Hey Guys, I noticed something seriously has changed in the 7 years since I
last looked at pro audio gear serously. Has everybody quite making analog
tape decks anymore but studer? I've noticed that Fostex doesn't have any
listed on they're website, TASCAM doesn't have any listed anymore, OTARI
doesn't list them any more, it's almost like analog producers have gotten
away from it. Have the manufacturers decided that analog sound is not as
good as digital? Any insight into the sudden disappearance of analog
recording technologies would be appreciated, as I am starting ot put
together some information for a small project studio and though I didn't
want a lot of analog tracks, enough to do the rythim tracks would be
wonderful, as I like to take the analog into Protools to assemble the final
tracks for mixdown.

Thanks inadvance
Chris


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Outgoing mail is certified Virus Free.
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"Chris Warner" wrote ...
Hey Guys, I noticed something seriously has changed in
the 7 years since I last looked at pro audio gear serously.
Has everybody quite making analog tape decks anymore
but studer? .....

And if you keep looking, you will find a corresponding
withering of the sources of analog reel-to-reel tape to run
on them.

In other words, bye bye analog recording. Bummer... Not much gave female
voices the added warmth they needed..

Chris.

"Richard Crowley" wrote in message
...
"Chris Warner" wrote ...
Hey Guys, I noticed something seriously has changed in
the 7 years since I last looked at pro audio gear serously.
Has everybody quite making analog tape decks anymore
but studer? .....

And if you keep looking, you will find a corresponding
withering of the sources of analog reel-to-reel tape to run
on them.




---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.669 / Virus Database: 431 - Release Date: 4/28/2004

Chris Warner wrote:
Hey Guys, I noticed something seriously has changed in the 7 years since I
last looked at pro audio gear serously. Has everybody quite making analog
tape decks anymore but studer? I've noticed that Fostex doesn't have any
listed on they're website, TASCAM doesn't have any listed anymore, OTARI
doesn't list them any more, it's almost like analog producers have gotten
away from it. Have the manufacturers decided that analog sound is not as
good as digital? Any insight into the sudden disappearance of analog
recording technologies would be appreciated, as I am starting ot put
together some information for a small project studio and though I didn't
want a lot of analog tracks, enough to do the rythim tracks would be
wonderful, as I like to take the analog into Protools to assemble the final
tracks for mixdown.

Demand for tape machines has dropped tremendously, and since most of the
better ones were built like tanks and last forever with proper maintenance,
there are more than enough out there on the used market.

People want the ability to edit the hell out of everything. I dunno why.

Mike Spitz was looking at making a 2-track machine commercially, and basically
decided that since he'd have to compete with reasonably-priced rebuilt
machines (including his own), that he wouldn't be able to really sell many.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In article kYhmc.57011$Qy.7534@fed1read04 writes:

Hey Guys, I noticed something seriously has changed in the 7 years since I
last looked at pro audio gear serously. Has everybody quite making analog
tape decks anymore but studer?

Almost. I think the TASCAM BR20 is still in production. In addition,
ATR Services makes "like new" analog recorders from old chassis, with
new heads and new electronics as required/desired. And I think you can
still buy a few cassette decks.

Have the manufacturers decided that analog sound is not as
good as digital?

It wasn't their decision to make. The customers decided that digital
was both better and cheaper. The demand for new analog recorders went
practicaly to zero since old analog recorders were built so well that
they're still functioning or eminently repairable after 15-50 years,
and there are enough of those around to suit the demands of those who
need or want them.

The people who are making money in the analog recorder business aren't
the original manufactuers, but people who repair, restore, and rebuild
them. Buy a chassis for $400, upgrade it for another $1,600 and you
have a better-than-new analog recorder for $2,000. The losers are
those who buy a consumer analog recorder at a yard sale for $20 and
think they're getting a vintage sound.

