
machine. I know it isn't going to make or break a studio...

I guess I just had a bad experience. I interned at a studio that was
primarily analog (24 track 2 inch) and it was just a mess. Every 24 track
recorder had at least one track down at any given time (usually 2 or 3) and
the engineers were constantly calibrating machines for different tape and
ordering expensive replacement parts. For a young guy like me it was mind
boggling to watch 'professionals' having to deal with such situations. It
seems like studios really do have to play off of an image to gain a
customers trust and confidence (a game of sorts), and this would probably
send a young band running for the closest Pro Tools rig in someones
basement. I guess I made my mind up about analog at that point.

On a totally different note: Rivers, you ******* for getting the cicadas
recorded!! I had actually placed an order for a Marantz PMD670 for that
purpose but the damn thing was backordered. Maybe it will available before
17 years time. g



--

-Hev
find me he
www.michaelSCREWspringerROBOTS.com