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I second the 80-8. Its a tank, and its got da mojo. Honestly, the 80-8 could probably do more damage to a human than a human can do to it. Carrying one up a flight of stairs is traumatic at best.

Exactly. But ever since recording my music on a crappy 2 input interface, in a crappy room, trying to create dense 16+ track mixes, I tend to focus more on room and source, as well as capturing large chunks of the mix without bouncing. My whole process revolves around one room mic, placed in...

I would trade my 80-8 for a nice Ampex 4-track any day. I truly believe 4-track (on a reel to reel) is the holy-grail if you use it right.

That would make sense. I asked around a little more and it was grim, as if RMGI was dead out of everything in their warehouse, and all the online stores had was 2-3 rolls of something other than 911.

I ordered some new tape from Full Compass and was told RMGI USA is out of stock on 1/2" sm911. I was told the same thing by another company. Anyone hear of anything else being out? Tapes.com told me they had sm468. They at least had that, but maybe just because they hadn't sold it yet. What's...

What kind of monitors were used when mixing?

You need fader lube. Go to Parts Express and they should have everything you need. EDIT: faderlube - Parts Express Ships Fast and Ships Free. There you go.

You could always just by an attenuator for your amp. Dr.Z Air Brake? Anything like that. You get all the break up and the tone, just at a reasonable volume. So, you can have an all tube amp, use pedals, crank the the amp as high as you want, and still play/record in the comfort of your home.

I have one in perfect-working condition, recently serviced before I bought it, and the seller sent me a dead 80-8 to rip parts from as well. I paid about 700 for all that not including shipping. Pristine 80-8 plus a parts machine is the only deal Id ever go for regarding this deck and Id only...

I saw an Ampex 351 1/4" Mono on Ebay. If only it wasnt the size of a washing machine... and in the bay area...

What a bummer. What do you think would be a good Ampex mono or two track Deck to pick up that wont break the bank?

Whats the deal on this machine? What does it sound like, a Teac or an Ampex? Is it reliable? Does anyone have experience with these?

I try to capture the entire kit with one OH mic. To get a nice smooth cymbal sound while still getting body from the shells is mainly what I want. The overhead should tame the highs from the cymbals but allow them to have presence in the mix. The same goes for the snare and then to a certain...

Here's a good question. What kind of owner/management/investor would involve themselves in a tape production venture to make a profit? Here's a good answer. A bad owner, bad management, or bad investors. I want tape, I want a lot of it. I want to buy a lot of different kinds of it, and I would...

Not ideal for the transport? Or for the heads? or sonically? How so?

Has anyone tried using ATR tape on a Tascam 80-8? Is it even able to be used on one?

There's no right or wrong way to do anything in recording. If you get the result you're after, then it works.

Of course, there is a trick you can use with outboard gear. Gate a mic so that it only captures the beats, and the other mic to cut the signal once the beats come in (or you can cut sections out in your daw)! ;) But hey, thats too easy.

The golden rule, at least for me personally, is trash in, trash out. In a nutshell im saying you need to learn to work around the limitations of your set up. Recording is HARD work, and VERY repetitive. You should probably just sit down behind your kit and practice the part youre talking about...

Try a ribbon mic that can handle loud sources well. Like a Beyer. That should capture the detail of the sweeps and handle the dynamics of the beats. But I still recommend fixing it at the source before you go spending money. If anything, try double micing the snare. One mic to handle/capture...