A few years ago, a group of well known analog preservers got together
with the intent to build a new recorder. Their plans were to build the two
currently popular configurations, a half-inch 2-track and a two-inch
24-track. They got as far as getting a prototype 2-track recorder working
to their specifications (very high goals, by the way), then looked at how
much it would cost to build, knowing full well that they wouldn't be building
10,000 of them a year in China. It just didn't make economic sense to go
through with the project. There are enough hulks left to satisfy the needs
of those who want top grade better-than-new recorders, so that's the way
you have to buy one today.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

Thanks for the insight. I peronsally, love multi tracking to analog, then
using digital to build up the final mix. Although looking at hte cost of
analog tape, I can see why many studios are starting ot move away from it
towards protools, ADAT, DA-88, and HDR's. Oh well, guess I am witnessing
the end of an era.

Cheers all.
Chris

"Mike Rivers" wrote in message
news:znr1083846218k@trad...

In article kYhmc.57011$Qy.7534@fed1read04 writes:

Hey Guys, I noticed something seriously has changed in the 7 years since
I
last looked at pro audio gear serously. Has everybody quite making
analog
tape decks anymore but studer?

Almost. I think the TASCAM BR20 is still in production. In addition,
ATR Services makes "like new" analog recorders from old chassis, with
new heads and new electronics as required/desired. And I think you can
still buy a few cassette decks.

Have the manufacturers decided that analog sound is not as
good as digital?

It wasn't their decision to make. The customers decided that digital
was both better and cheaper. The demand for new analog recorders went
practicaly to zero since old analog recorders were built so well that
they're still functioning or eminently repairable after 15-50 years,
and there are enough of those around to suit the demands of those who
need or want them.

The people who are making money in the analog recorder business aren't
the original manufactuers, but people who repair, restore, and rebuild
them. Buy a chassis for $400, upgrade it for another $1,600 and you
have a better-than-new analog recorder for $2,000. The losers are
those who buy a consumer analog recorder at a yard sale for $20 and
think they're getting a vintage sound.

A few years ago, a group of well known analog preservers got together
with the intent to build a new recorder. Their plans were to build the two
currently popular configurations, a half-inch 2-track and a two-inch
24-track. They got as far as getting a prototype 2-track recorder working
to their specifications (very high goals, by the way), then looked at how
much it would cost to build, knowing full well that they wouldn't be
building
10,000 of them a year in China. It just didn't make economic sense to go
through with the project. There are enough hulks left to satisfy the needs
of those who want top grade better-than-new recorders, so that's the way
you have to buy one today.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo


---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.669 / Virus Database: 431 - Release Date: 4/29/2004

You could try switching it to the positive and say you are witnessing the
birth of a new era.

--


Roger W. Norman
SirMusic Studio

"Chris Warner" wrote in message
news:tlrmc.64391$Qy.6036@fed1read04...
Thanks for the insight. I peronsally, love multi tracking to analog, then
using digital to build up the final mix. Although looking at hte cost of
analog tape, I can see why many studios are starting ot move away from it
towards protools, ADAT, DA-88, and HDR's. Oh well, guess I am witnessing
the end of an era.

Cheers all.
Chris

"Mike Rivers" wrote in message
news:znr1083846218k@trad...

In article kYhmc.57011$Qy.7534@fed1read04 writes:

Hey Guys, I noticed something seriously has changed in the 7 years
since
I
last looked at pro audio gear serously. Has everybody quite making
analog
tape decks anymore but studer?

Almost. I think the TASCAM BR20 is still in production. In addition,
ATR Services makes "like new" analog recorders from old chassis, with
new heads and new electronics as required/desired. And I think you can
still buy a few cassette decks.

Have the manufacturers decided that analog sound is not as
good as digital?

It wasn't their decision to make. The customers decided that digital
was both better and cheaper. The demand for new analog recorders went
practicaly to zero since old analog recorders were built so well that
they're still functioning or eminently repairable after 15-50 years,
and there are enough of those around to suit the demands of those who
need or want them.

The people who are making money in the analog recorder business aren't
the original manufactuers, but people who repair, restore, and rebuild
them. Buy a chassis for $400, upgrade it for another $1,600 and you
have a better-than-new analog recorder for $2,000. The losers are
those who buy a consumer analog recorder at a yard sale for $20 and
think they're getting a vintage sound.

