32-2 , 42 , 52 , 60/2

[SteveM]

You are crossing the line, you little twit! You assholes think you can say what you want online, because no one can get to you. I'm gonna give you one break, as you must be ignorant, on bringing my wife up, in a post. You bring her up anytime, in anyway, in this forum, and I will find you. I travel with work. Have worked in the city thru local #3 and Long Island thru local #25(I see your in NY).
?

You've owned Studers and Revoxes but you're concerned about Tascams? You work professionally in the union and are asking us?? Okay. Seem's you've skipped a level and went right to the top eh?

Don't go around threatening anyone in this forum. OKay? Take a hike.

 

[Good Friend]

Tascam

Hey dude, just find a Tascam 32 thats in good condition somewhere near where you live so you can check it out and make sure it runs well. If you cant then buy a really nice one from a reputable ebay seller who knows what they are talking about in the item description. Make sure they pack it well and count on it needing to be serviced in some way when you get it and you wont be disappointed.

There is nothing that some guy recording in his room NEEDS that a well maintained/calibrated Tascam 32 cant provide. The tiny differences between recorders WILL NOT make or break your project. But a broken or worn down recorder of any type definitely will break your project and it doesnt matter what brand name is on it.

If quality is your number one concern in your recordings, it starts with your personal ability and not the brand name of your recorder. The list of brilliant art made with less than ideal tools is infinitely long. Knowing the characteristics of your tools and knowing what you can and cant get from your setup is worth more than anything else you can do.

Just make sure the shit works well to start.

 

[evm1024]

And don't forget to add the BR-20 into Your Tascam list....

 

[Dr ZEE]

So, now that we can get rid of this "professional" word that you can't stand, I will settle on "commercial" and "non-commercial" catagories in describing equipment in the future.
.

It is not the word, that I can't stand. It IS the misuse of the word I can't stand and thus can't leave it unnoticed.
But what's worse, than just misused of the word - is misguiding and confusing based on misuse of the word combined with absence of knowledge and experience in HOME recording and disrespect to independent recording/production (and art) in general.

May I remind the public of something here?

"Settings like these are always available on pro machines. I don't know about the narrow format machines.Maybe Sjohnson is right and the home machines set tension aoutomatically (?) I can't say. All I can say is that it will hurt your heads if the tension is set too high. How your tension gets set is what I don't know. I only know Studers and MCI 2" decks."

That was a quote from few years back, back when I was posting my first questions . And the question was about using GP-9 tape on Tascam-32 machine.
And so "let the misguiding and confusing shine-on".

"If you are a tape deck guru and can tweak the machine for bias/tape tension, then GP9 is better for you. If you can't do this then stick with 456.

More machines are wrecked everyday because GP9 is used with the wrong calibration..
GP9 is a thicker tape. If you don't set tape tension - or- you can't set tape tension (machine has no cal routine), don't use it. My MCI JH24 2" machine is settable both electronically and mechanically for any tension. The GP9 will have a much higher tension right off the bat and if not corrected, your heads will wear amazingly fast....
The maintanance manual is what you need to get started. You will need some tools like a spring scale, o-scope, test tape, tweaker, freq generator, voltmeter and some other things I will remember later. You may want to use the 456 and be happy that you never touched the machine though. Once you start "calibrating" you can't go back without professional help (or if you actually get it right, you are all set). If the machine is a three head, it is far easier to bias than a two head machine. The home type machines are far more complicated than pro machines as they were never designed for daily calibration....
....Really, if you are not prepared to do this type of work, use 456 and leave it alone especially since heads and guides are becomong harder and more expensive to get. I use GP9 on my Fostex E-16 and the tape tension routine is much like my MCI (after reviewing the manual this weekend, I had forgotten about this because I don't use it much anymore). I love the GP9 on the Fostex and think it makes better recordings myself.
"

I use GP-9 tape for mixdown on tascam-32. The result is excellent. The machine is doing fine and will outlive my miserable existence, that's for sure. And you guessed it right- I DID NOT follow any acorec's advice and guide-lines.
In case somebody does not know: acorec and MCI2424 is the same "expert". acorec in the past, MCI2424 - now.

what does it have to do with french fries and ketchup? - You figure it out.
**********
btw,

talon,
If you really look for a good practical and helpful advice (useful , that is) or just wish to discuss analog recording and related issues or just feel like chatting with buddies in special interest because you've got sick and tired of union guys same ol'blah - then take it easy, try to be cool and hang around. I am not asking you to be nice as I understand that it may simply go against the nature.
If you are looking for a fist fight, then consider the end of the post #21.
And the last note for you, talon. When you threaten me - you threaten my kids, and when you threaten my kids - things don't matter to me. Think about it for a minute.
Here are some crisps, no ketchup though

 

[cjacek]

With all due respect, talon, there really is nothing worse than threatening or supporting physical violence on a member here, no matter where the discussion or words lead. THAT is crossing the line.

