"EggHd" wrote in message
...

Not even. I may be in the top 20 ,best case. But I may be the best
speller
and typist!!

What's wrong with this picture?

Peace,
Paul

I guess one only has to read some of the rags to see that tape as an effect
is more in vogue than as a true medium for recording of tracks. I doubt
many are left here that can edit tape with a razor, and even less that can
edit 24 track tape. Mostly tracks get laid down in analog and transferred
directly to Pro Tools or whatever for further work. If it's just for the
sound of analog, I'd still consider than an effect. I don't find anything
wrong with that, just that it's how I view it.

Obviously, my Tascam 38 doesn't even come up to the level of being a decent
effect, but I still use it occassionally. I haven't found any real problems
with my digital setup, so I choose to use it and haven't felt one iota of
desire for a 1" 8 track or 2" 16. Maybe about 7 years ago.

--


Roger W. Norman
SirMusic Studio

"hank alrich" wrote in message
...
Roger W. Norman wrote:

For most people, analog tape isn't a method of recording, but an effect
to
use. Not for everybody, that's certain, but certainly people seem to
talk
about analog tape for smooth compression and track saturation more than
they
talk about it for the quality of it's accurate reproduction.

Do I often see that folks talking that way don't have a lot of analog
experience, are dissatisfied with what they're getting with their
didgital bedroom rig, and imagining they'd be Zep if they only had a
Teac?

--
ha

"hank alrich" wrote in message
. ..
Tommi wrote:
I was too busy strumming open triad chords with my acoustic guitar,
drooling
over chicks.

Isn't that the main reason to get a guitar?

Yup, that and fulfilling your childhood dreams by playing hard rock solos.

Tommi wrote:

"hank alrich" wrote...
Tommi wrote:
I was too busy strumming open triad chords with my acoustic guitar,
drooling over chicks.

Isn't that the main reason to get a guitar?

Yup, that and fulfilling your childhood dreams by playing hard rock solos.

That was never part of my dreams; I was trying to catch up with Doc
Watson. He's still ahead of me.

--
ha

hank alrich wrote:

I was trying to catch up with Doc
Watson. He's still ahead of me.

And most everybody else, arthritis & all.

Paul Stamler wrote:


"EggHd" wrote in message
...

Not even. I may be in the top 20 ,best case. But I may be the best
speller
and typist!!

What's wrong with this picture?

Peace,
Paul


Well, the comma is in the wrong place. Which kind of shoots the typist
theory all to hell.

But I'd still call "Top 20" "One of the more..."

"ScotFraser" wrote in message
...
Mine are in cases in the garage, ready, but not real enthusiastic to do
location gigs.

Location recording isn't all it's cracked up to be. Unlike a bad day of
sessions where one can start over tomorrow, live is now (as you well know)
and even with great recordings of a bad performance, somehow it's easy
enough to get blamed. At least a bank of inexpensive MDMs can give you some
redundancy so it ISN'T your fault! g

--


Roger W. Norman
SirMusic Studio

Location recording isn't all it's cracked up to be. Unlike a bad day of
sessions where one can start over tomorrow, live is now (as you well know)
and even with great recordings of a bad performance, somehow it's easy
enough to get blamed. At least a bank of inexpensive MDMs can give you some
redundancy so it ISN'T your fault! g

Nothing like spending hours setting up in a crappy venue in order to accomplish
a lesser version of what you'd get by doing it in a studio that's already set
up to do a good job of it.




Scott Fraser

Roger W. Norman wrote:
"hank alrich" wrote in message
.. .
Yeah, man, where are you hiding your 16 bit MDM?


I don't know about Scott, but mine are right in the rack. And with
some 500+ recordings, some are great, some are terrible, some are
just what they are, but none would be better if done on a 1/2" 30 IPS
analog recorder.

Besides, let's just say that if one were to set up both analog and
digital recording of a live event, both at optimal levels for the
medium from the same source, do you really think that analog would
win solely due to the fact that it's analog? I have no doubts that
it could sound different, but is better different or is it better?
If you have a room full of people listening and knowing the source
playback, I'm sure they'd all pick out their "thoughts" on what's
best, but here's one place that I'd say that Arny's blind testing
might just tell the true tale.

Even with my 16 bit DA38s I can only find fault with the engineer,
not with the hardware.

24 bits doesn't change that for me!

"ScotFraser" wrote in message
...
Nothing like spending hours setting up in a crappy venue in order to
accomplish
a lesser version of what you'd get by doing it in a studio that's already
set
up to do a good job of it.

Ah, but then if magic happens, it's worth the price of admission.

--


Roger W. Norman
SirMusic Studio

Ah, but then if magic happens, it's worth the price of admission.

If magic happens getting it on a cassette, wire recorder, handheld video camera
or dictation machine makes it worthwhile.


Scott Fraser

ScotFraser wrote:

If magic happens getting it on a cassette, wire recorder, handheld video
camera or dictation machine makes it worthwhile.

The big problem with my Wollensak was my lack of magic to show it.

--
ha

The big problem with my Wollensak was my lack of magic to show it.


Ah, Wollensak, all the pure vintage analog magic you could ever ask for.


Scott Fraser

(ScotFraser) wrote:

The big problem with my Wollensak was my lack of magic to show it.

Ah, Wollensak, all the pure vintage analog magic you could ever ask for.
Scott Fraser

Hey, I remember plugging an Altec M20 into a Wollensak, and it wasn't bad.

But it didn't have the fearsome ability of a Scully 280 or Berlant 20/20 to
strike terror into the hearts of nearby people when put into FF or RW. God, how
I loved the sound of those machines as they reved up with a fully loaded 10-1/2
reel.