A few years ago, a group of well known analog preservers got together
with the intent to build a new recorder. Their plans were to build the
two
currently popular configurations, a half-inch 2-track and a two-inch
24-track. They got as far as getting a prototype 2-track recorder
working
to their specifications (very high goals, by the way), then looked at
how
much it would cost to build, knowing full well that they wouldn't be
building
10,000 of them a year in China. It just didn't make economic sense to go
through with the project. There are enough hulks left to satisfy the
needs
of those who want top grade better-than-new recorders, so that's the way
you have to buy one today.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo


---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.669 / Virus Database: 431 - Release Date: 4/29/2004

This is true. I am still having trouble convincing myself to dump analog
completly, does make sense then to run a digital console then instead of an
analog console, then I can use virtual routing within the digital relm
instead of hard patching in analog. The conflict is difficult to resolve, a
side of me still loves analog tape for the multitrack process, yet the HDR's
make it so inexpensive to multitrack and even store the results... Gonna be
a bit of a descion making processes to go through.

Thanks
Chris


"Roger W. Norman" wrote in message
...
You could try switching it to the positive and say you are witnessing the
birth of a new era.

--


Roger W. Norman
SirMusic Studio

"Chris Warner" wrote in message
news:tlrmc.64391$Qy.6036@fed1read04...
Thanks for the insight. I peronsally, love multi tracking to analog,
then
using digital to build up the final mix. Although looking at hte cost
of
analog tape, I can see why many studios are starting ot move away from
it
towards protools, ADAT, DA-88, and HDR's. Oh well, guess I am
witnessing
the end of an era.

Cheers all.
Chris

"Mike Rivers" wrote in message
news:znr1083846218k@trad...

In article kYhmc.57011$Qy.7534@fed1read04 writes:

Hey Guys, I noticed something seriously has changed in the 7 years
since
I
last looked at pro audio gear serously. Has everybody quite making
analog
tape decks anymore but studer?

Almost. I think the TASCAM BR20 is still in production. In addition,
ATR Services makes "like new" analog recorders from old chassis, with
new heads and new electronics as required/desired. And I think you can
still buy a few cassette decks.

Have the manufacturers decided that analog sound is not as
good as digital?

It wasn't their decision to make. The customers decided that digital
was both better and cheaper. The demand for new analog recorders went
practicaly to zero since old analog recorders were built so well that
they're still functioning or eminently repairable after 15-50 years,
and there are enough of those around to suit the demands of those who
need or want them.

The people who are making money in the analog recorder business aren't
the original manufactuers, but people who repair, restore, and rebuild
them. Buy a chassis for $400, upgrade it for another $1,600 and you
have a better-than-new analog recorder for $2,000. The losers are
those who buy a consumer analog recorder at a yard sale for $20 and
think they're getting a vintage sound.

A few years ago, a group of well known analog preservers got together
with the intent to build a new recorder. Their plans were to build the
two
currently popular configurations, a half-inch 2-track and a two-inch
24-track. They got as far as getting a prototype 2-track recorder
working
to their specifications (very high goals, by the way), then looked at
how
much it would cost to build, knowing full well that they wouldn't be
building
10,000 of them a year in China. It just didn't make economic sense to
go
through with the project. There are enough hulks left to satisfy the
needs
of those who want top grade better-than-new recorders, so that's the
way
you have to buy one today.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo


---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.669 / Virus Database: 431 - Release Date: 4/29/2004






---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.669 / Virus Database: 431 - Release Date: 4/29/2004

Chris Warner wrote:
This is true. I am still having trouble convincing myself to dump analog
completly, does make sense then to run a digital console then instead of an
analog console, then I can use virtual routing within the digital relm
instead of hard patching in analog. The conflict is difficult to resolve, a
side of me still loves analog tape for the multitrack process, yet the HDR's
make it so inexpensive to multitrack and even store the results... Gonna be
a bit of a descion making processes to go through.

So, what is preventing you from using analogue? I don't see anything
particularly wrong with it. I use it for the vast majority of the work
that I do. I don't see anything wrong with hard patching or analogue
mixing either.

If you can make a profit doing analogue work, and you like the sound and
the workflow, by all means get an analogue machine. If you prefer the
way the better digital gear sounds and/or you prefer the elaborate editing
that the DAW allows, get a DAW.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

"Chris Warner" wrote in message
news:9gumc.67973$Qy.18506@fed1read04...
Gonna be a bit of a descion making processes to go through.

