16 track reel to reels..

Hi Jag,

Sorry I can't help you there. I never
been into that problem before. How about
calling TASCAM or FOSTEX. Just a thought.
Chuck
 
this is to ADS.

i am in the bay area and i am taking my digital stuff and dropping it on 1 inch reel. the reel machine is a tascam 1 inch with TWO reel players(is that what they are called? reel players or tape heads?). he offers 16 track and 24 track reel. with this machine he has a total of 48 tracks. he told me that the machine was SPECIFICALLY made to be used with his tascam mixers. both of which are linked and provided the power to manipulate 48 tracks.

do you have ANY knowledge of digital transfer to analog? he said he will record the digital stuff onto the reel at +6db. the reason why om not mixing on my pc is because i want him to mix it and a pc would throw him out of his environment. i could transfer all the stuff to the roland hard disc recorder and then let him mix from that however im trying to keep the signal clean with less transfers. so what would you recommend i do?


1.multitrack the digital stuff onto the 24 track reel and mix from that?


2.mix on the pc and dump to 2 track reel? what if i dont like the mix?


thats what im faced with. basically transferring the stuff track by track to reel and mixing VERSUS mixing on the pc and going to 2 track reel. i must also tell you that i have NOT laid vocals yet. so what should i do?


thanx a million.


czar


ps this guy REALLY wants to do this project.however if you can refer me to another studio i will appreciate it.
 
I am not sure if I understand the beginning of your question about what the reels are called. A lot depends on what your final goal for this project is. If you riley want him to mix your project and he cant work with the format you have then you are kind of stuck having to do it they way he wants. However I would not mix it until you have the vocals finished. Otherwise you mix will change.

There is no real trick to transferring analog to digital. The biggest thing is using a good level. When he says that he is going to use a +6 level that means that when the meter reed 0db the signal is actually at +6db. This giving you a hotter signal and keeping you further away from the noise floor. With analog tape you don’t have to worry about clipping at 0. You have to worry about tap distortion when the signal gets to hot. That might be at +6, +9,or even +12 depending on the quality of tape you are using. The idea is to hit the tape as hot as you can before distorting. That way there you get the maximum signal with the ideal amount of natural tape compression. The natural tape compression is what will make the song sound so full.

I hope I answered all you questions. If not let me know.
Andy
 
I just bought a TEAC tape head demagnatizer fer .50 at a garage sale.So how do I demagnatize my tape heads?I have a TEAC 3340s.
 
I just bought a TEAC tape head demagnatizer fer .50 at a garage sale.So how do I demagnatize my tape heads?I have a TEAC 3340s.
 
Tim Brown said:
But you're talking about a totally different Animal!
I mean, what did the ATR go for new?
$20K or so?
I remember seeing Tascam's 1" 16" track (With the Reels on the Top in a rolling rack) that went for $20 Grand, versus a Unit that went for a few thousand-BIG difference...

Tim
Like this one?
 

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ROYAL said:
I just bought a TEAC tape head demagnatizer fer .50 at a garage sale.So how do I demagnatize my tape heads?I have a TEAC 3340s.

If you look closely at the web page, there is a button called 'New Thread'. If you want to start a new thread to ask a question, do that instead of reviving a thread that has been dead for two years, OK? :)

But at least you posted in the right forum.

So, start a new thread. Or use the search, how to use a demagnetizer has probably been asked before. But if you can't find it, start a new thread.
 
Ok hotshot I didn't know there was a rule bout posting on old threads and others were asking bout maintence so I just thought Id ask too.Im sure it'll be ok soon just hang in there princess.
 
Last edited:
found today 85 16

Hi,

I just came across your thread today, having just bought an 85 16B myself (also today)
And then a 3rd party alerted me to yet another of them going in Australia.

So I put the 3 things together, did you ever find anything? I've trodden a very similar path myself, I enjoyed reading, ultimatley decided to set my sights low in case of escalating costs (Otari after success)

Anyway heres an ebay like you might be interested in:
http://cgi.ebay.co.uk/TASCAM-85-16-...ryZ15199QQssPageNameZWD2VQQrdZ1QQcmdZViewItem

I thought it was funny that those peices seemed to come independantly of each other, if only I could fix my own issues on the spot.

I was after the straightforward 85 16 (orange) waiting for it to be fully serviced, then the (B) model showed up ready to go, so I've ended up with a grey one. Apparently there was a technical error in the colour choice, it was never meant to be orange, but its one of those things that doesn't really need changing I guess.