 

[treidm]

You've owned Studers and Revoxes but you're concerned about Tascams? You work professionally in the union and are asking us?? Okay. Seem's you've skipped a level and went right to the top eh?

Don't go around threatening anyone in this forum. OKay? Take a hike.

He is in the same Union, that I am. It's not a musical industry Union. The Union has nothing to do with recording. I don't know what recorders he has, but YOU should take a hike, jerk! He was unjustly attacked from the start. This is total crap. May have to re-think, hanging around this forum, if this keeps up.

He started by simply asking a question about recorders.

And cjacek, you have someone throw in your wife or kids or any family member into a post, and see if it doesn't piss you off. I don't blame him. I would want to kick someones azz for that too. He didn't threaten his life or anything. What, you never been in a fist fight?

And drzee did the correct and proper thing and apologized(with sarcasm, but did), so that should have ended it. The conflict would have resolved itself, between those two. I'm sure he will respond to drzee, when he can.

Can't people just offer help and opinions around here without all the "Drama", whoops now I said it.



.

 

[evm1024]

If life were simple and if no one had a history

Say, you're new around here arn't you?

He is in the same Union, that I am. It's not a musical industry Union. The Union has nothing to do with recording. I don't know what recorders he has, but YOU should take a hike, jerk! He was unjustly attacked from the start. This is total crap. May have to re-think, hanging around this forum, if this keeps up.

He started by simply asking a question about recorders.

And cjacek, you have someone throw in your wife or kids or any family member into a post, and see if it doesn't piss you off. I don't blame him. I would want to kick someones azz for that too. He didn't threaten his life or anything. What, you never been in a fist fight?

And drzee did the correct and proper thing and apologized(with sarcasm, but did), so that should have ended it. The conflict would have resolved itself, between those two. I'm sure he will respond to drzee, when he can.

Can't people just offer help and opinions around here without all the "Drama", whoops now I said it.



.

 

[SteveM]

He is in the same Union, that I am. It's not a musical industry Union. The Union has nothing to do with recording. I don't know what recorders he has, but YOU should take a hike, jerk! He was unjustly attacked from the start. This is total crap. May have to re-think, hanging around this forum, if this keeps up.

He started by simply asking a question about recorders.

And cjacek, you have someone throw in your wife or kids or any family member into a post, and see if it doesn't piss you off. I don't blame him. I would want to kick someones azz for that too. He didn't threaten his life or anything. What, you never been in a fist fight?

And drzee did the correct and proper thing and apologized(with sarcasm, but did), so that should have ended it. The conflict would have resolved itself, between those two. I'm sure he will respond to drzee, when he can.

Can't people just offer help and opinions around here without all the "Drama", whoops now I said it.



.

Okay, nobody take a hike.

 

[talon]

Yes, I am in a Union, but it is not music related.

Yes, I am guilty of having owned Studer/Revox recorders.
Currently have PR99 & A77.

Yes, I am new to this forum, as you can see by my join date. Kinda new to online stuff, period.

No I'm not working in a professional capacity, recording.

No, I have never owned or used Tascam RtR's
I did have a couple of 144 cassette decks, which I had trouble with the heads wearing out, but no RtR's

Yes, I have only used 2 other brands of RtR's, besides Studer & Revox (Otari & Akai). Not alot of experience, outside of my little world of recording.

I am sure most all of you, have much wider experience, with more types of equipment, that is why I wanted opinions. I am really sorry, I asked, though.

I hope buying Tascam RtR's does not bring on this attitude towards others, I am seeing.

Does the BR-20 have a belt driven capstan?

drzee, you have a right to your opinion, please just refrain from bringing up my family members, thx.
I can take most anything else, said about me.

I will leave this thread open til tomorrow, so next statement is seen, then close it.
It has not been a very productive thread.

I would like to thank, those that commented in good faith. I appreciate your comments, and will consider them in my next, possible aquisition.


treidm, I sent you a PM....

 

[Beck]

TASCAM and OTARI made pro (commercial) and semi-pro machines.

Perhaps my post was missed in the fray...

https://homerecording.com/bbs/showpost.php?p=2481860&postcount=12

I might add… the concepts of pro and semi-pro are largely marketing designations that ended up having little meaning in practice.