Funny, but I view it the opposite. As much analog prior to recording on the
computer as possible and it sure seems fine to me. Then I mix in the box
with Samplitude (track with it too).

But, each to his own and there are as many ways to work as
musicians/engineers/producers to work with.

--


Roger W. Norman
SirMusic Studio

Chris Warner wrote:

This is true. I am still having trouble convincing myself to dump analog
completly, does make sense then to run a digital console then instead of an
analog console, then I can use virtual routing within the digital relm
instead of hard patching in analog. The conflict is difficult to resolve, a
side of me still loves analog tape for the multitrack process, yet the HDR's
make it so inexpensive to multitrack and even store the results... Gonna be
a bit of a descion making processes to go through.

My first thought would be to use whatever tools you like and can afford,
but in thinking further, I think the criteria might more properly be how
you like to work, and what your clients can afford.

I have a 2" 16 track, big old desk, and a smattering of outboard gear to
which I am still adding. I also have Sonar and GigaStudio on two PCs,
and a Fostex D-108 that I really should upgrade.

Why?

Well, for me, for the right clients, I like to work with tape. It
precludes the "edit-it-to-death" mentatlity that digital audio tools
seem to support. And that is the way I like to work. Cut a track, cut
another track, mix, done.

BUT, not all my clients are willing to shell out the cost of 2" tape.
For them I offer the alternatives. (I also much prefer dragging the
little Fostex around for remote recordingG!)

And, not all my clients want to bring in a full band. Which is where
Sonar and Giga come in.

And even when I'm using the computer or the HDR, I still work as if I am
using tape. I don't do a lot of edits, and generally I don't do edits I
couldn't do on tape.

Every once in a while I'll go nuts and see just how far the envelope
stretches... but those projects never seem quite as satisfying.

And I must confess that the computer was just a novelty in the studio
for the longest time. Actually, back in the days of the Amiga I used
MIDI a lot, but when software started to offer audio support I sort of
lost interest.

Recently we moved, and have yet to build the new studio in the new
house, so I am very limited in the work I can do. What surprises me is
just how much I can do with just the computer. I don't even have the
synthesizers hooked up right now, just the keyboard and guitar
controllers. Everything else eminates from the computer.

I wouldn't want to work this way forever, but I am impressed with what I
can do in the current setup.

Bill

"Chris Warner" wrote in message news:9gumc.67973$Qy.18506@fed1read04...
This is true. I am still having trouble convincing myself to dump analog
completly, does make sense then to run a digital console then instead of an
analog console, then I can use virtual routing within the digital relm
instead of hard patching in analog. The conflict is difficult to resolve, a
side of me still loves analog tape for the multitrack process, yet the HDR's
make it so inexpensive to multitrack and even store the results... Gonna be
a bit of a descion making processes to go through.

Thanks
Chris


I'll do my best never to dump analogue completely. I've been recording on
digital machines for the better part of the last 18 years, but always with an
analogue console and real hardware to run things through. Only my 2-track
finished mixes hit a computer for miniscule editing and CD burning. I can
always fly a track or two over to the 'puter for surgery and back to tape if it's
really necessary.

--
David Morgan (MAMS)
http://www.m-a-m-s.com
http://www.artisan-recordingstudio.com

In article 9gumc.67973$Qy.18506@fed1read04 writes:

This is true. I am still having trouble convincing myself to dump analog
completly

Why try to convince yourself if you have an analog rig running
successfully? It's not a good time to get an analog recorder as your
first professional recorder, but if you have some experience, I
wouldn't worry about owning one.

But if you're in business, you have to be able to offer what the
clients want, or at least offer recording at the price they're
willing to pay. If you have to charge $1,000 more for a project than
the studio down the street because you're using 2" tape and he's using
a $60 hard drive, only a client who's truly dedicated to analog
recording (for whatever reason) will work in your studio.

On the other hand, if you're a hobbyist, what's a hobby for if not to
give you an excuse to spend money on things you enjoy playing with?



--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

"Mike Rivers" wrote in message ...