To be able to stand there (with your fingers poised over the reel flange), while
everybody around you was backing up 3 or 4 feet - that was the sign of a real
engineer. And to reverse direction at precisely the right moment, so that the
reels stopped with just a couple of wraps left; ahhh, the sense of personal
pride and accomplishment. These were beasts that could scatter bits of tape all
over the place in lesser hands, but you were their master, and they obeyed you.

How fast could you change tapes during a show? Did anybody use a little tape
loop into the reel key slot, or did you just wrap a few turns of tape around the
takeup reel, pull up the slack, and hit record?

There was an interaction between machine and engineer. It was the best of
times.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

Harvey Gerst wrote in
:

How fast could you change tapes during a show? Did anybody use a
little tape loop into the reel key slot, or did you just wrap a few
turns of tape around the takeup reel, pull up the slack, and hit
record?

The trick was catching the tape quickly through the hole in the reel. With
the proper finger flick you could grab the tape end and spin the reel in
the same motion.

"ScotFraser" wrote in message
...
The big problem with my Wollensak was my lack of magic to show it.


Ah, Wollensak, all the pure vintage analog magic you could ever ask for.

Hey, if you put the right thing in front of it, a Wollensak could be as
magical as anything else. One of the great recordings of the 20th century,
"The Real Bahamas", was made by a couple of intrepid high school kids, Peter
Siegel & Jody Stecher, using a Wollensak they borrowed from their school's
A-V department. Not sure what they used for a microphone, but it's a
magnificent recording, more so now that it's been reissued on CD without the
pseudo-stereo Nonesuch used on the LP.

"And I bid you goodnight, goodnight, goodnight..."

Peace,
Paul

Hey, I remember plugging an Altec M20 into a Wollensak, and it wasn't bad.

Hmm, maybe I shouldn't have passed when somebody offered me all the Wollensaks
my van could carry when the University filled a dumpster with them.

But it didn't have the fearsome ability of a Scully 280 or Berlant 20/20 to
strike terror into the hearts of nearby people when put into FF or RW. God,
how I loved the sound of those machines as they reved up with a fully loaded
10-1/2 reel. To be able to stand there (with your fingers poised over the reel
flange), while everybody around you was backing up 3 or 4 feet - that was the
sign of a real engineer. And to reverse direction at precisely the right
moment, so that the reels stopped with just a couple of wraps left; ahhh, the
sense of personal pride and accomplishment. These were beasts that could
scatter bits of tape all over the place in lesser hands, but you were their
master, and they obeyed you.

This really conjures the very vivid visual recollection of walking into master
control at KPFK about 15 minutes to air & seeing 2 assistants trying to roll a
mass of unreeled tape the size of a sheep dog back onto a hub, while the Scully
seemed to be scorning their every effort. Priceless.

How fast could you change tapes during a show? Did anybody use a little tape
loop into the reel key slot, or did you just wrap a few turns of tape around
the
takeup reel, pull up the slack, and hit record?

I licked my index finger, then pulled the tape between my thumb & wet finger to
get it to stick against the hub, giving the reel a quick spin while
simultaneously hitting record. Seems like reel changes were about 10 to 15
seconds this way.


There was an interaction between machine and engineer. It was the best of
times.

Mostly I miss the smell of a new pancake, fresh out of the poly bag. Screwing
the flanges on I really felt like something important was about to transpire. A
little different than booting up a computer.
Trivia question to determine if you are an audio geezer: how many here can ID
an unlabeled tape stock just by the smell?



Scott Fraser

(ScotFraser) wrote in
:

Trivia question to determine if you are an audio geezer: how many here
can ID an unlabeled tape stock just by the smell?

I stuck to Ampex most of the time. I couldn't smell any difference, but I
could identify them by feel.

Scotch had a different smell. I can get that close.

I stuck to Ampex most of the time. I couldn't smell any difference, but I
could identify them by feel.

By feel, that's different.

Scotch had a different smell. I can get that close.


And Agfa was further different.


Scott Fraser

A Wollensak mono tape machine mic was my first sax mic! g Drop it into
the bell, and viola, all three notes I knew were there for everybody to
hear. Ah, the memories of 1961! Shortly thereafter I don't remember the
rest of the 60s. g

--


Roger W. Norman
SirMusic Studio

"ScotFraser" wrote in message
...
The big problem with my Wollensak was my lack of magic to show it.


Ah, Wollensak, all the pure vintage analog magic you could ever ask for.


Scott Fraser

"Roger W. Norman" wrote in message
...
A Wollensak mono tape machine mic was my first sax mic! g Drop it
into
the bell, and viola, all three notes I knew were there for everybody
to
hear. Ah, the memories of 1961! Shortly thereafter I don't remember
the
rest of the 60s. g

--


Roger W. Norman
SirMusic Studio

How does the viola enter into it, and would a violin work just as
well?

Norm Strong

****. Voila. You guys have either gotten too used to my quasi precision on
typing, or for some reason I'm suddenly getting hit with hidden resentment
for my well stated bull****! g I make mistakes. If you prick me do I not
bleed?

Voila, ok. French for "there it is" or to express satisfaction.

Now quit picking on a single typing mistake dudes. McCain, ok? Not McLain.
Voila, ok? Not viola.g

Actually it ****es me off that I missed both of the above.

--


Roger W. Norman
SirMusic Studio

"normanstrong" wrote in message
news:BnNnc.19731$536.3693821@attbi_s03...

"Roger W. Norman" wrote in message
...
A Wollensak mono tape machine mic was my first sax mic! g Drop it
into
the bell, and viola, all three notes I knew were there for everybody
to
hear. Ah, the memories of 1961! Shortly thereafter I don't remember
the
rest of the 60s. g

--


Roger W. Norman
SirMusic Studio

How does the viola enter into it, and would a violin work just as
well?

Norm Strong