For example, the TASCAM 52 and 32 were introduced in the same year as “Pro” and “Semi-pro” respectively, but the industry largely ignored these designations. People chose machines based on features they needed, or could live without. The 32 proved to be a very robust industry workhorse.

Originally the idea was to cut cost for home and small studios. Editing features were Spartan to non-existent and a line level of -10dB was chosen for compatibility with consumer hi-fi equipment. The lower cost TASCAM machines were not made with ease of maintenance in mind. So-called Pro machines are designed for easier accessibility to calibration controls, but that’s because the industrial environment requires more frequent maintenance and adjustment.

Where you see the biggest difference is in features like return-to-zero, Counter memory locations, spooling mode, dump editing, remote control, on-board editing block, center time-code track, balanced +4dB input/output, switchable flux and equalization schemes, etc.

An inexpensive machine can sound as good as one ten times the price, but of course it won’t hold up so well in a busy commercial studio and the lack of features may make it unsuitable for that environment.

To be frank the sonic differences between so-called pro and semi-pro machines have been overstated and are more urban legend than fact. But these designations were carefully managed by the manufacturers who wanted to strictly control the markets. That is, they wanted people that could afford it to buy the expensive pro line and people that couldn’t to buy the semi-pro stuff. To the industry’s chagrin many very large and well-known studios found the less expensive machines fit nicely for certain applications. Such is the saga of the TASCAM 32.

Young editors and writers were spoon-fed the concept of pro and semi-pro, and it still lives on in news groups like rec.audio.pro… probably the worst offender. If everything one knows was learned on such a forum, one should probably start over.

The objective for most people on this forum is to have a working machine they can rely on, rather than simply having a Rolls-Royce emblem around their neck to impress their friends. Many Studers are such maintenance nightmares you can end up with a very expensive doorstop… er, albatross.

It sounds to me like talon is a collector/hobbyist that is curious about machines he hasn’t used. In that case the TASCAM Fostex and Otari machines can be had for so little you can hardly afford not to try one or two and see. If I had to pick one it would be the TASCAM 32.

 

[evm1024]

Welcome to Analog Only

SNIP

Yes, I am new to this forum, as you can see by my join date. Kinda new to online stuff, period.

SNIP

I am sure most all of you, have much wider experience, with more types of equipment, that is why I wanted opinions. I am really sorry, I asked, though.

I hope buying Tascam RtR's does not bring on this attitude towards others, I am seeing.

Does the BR-20 have a belt driven capstan?

SNIP
treidm, I sent you a PM....

This like most forums has history. Each of the actors also has history. Some act in good faith, some have issues. You are new and do not know the history or the actors.

Some of us have truely a lot of experience and there are others who act like they do. Without a program it is hard to tell who is who. Keep askingnd think about what you hear.

Most on this forum think highly of all decks. They are quite keen about their tascam or fostex or what have you. A few say only "this" deck is good and the rest is junk. Some imply that semi-pro decks are toys.

The Br-20 is 1/4" 2 track mastering deck with +4 dBm balanced inputs and outputs, uP controlled transport, The capstan is belt driven from a DC servo controlled motor. Some models have a time code track. The list of features goes on. It is a fine deck.

I currently own 2 half track machines, a BR-20 and an Ampex ATR700. In the past I've owned a 32. All are nice decks. I'm fond of the ATR but the BR is my workhorse. Highly recommended. (and yet the ATR has a built in mixer but weighs a ton)

Andy (MCI2424) sometimes has good information other times he is off the mark. He has had more than one name (acorec) on this list. I really don't know Reid very well yet (treidm).

Peace. There is a lot to learn here and a lot you can share. On, by the way. I've always found Dr Zee's allegory to be most entertaining. Look beyond the literal meaning and there a few gems there.

E

 

[cjacek]

Well said, Ethan.

 

[cjacek]

Talon,

You may find the following helpful:

Note: you can click on the image for the full size, if applicable.

I hope TASCAM won't go after me for copyright infringement!

 

[cjacek]

Oh yeah, forgot to mention that the above links contain catalogue / brochure scans of TASCAM 20, 30, 40, 50 and 60 series recorders. Good background info and specs on each of the recorders, though, as Tim (Beck) already mentioned in his fine posts, specs are rather conservative and certainly don't tell the whole story.