But if you're in business, you have to be able to offer what the
clients want

On the other hand, if you're a hobbyist, what's a hobby for if not to
give you an excuse to spend money on things you enjoy playing with?


Hey !! Who says the two can't be the same(?), no matter how remarkable
that may seem to some.

--
David Morgan (MAMS)
http://www.m-a-m-s.com
http://www.artisan-recordingstudio.com

Wisdom is something I am searching for. Business plans is something I am
working on, and the delima is, a) be a good businessman and get the tools
that are gonna make me fast and efficient b) be a good engineer and get the
best audio (this statement is not to upset anybody, as I understand
businesses are run both ways everyday) At this point in time, I am thinking,
analog desk, Protools, and an eye towards a 16 track analog deck in teh not
so distant future, means I can save the tape budget for mics, and
processing, as I am a minimalist when it comes to processing tracks anyway,
a multi gate device, a good compressor, and a couple of miscellaneous
effects is all that I like to put in place ( could change as I get more time
in the studio), a the other effects that I would use to mix would probably
be plugin's in protools.

Sorry everybody, I know I tend to get a bit long winded and at times I don't
seem to make a lot of sense, but as a question comes up I try and ask it the
best way I know how.

Thanks.
Chris

"Mike Rivers" wrote in message
news:znr1083871852k@trad...

In article 9gumc.67973$Qy.18506@fed1read04 writes:

This is true. I am still having trouble convincing myself to dump
analog
completly

Why try to convince yourself if you have an analog rig running
successfully? It's not a good time to get an analog recorder as your
first professional recorder, but if you have some experience, I
wouldn't worry about owning one.

But if you're in business, you have to be able to offer what the
clients want, or at least offer recording at the price they're
willing to pay. If you have to charge $1,000 more for a project than
the studio down the street because you're using 2" tape and he's using
a $60 hard drive, only a client who's truly dedicated to analog
recording (for whatever reason) will work in your studio.

On the other hand, if you're a hobbyist, what's a hobby for if not to
give you an excuse to spend money on things you enjoy playing with?



--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo


---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.669 / Virus Database: 431 - Release Date: 4/29/2004

Chris Warner wrote:
Wisdom is something I am searching for. Business plans is something I am
working on, and the delima is, a) be a good businessman and get the tools
that are gonna make me fast and efficient b) be a good engineer and get the
best audio (this statement is not to upset anybody, as I understand
businesses are run both ways everyday) At this point in time, I am thinking,
analog desk, Protools, and an eye towards a 16 track analog deck in teh not
so distant future, means I can save the tape budget for mics, and
processing, as I am a minimalist when it comes to processing tracks anyway,
a multi gate device, a good compressor, and a couple of miscellaneous
effects is all that I like to put in place ( could change as I get more time
in the studio), a the other effects that I would use to mix would probably
be plugin's in protools.

What do your customers want? Who is your customer base?

What do the other studios in town have? You want something different so
that you can set yourself apart in the market, but then you also want
something the same so that you can accept projects that have been started
elsewhere.

Perhaps, if you like the analogue recording and editing process, you should
look into a 2-track analogue mixdown deck along with your Protools system
and analogue desk. It's a very good combination.

Sorry everybody, I know I tend to get a bit long winded and at times I don't
seem to make a lot of sense, but as a question comes up I try and ask it the
best way I know how.

The hard part is figuring out what questions to ask. The answers are often
easier to find than the questions.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Chris,

I think what you are describing here is an outstanding game plan. I (that's
just me) wouldn't alienate myself from being able to integrate with the basic
analogue side of things, regardless of what the storage medium may be.

--
David Morgan (MAMS)
http://www.m-a-m-s.com
http://www.artisan-recordingstudio.com



"Chris Warner" wrote in message ...

At this point in time, I am thinking,
analog desk, Protools, and an eye towards a 16 track analog deck in teh not
so distant future, means I can save the tape budget for mics, and
processing, as I am a minimalist when it comes to processing tracks anyway,
a multi gate device, a good compressor, and a couple of miscellaneous
effects is all that I like to put in place ( could change as I get more time
in the studio), a the other effects that I would use to mix would probably
be plugin's in protools.