Regards

Jim
 
I am currently running both analog and digital. I can track things like drums, bass, and keys on to GP9 on my Otari MX-70 16 track 1", and I can track other things that need to be quiet (read no hiss) in to my Cubase set-up. Then, I can either dump all of the tracks recorded to tape in to the digital realm, or I can burn a time-code track on to track 16 of the 1" and lock the two systems together for the best of both worlds. I have been using Cubase for quite some time, but the analog sure sounds great.

Cheers,
Zach
 
.........."was after the straightforward 85 16 (orange) waiting for it to be fully serviced, then the (B) model showed up ready to go, so I've ended up with a grey one. Apparently there was a technical error in the colour choice, it was never meant to be orange, but its one of those things that doesn't really need changing I guess....."
-------------------------------------------------

I always like the whole 1" Tascam history. It was so radical when it came out and it was SO hated by pro studios....and simultaneously, completely UNAFFORDABLE to most regular musicians of the day....it was almost like a format with NO market. The people who could afford it wouldn't touch it. Anyone who might want it couldn't afford it....such interesting days those were! I always pictured the bigwigs in Japan sitting in a conference room yelling at each other...."what are we doing? NOBODY'S gonna buy this!!!"

The 85-15b ...of which I've owned since new...as well as the original 85-16 I first owned.. is a wonderful machine..a real tank. With parts still readily available ..at least here at Teac in California.

The 1st version 85-16 was slightly hampered in it's monitoring capability for punch-ins. The "b" added 16 more buttons on the function selector panel (32 buttons total + 16 more led indicators), giving much more choice in how the monitoring would kick in/out during recording or punch-ins. Otherwise, circuitry/motors are the same in both machines.

Either machine is nice in that the function selector (and aq-85 autolocator if you can find one) can be moved twenty or so feet away from the recorder.

As to the color scheme, since I was there at the time in 1976-77, was this...

The only models of "original" 8516's that had the orange sides/legs were the first shipment of prototypes put together here in California (and maybe a few other countries at the time) from the parts shipped from Japan.

There is the story about the orange color being a "mistake", but I don't remember conversations about it back in those days...and being that these were the prototype "test" machines, I almost think the orange designation may have been on purpose in order to keep all these field test machines separate from the upcoming commercial production run. Whatever the deal was, the orange color was only around for a very short time...I remember that real well. I bought one of the very first machines actually available for sale (at about a minute after Tascam said, "okay, people can buy them now") and was surprised when I opened the wood crate that the machine was brown (no orange..which was okay with me).

The 85-16 test period was going on almost at the same time as the tests for the 90-16..which was kinda weird at the time. It was v-e-r-y difficult for Tascam to convince "real" studios that 1" 16 track was any good...so they threw those orange 85-16's into practically any studio that would agree to "try one out". I think a lot of people don't understand that the 1" machines were considered to be a total joke by the real studios of the day.

Tascam really had their work cut out for them in trying to get these things placed in the market. They were in a tough position with the 85-16....The 90-16 had already been tested but pro studios with the bucks weren't really indicating that they'd buy 1" anything in mass quantity...and at $15,000 each for a new 85-16, your local neighborhood guitar player circa 1977 wasn't exactly plunking out the cash for the machine and building his home studio like the lucky folks of today can do.

There were about 10-15 of these "orange" versions as I heard it...some put in studios for month-long tests/evaluations....and also shown at the trade shows ...AES for example..where Tascam used to sync up two or three 85-16's with adams smith synchronizers in their display booth...very impressive for those days.

But I remember one New York AES at the Waldorf Astoria that was kind of a drag. Tascam was in this little room with all these 85-16's running and the room was really uncomfortable...super hot in there. 85-16's do run very warm (in fact you may want to aim a small fan at the back where the heat sinks are or make sure you're running the machine in plenty of air conditioning).

As I say, when the actual production run started, the original 85-16's shipped to dealers were brown...two or three shades of it..mostly dark...like on that ebay ad. The orange was gone except on some of the logos.

The 85-16b had a much more pleasing color scheme of tan and brown with orange lettering.
 
oranges aren't the only reel

Hi

that was great, thanks for the reply. I was beginning to think I'd made a huge mistake (still not sure really) Although my budget predicts I'm not exactly going to be able to start out with a Suder/Neve quality set up so its all speculation.

I'm glad I didn't get the 'Prototype' after all, no wonder the salesman has difficulty getting supply parts?

Oh well time will tell, at least I'm on a Par with "Boston" technology, even if its likely my recordings will vanish into lo-fi and have to be re-recorded all over again.

Cheers

Jim
 
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