 

[MCI2424]

It is not the word, that I can't stand. It IS the misuse of the word I can't stand and thus can't leave it unnoticed.
But what's worse, than just misused of the word - is misguiding and confusing based on misuse of the word combined with absence of knowledge and experience in HOME recording and disrespect to independent recording/production (and art) in general.

May I remind the public of something here?

That was a quote from few years back, back when I was posting my first questions . And the question was about using GP-9 tape on Tascam-32 machine.
And so "let the misguiding and confusing shine-on".

I use GP-9 tape for mixdown on tascam-32. The result is excellent. The machine is doing fine and will outlive my miserable existence, that's for sure. And you guessed it right- I DID NOT follow any acorec's advice and guide-lines.
In case somebody does not know: acorec and MCI2424 is the same "expert". acorec in the past, MCI2424 - now.

what does it have to do with french fries and ketchup? - You figure it out.
**********
btw,

talon,
If you really look for a good practical and helpful advice (useful , that is) or just wish to discuss analog recording and related issues or just feel like chatting with buddies in special interest because you've got sick and tired of union guys same ol'blah - then take it easy, try to be cool and hang around. I am not asking you to be nice as I understand that it may simply go against the nature.
If you are looking for a fist fight, then consider the end of the post #21.
And the last note for you, talon. When you threaten me - you threaten my kids, and when you threaten my kids - things don't matter to me. Think about it for a minute.
Here are some crisps, no ketchup though

All I said is based in fact. If your machine is OK than your tape tension is OK or your machine auto-sets this. I have no idea as to your machine, but, I HAD to set my tape tension (as per the Fostex E-16 manual) to avoid excessive headwear. GP9 IS thicker, IS heavier and WILL wear out heads (and motors on some machines)faster IF the machine is NOT CALIBRATED for it. YOU may or may not have gotten lucky. Depends on how much you use your machine and how the tape tension is set. This has absoultely nothing to do with what the guy is asking about here. You seem to be arguing with facts based on designs of 2 different types of recorders, and bullying me (as well as the poster). The guy wants how these machines are different and what makes some better than others. So, if you can provide some useful info otner than "they are all the same" then please do. Otherwise, please don't waste our time with your bullshit.

 

[MCI2424]

It is not the word, that I can't stand. It IS the misuse of the word I can't stand and thus can't leave it unnoticed.
But what's worse, than just misused of the word - is misguiding and confusing based on misuse of the word combined with absence of knowledge and experience in HOME recording and disrespect to independent recording/production (and art) in general.

May I remind the public of something here?

That was a quote from few years back, back when I was posting my first questions . And the question was about using GP-9 tape on Tascam-32 machine.
And so "let the misguiding and confusing shine-on".

I use GP-9 tape for mixdown on tascam-32. The result is excellent. The machine is doing fine and will outlive my miserable existence, that's for sure. And you guessed it right- I DID NOT follow any acorec's advice and guide-lines.
In case somebody does not know: acorec and MCI2424 is the same "expert". acorec in the past, MCI2424 - now.

what does it have to do with french fries and ketchup? - You figure it out.
**********
btw,

talon,
If you really look for a good practical and helpful advice (useful , that is) or just wish to discuss analog recording and related issues or just feel like chatting with buddies in special interest because you've got sick and tired of union guys same ol'blah - then take it easy, try to be cool and hang around. I am not asking you to be nice as I understand that it may simply go against the nature.
If you are looking for a fist fight, then consider the end of the post #21.
And the last note for you, talon. When you threaten me - you threaten my kids, and when you threaten my kids - things don't matter to me. Think about it for a minute.
Here are some crisps, no ketchup though

Oh BTW, here are a few things I posted long ago:
https://homerecording.com/bbs/showthread.php?t=150030&highlight=acorec
https://homerecording.com/bbs/showthread.php?t=152215&highlight=acorec

Show me anywhere that I said that GP9 was unuseable on home machines other that the FACT that your machine needs to be set up right to minimize headwear? I provided info that you obviously must have used because some said this tape could'nt be used! It seems that you DID take my advice. Instead, you favoured taking some of my stuff out of context and attacking me personally. People can read these threads for themselves.

And.......................BTW..................check your headwear as you might be surprised IF your tension is high. There is no way that GP9 will have no affect on headwear (unless, as I stated, your deck auto-sets tension).