Sorry everybody, I know I tend to get a bit long winded and at times I don't
seem to make a lot of sense, but as a question comes up I try and ask it the
best way I know how.

Thanks.
Chris

"Mike Rivers" wrote in message
news:znr1083871852k@trad...

In article 9gumc.67973$Qy.18506@fed1read04 writes:

This is true. I am still having trouble convincing myself to dump
analog completly

Why try to convince yourself if you have an analog rig running
successfully? It's not a good time to get an analog recorder as your
first professional recorder, but if you have some experience, I
wouldn't worry about owning one.

But if you're in business, you have to be able to offer what the
clients want, or at least offer recording at the price they're
willing to pay. If you have to charge $1,000 more for a project than
the studio down the street because you're using 2" tape and he's using
a $60 hard drive, only a client who's truly dedicated to analog
recording (for whatever reason) will work in your studio.

On the other hand, if you're a hobbyist, what's a hobby for if not to
give you an excuse to spend money on things you enjoy playing with?

did steve johnson ever try to market his two track, other than the part of the
idea he sold to some cassette duplication company? I always wanted to hear it,
since he goes on and on about it.


P h i l i p

______________________________

"I'm too ****ing busy and vice-versa"

- Dorothy Parker

Marc Wielage wrote:
On Thu, 6 May 2004 10:21:19 -0700, Scott Dorsey wrote

So, what is preventing you from using analogue? I don't see anything
particularly wrong with it. I use it for the vast majority of the work
that I do. I don't see anything wrong with hard patching or analogue
mixing either.

Scott, if a client needs you to deliver a digital audio file, what software
do you use to create it?

I don't. I don't even have a computer here. I can deliver a standard
CD DA volume, though. But I figure if folks want multitrack digital
audio files delivered, they probably aren't really my target customers.
There are plenty of other folks out there who can do that and I'll send
them the business.

I actually got a call for stems on 6-track magfilm the other day, too.
It's been ages since anyone's asked for that, but sure, it's not a problem.
I can charge a lot more for that than I can for stems on ProTools, because
there's no competition there, whereas everyone and his brother has a
ProTools system.

Do you ever use a digital audio workstation in your
studio?

I have a very old Sonic system here that I keep meaning to actually get
running, but it keeps getting put lower and lower on the priority list
as more important stuff keeps coming in. Chakaal has been making fun of
it recently so I should probably do something about that. 2-track only,
but so much of my work is direct-to-2-track anyway.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

What has kept me in business in my neck of the woods is the fact I'm still
analog in my studio. There are thousands of people here with a computer, a
handful of mics, and some version of protools on their laptop and they call
themselves a studio. I advertise as being old school tape recording, and I stay
busy. I offer a bunch of analog formats, and rarely use my computer , except
for dumping the final mix onto it to burn to cd. I think I've used my Cakewalk
Sonar twice. There are people out there that still like tape, I'm living proof.
Being different is keeping me in this business.

"Mike Rivers" wrote in message
news:znr1083871852k@trad...

In article 9gumc.67973$Qy.18506@fed1read04 writes:


On the other hand, if you're a hobbyist, what's a hobby for if not to
give you an excuse to spend money on things you enjoy playing with?


Mike: I'm with you on that!

Geoley

On 07 May 2004 13:55:26 GMT, (BLCKOUT420) wrote:

What has kept me in business in my neck of the woods is the fact I'm still
analog in my studio. There are thousands of people here with a computer, a
handful of mics, and some version of protools on their laptop and they call
themselves a studio. I advertise as being old school tape recording, and I stay
busy. I offer a bunch of analog formats, and rarely use my computer , except
for dumping the final mix onto it to burn to cd. I think I've used my Cakewalk
Sonar twice. There are people out there that still like tape, I'm living proof.
Being different is keeping me in this business.

And you'd be able to get an excellent result on digital gear too :-)

The same used to apply with music manuscript copying. Someone
offering hand-copying probably knew how to do the job. Someone
offering computer-coping had probably just bought the program. Now,
of course, EVERYONE uses a computer :-)

CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect

BLCKOUT420 wrote:
What has kept me in business in my neck of the woods is the fact I'm still
analog in my studio. There are thousands of people here with a computer, a
handful of mics, and some version of protools on their laptop and they call
themselves a studio. I advertise as being old school tape recording, and I stay
busy. I offer a bunch of analog formats, and rarely use my computer , except
for dumping the final mix onto it to burn to cd. I think I've used my Cakewalk
Sonar twice. There are people out there that still like tape, I'm living proof.
Being different is keeping me in this business.

