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  #31  
Old 03-02-2020, 11:56 AM
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If you must have a semi-pro 1/4" machine, consider the Technics RS-1520. The Technics ISO-LOOP transport is probably the most stable semi-pro transport out there. I owned one back in the day.

Bob
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  #32  
Old 03-02-2020, 12:03 PM
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Quote:
Originally Posted by Bob Womack View Post
If you must have a semi-pro 1/4" machine, consider the Technics RS-1520. The Technics ISO-LOOP transport is probably the most stable semi-pro transport out there. I owned one back in the day.

Bob
They are out of my price range, thanks anyway.
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  #33  
Old 03-02-2020, 02:09 PM
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I read that back in the day, the Tascam mixers were called "Baby SSL's".......now I know why, they sound great....
Never in a million years. Except for a few pieces, TASCAM consoles were respectable and reliable for their price point but that's about it. I ran their experimental/prototype/early production studio from my home for several years so I should know.
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  #34  
Old 03-02-2020, 03:11 PM
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2003. That thing in my lap was a Solid State Logic 4048E/G. One of my favorites over the years.

Bob
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  #35  
Old 03-02-2020, 05:17 PM
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Well Bob that's a beautiful board, I'll bet it sounded great !! That was my point a great sound comes from the mixing board, not the tape. Maybe that's why studios pay big bucks for them....
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  #36  
Old 03-02-2020, 06:26 PM
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Originally Posted by Martin Maniac View Post
Well Bob that's a beautiful board, I'll bet it sounded great !! That was my point a great sound comes from the mixing board, not the tape. Maybe that's why studios pay big bucks for them....
Great sound comes from the entire chain, starting at the microphone(s) through to the actual recording/playback device. If you're tracking to analog, even the choice of tape makes a difference. Everyone had their favorites. Mine was 3M 996. And for the record, I hated Scotch 250 and especially 226.

My mentors weren't looking for a basic signal path that added "color" or "warmth." They wanted everything left clean so that they could decide with eq and/or other processing how to sculpt what ended up on the tape.

To that end, one studio I recorded at went so far as to have custom SAKI heads made and installed on their 3M M56 that had Ampex 440 electronics instead of the stock ones from 3M. Coupled with their Spectra Sonics console, recordings from there were as clean as anyone could ask for.
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Old 03-02-2020, 06:54 PM
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How's this for clean......

https://waynekraft.bandcamp.com/trac...lifornia-intro



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  #38  
Old 03-02-2020, 08:32 PM
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Decent but not even close to what I'm talking about.
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  #39  
Old 03-02-2020, 09:31 PM
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it's not bad for a bedroom studio, eh ?
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  #40  
Old 03-02-2020, 11:06 PM
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Quote:
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That sounds like an acoustic through a piezo pickup.
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  #41  
Old 03-02-2020, 11:41 PM
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It's a D-35 with a Seymour Duncan Woody pickup into the Tascam mixer which goes into the Denon mixer then into Cakewalk by BandLab, then into Adobe Audition for final editing and uploaded to BandCamp for your pleasure.

This routing seems to work very well for me with all my recordings....
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  #42  
Old 03-02-2020, 11:48 PM
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I think I'm going to get the Fostex 80-8 track recorder. It comes with lots of great reviews, and will look awesome on a shelf above the Tascam mixer. Both units are black and will look nice together.

https://reverb.com/item/32658876-fos...der-reproducer
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  #43  
Old 03-03-2020, 12:30 AM
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In case you are wondering why I'm using two mixers in my rig, it because the Tascam doesn't have phantom power for my mics, It works fine for my instruments. At first it was a little tricky getting the levels right, but it's all set up nice now. As it turned out I'm using all the channels in both mixers anyhow.
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  #44  
Old 03-03-2020, 03:18 AM
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I bought the Fostex 80 8 track....
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  #45  
Old 03-03-2020, 05:12 AM
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Quote:
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I bought the Fostex 80 8 track....
Yeah 8 tracks on 1/4 inch tape width about the same track density as a 4 track cassette recorder. Good luck!
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