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PM me with any pictures and information.

I'm talking more like an e609 on a cab/57 on the snare/RE20/MD421. You can crank it until you hit red then just drop it right back to a usable level. A Tube amp is the best example. Drums are really where this gets useful.

One of my top tools that MUST be somewhere in my chain. Is a mic attenuator. My M30 8ch has -20 and -40. Add the Noise reduction to the 80-8 and its a pretty flexible setup. Im not that big into compression, so it helps that I can ram a mic right up on a guitar speaker (which really is nice...

Youre missing the big picture. If some idiot does buy that, it raises the average asking price. Thats bad for all of us, and you know for what it really is, thats a ridiculous price. This is happening to pretty much every type of decent analog gear. Its just economics. But what were doing is...

Oh, and if nobody can afford the gear, nobody has a reason to buy tape. Say goodbye to ATR and RMGI. Once theyre gone, the inflation will soar even higher, and then its lights out.

Teac 3300s A 3300 2 Track Two Track Reel to Reel Tape Deck Recorder Pro Serviced | eBay This seems a tad high. Ive attempted to do business with the guy before and they wont budge on prices because apparently buying up dead machines, restoring them via third party, and passing off repair costs...

PM with offers. I'm selling these as is, and can tell you that the CX-310 needs new belts, and that the 80-8 was used as a parts machine by its previous owner. The 80-8 is missing the playback head, a NAB hub, some plastic parts (buttons/switches/small covers), new rubber for the pinch roller...

Hey Guys, looking to buy a few specific things. PM if you are looking to sell or trade any of these. -Teac/Tascam Metal Reels in 1/2" and in 1/4" -Electro-Voice RE20 -Electro-Voice 635A -Shure SM81 -Shure SM57 -Beyer M160 -Tube Condensor

So, to what extent can I achieve saturation with ATR? I don't exactly want the tracks to be devoid of the holy mojo, but then again, I really want some punchy and clear drum tracks.

I would gladly use Scotch 206/207 or Quantegy 406. I would even use 203. But for over 6-7 months I have not been able to locate any of these tapes in the 1/2" format. I want to track AND master with these tapes, but that is looking like an impossibility. It seems as though having a 1/2" machine...

I have in my possession a beautiful but non-working CX-310. Both belts have turned to an oily goo, but the replacements are available and I'm going to go ahead and fix it to turn it in to my temporary mastering machine. I'm hoping as I acquire more old equipment I can start doing these regularly...

Not at all. Looking at the short term I've decided to the go the route of making sure everything is quiet, and that I can take advantage of any headroom I've got. The "mojo" will come in at other phases, like the final master, or I may opt to really impart some cassette mojo.

So in essence I can never really take full advantage of ATR on the 80-8?

Have you been using ATR frequently, and on what machine? I cant seem to find enough credible sources to get an overall picture of how ATR is functioning on consumer and prosumer decks. Like you said, at the very least people are having erasure issues, and some have remedied this, but can still...

Reviving this thread. Our summer recording project is fast approaching and I've yet to decide where I'm going to go in terms of new tape. RMGI vs ATR. I realize sm911 is what I would need. But I am also reading various sources saying ATR 1/2" on an 80-8 would be no problem, in fact, I would...

What would you say is the best way to patch reverb in to the M-30 with all 8 channels in use? EDIT: Trying to use a Fulltone Tube Tape Echo with control on each channel.

Bump. I would love to know some good brands as well. Incorporating some old Teac Cassette decks in to the studio, and im lost on this subject.

Can't stand Flower Pot Guys prices. He has some TEAC/Tascam Rack gear I could seriously put to good use.

Agreed. Although when doing sound at a venue that shall remain nameless, I was put to the sword. The room might as well have been a concrete closet. The instruments were so close together, and the monitors so close to the mics, it became a cat and mouse game of feedback vs bleed from the kit...

This is essentially what I was getting at. It is exactly the same reason we went to gating the drums, we were recording in a dingy old basement. But as a strict analog user, and what I would call a traditionalist, I moved towards a philosophy of going from the source to the finished product with...