Exactly my approach. You'd be surprised how many people
are looking to record analog. I had a meeting today
with a band looking to start an album here. I kept
pointing out how much I like Radar, but they kept asking
about 2" tape. Fine with me. I love to watch those reels
spinning.

--
--
John Noll
Retromedia Sound Studios
Red Bank, NJ 07701

Phone: 732-842-3853 Fax: 732-842-5631

http://www.retromedia.net

On Thu, 6 May 2004 20:01:52 -0700, Scott Dorsey wrote
(in message ):

I actually got a call for stems on 6-track magfilm the other day, too.
--------------------------------snip----------------------------------

Yeah, 6-track mag is still a delivery requirement for a lot of bog
distributors. I think the bigger studios don't insist on it, but a lot of
filmmakers still deliver it anyway, just because of tradition. Noted
mixer/sound supervisor Larry Blake makes a good case that just delivering
digital elements is not enough, because you never know if those formats will
survive 10, 15, 20 years in the future. But we'll probably still be able to
play back a 35mm mag in 50 years.




I have a very old Sonic system here that I keep meaning to actually get
running, but it keeps getting put lower and lower on the priority list
as more important stuff keeps coming in.
--------------------------------snip----------------------------------

Ah, that's a shame. Gabe Wiener swore by (and often swore AT) his full-blown
Sonic system at QSI in NY. I suspect he would've been the first guy in town
to get into SADC, had he survived to see the system come out. But he got a
lot of terrific-sounding work done on his Sonic, back in the day (aided by a
rack-full of the CEDAR boxes).

Be warned that the Sonic systems can be a bitch and a half to learn and
troubleshoot. I think Gabe actually enticed one of the local East coast reps
to hang out at his studio for several days, before finally getting him up and
running.

Once you've edited on a DAW, it's very hard to go back to tape editing.
However, I think anybody learning this from the ground up is wise to spend a
week doing tape editing, just so they know what they're missing. :-)

Boy, I remember the days of finding *consonants* to drop into dialog, while
cutting 1/4" tape for commercials... Boy, that was tough. It's almost "too
easy" today, doing it digitally -- trying it five different ways in 1 minute,
as opposed to about 10 minutes with a splicing block!

--MFW

At this point in time, I am thinking,
analog desk, Protools, and an eye towards a 16 track analog deck in teh not
so distant future,

SNIP

Here's one guy's 2 cents worth:

Don't even bother considering your equipment until you business plan is firmly
in place. Depending on what you're doing, specific equipment might not even
earn a position on the high priority list.

These days especially, a studio which offers creative services is more likely
to establish a client base than one which doesn't. If you can sell "what you
do" rather than "what you've got" you won't have to worry whether you have the
latest gear or whether home studios are offering the same thing for less. Your
clents may not be able to distinguish a Brauner from a Marshall, or a Studer
from a Studabaker. "Pearls Before Swine" and all that...

A talented voiceover artist with an RE20 , an MBox and an iBook can earn more
than a garage studio with ten times as much equipment. A jingle writer can do
the same thing with a limited gear list. A foley artist with a garage full of
junk and a single DA-88 can make *way* more than a wannabe studio owner with 3
DA-88s.

Buying equipment makes you a consumer. Using equipment to produce a recording
worth purchasing can make you a living. Big difference. Find out what your
clients' payments will justify and buy that. You don't want to end up buying
gear that will deptreciate before you realize you need to sell it.


Joe Egan
EMP
Colchester, VT
www.eganmedia.com

Buying equipment makes you a consumer. Using equipment to produce a
recording
worth purchasing can make you a living.

And this should be emblazoned over the gates to the r.a.p. FAQ.
Quote of the week.
Thanks, Joe
Scott Fraser

Joe, great post.


---------------------------------------
"I know enough to know I don't know enough"