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Thank you that’s very helpful. In practice I find most preamps at “appropriate” gain are too hot for the line inputs, but I usually follow with a compressor. The exception has been my LA610 which I have to run at pathetic levels to accommodate the 388 line in - I’ve been following it with a 15db...

I love this forum so very much. You have saved me and my 388 more times than I could count. Bless this place. I record and mix exclusively on my 388, but with a host of outboard gear. This means I am mainly using the line inputs which I understand to be -10dbv (right?). And then I’m assuming...

Couldn't find this question elsewhere, anyone experienced anything similar? Just recently my aux on ch6 has an extremely low send level, probably around 10% of other channels. Same issue pre/post. I've got tapes with vocals on that channel, it's killin me! ugh! Any ideas? Guessing it's probably...

I used to get the RMG from Full Compass, but last I checked they were out, everyone seems to be out, heard some rumors about factories closing etc etc. I picked up a few reels on ebay to tide me over (they were Pyral, which I understand is maybe the new RMG?)...I find it all rather confusing...

Well, there are two machines in the sense that one machine is producing the echo, and the other is doing playback and recording. I'm not varispeeding the echo machine, rather I'm varispeeding how the playback/record machine records that echo. The echo is constant, but the speed at which I'm...

Just to come back to this, I don't think I've had much luck explaining the key element of this experiment. While I'm laying down the reverse-echo-that-will-eventually-be-a-preceeding-echo, I'm varispeeding the playback machine. The echo machine is producing a constant echo of "n" miliseconds. So...

I do it for individual tracks on the way in, and for groups when I do reduction mixes to free up tracks. I also tend to do things like filter everything above 8k on bass guitar at mixdown, that sort of thing...the more I can put high frequencies to tape, and roll them off during mix, the better...

You're quite right, but my echo doesn't have varispeed, my source machine does...so it's what I'm stuck with. It's more of a time-based fluctuation than pitch based, although like I mentioned some pitch artifacts come through too. I'm quite pleased with the outcome. Do you have a machine with...

Haha, well you definitely had me second guessing, so I just tried it to be sure. Basically I'm varispeeding the playback/record deck while recording the echo, so while the varispeed is low, I'm recording let's say 10ms of delay, but on the next word, if I turn up the varispeed pitch, suddenly...

I'll mention an old trick that has worked well for me without NR. I like to boost the way high frequencies (and I mean higher than sibilance) on the way to tape, and then roll them off a bit on playback. Cuts down a lot of the 'perceived' noise, and I like what tape does when you drive it a bit...

Since the echo is being recorded while the tape is playing in reverse, during this part of the process, both the original vocal and the echo are backwards and sound like demonic incantations. When you flip the tape back over, both are now forwards, with the 'echo' preceeding the original. As...

Worked pretty well! So I did get around to trying this over the weekend. It worked pretty well, but I learned a couple of things... Namely, you need to fluctuate the tape speed while laying down the 'reverse' echo (using a 388, so the varispeed should work for this). Otherwise the end result...

Thanks again for the responses, sorry for the really late reply, but a happy ending, I did buy it, had a local tech calibrate & set tension, and it works like a dream I love it

Ok, first of all, sorry for posting before I've even tried this, but I've had a lot of coffee and this idea just hit me like a ton of bricks. I will try this weekend and let you know how it turns out but I wonder if anyone has tried this & how it worked for you? The key to ADT, "true" ADT as I...

Really? I've always imagined PGM bus IN as going IN to the tape (ie the logical conclusion of the bus), and OUT coming from the channel(s) assigned to that bus...so in my imaginary land, the IN to the PGM bus doesn't loop back to the OUT...? Naturally I believe you know better, and I would...

Yeah that's what I thought would happen when I assigned them to PGM8, and then patched 8 out to 8 in, but no go...I'll try PGM1 to PGM8, maybe one of my PGM outs/in jacks is dead or something. Thanks!

Thanks for the response, J. Yeah I guess I was just thinking somewhere along that bus that routes multiple channels to a single tape channel, there would be a way to insert mono before it hits the tape. Of course, the method of using a stereo comp on channel inserts is totally practical, and...

If I have drums & bass on tracks 1&2 respectively, and I want to bounce them over to track 8, where can I insert a compressor during that process? Would inserting between pgm out & pgm in on 8 do the trick? I tried that without luck, but maybe I'm missing something... Thanks!

Thanks for the helpful responses everyone, I did the same test on a machine I'm used to using, and had similar results, so I decided to go for it. I'm aware that there are a million factors at play & I appreciate everyone chiming in despite the crudity of my 'tests'. For what it's worth...

Hello friends, I'm looking at a Tascam 388 to purchase & I did a crude test with some tones to hopefully get some idea of head condition... Channels averaged about 2vu lower at 10k than they did at 1k. And they averaged about 4vu lower at 15k (than they did at 1k). I know a 388 isn't exactly...