"....Note: Modern high-output tapes are not a good match for older pro or narrow-format semi-pro machines, which may not have enough current to fully erase previously recorded material. Compared to older generations of tape, modern tapes can be an additional half-mil thicker than the original “1.5 mils,” for which the machines were designed. (One mil is 0.001 inches or 25.4 microns.) Thicker tape is harder to pull and, if tension is not adjusted, can cause more than the usual amount of headwear. Attempting to operate any narrow format machine without its integrated NR is not recommended, nor should the operating level be changed from the manufacturer’s recommendation. While it may be possible to disable NR for selected tracks, there will never be enough headroom to sufficiently lower the noise floor for all tracks...."
Here:

http://www.digitalprosound.com/Htm/TechStuff/2000/Aug/AnalogTape3.htm


http://72.14.209.104/search?q=cache.../0/+GP9+and+Headwear&hl=en&ct=clnk&cd=9&gl=us

Read Dave Hecht's comments.

 

[treidm]

Say, you're new around here arn't you?

To posting in general & to "analog only", Yes. I just joined on July 2, 2002. I have lurked around for years just reading, not posting much, in other catagories. Just recently, got the bug for RtR, so just a matter of months here in "analog only". I see you are too (Join Date: Jun 2005)

This like most forums has history. Each of the actors also has history. Some act in good faith, some have issues. You are new and do not know the history or the actors.

Some of us have truely a lot of experience and there are others who act like they do. Without a program it is hard to tell who is who. Keep askingnd think about what you hear.

Most on this forum think highly of all decks. They are quite keen about their tascam or fostex or what have you. A few say only "this" deck is good and the rest is junk. Some imply that semi-pro decks are toys.

The Br-20 is 1/4" 2 track mastering deck with +4 dBm balanced inputs and outputs, uP controlled transport, The capstan is belt driven from a DC servo controlled motor. Some models have a time code track. The list of features goes on. It is a fine deck.

I currently own 2 half track machines, a BR-20 and an Ampex ATR700. In the past I've owned a 32. All are nice decks. I'm fond of the ATR but the BR is my workhorse. Highly recommended. (and yet the ATR has a built in mixer but weighs a ton)

Andy (MCI2424) sometimes has good information other times he is off the mark. He has had more than one name (acorec) on this list. I really don't know Reid very well yet (treidm).

Very well put post, Even I can tell in the short time here, some of the "players" that post in good faith & try to help. Beck for instance. Yes, I am Reid(treidm), no you don't know me, and I don't know you either. All my experience analog is with cassette porta studios. Have digital recording experience. Currently multi-track to Alesis M-20 & LX-20, master to standalone hard disk recorder, no need to go into all my equipment as it doesn't pertain to this. Totally new to RtR world. Been recording about 10 years.

I personally hope he keeps this thread open, I am going to PM him and tell him, so.
I want to learn. He may be advanced beyond some of the information given so far, but I want to read it all. I have one crappy, freebie deck given to me, that isn't working very well, but I have the desire to learn for a while, then buy one, that suits me. So yes, if I say anything about RtR, take it with a grain of salt, as I have relatively no experience. I do know a few things about electronics in general and recording/mixing in general. Been doing sound for 2 bands, and recording them, for a while now, along with recording myself. I am a musician also. Done sound for Church, but that probably doesn't count. Now you know a little about me.

Whether he is or not, I am learning from some of the posts, like the ones below(I realize, gleaning may be necessary). those posts are helping me alot. So thx to the posters.

I could though, do without, the other sarcastic and the brand loyalty ones, but that may just come with the territory.

Examples of helpful ones below:

Studer and Revoxes (some) are made for pro recording studios. They have better transports, heads, higher headroom electronics and are MUCH easier to get to the alignment electronics for aligning every session if need be. They also are far easier to maintain. The TASCAMS and Otaris (home recorders) werte made to be cost effective. The actual difference to you depends on what you are doing and how much you want to spend.

TASCAM and Otari made a wide range of pro and semi-pro machines. The Japanese machines are generally well made, and TASCAM in particular was conservative when listing specs.

At one time the TASCAM 32 was one of the most prolific ¼” half-tracks ever made. You could find it in small and large recording studios, radio and TV broadcast facilities, film studios, colleges, government agencies, etc. In that regard its more than field proven.

When looking at sonic performance alone you won’t find as much difference across the ¼” half-track species as you might think. Signal-to-noise is roughly 70 dB, THD is between 0.5 to 1% and wow & flutter are too close to hear a difference. When you add noise reduction into the mix things are even closer. Even the low-cost 22-2 has plenty of headroom.

The 22-2 is my personal fav. Its small, light and has sound on par with larger machines. It doesn’t even have a return-to-zero feature, but it sounds great.

For comparison, I would prefer the TASCAM 22-2 to the A77 and the 32 to the A77 or B77.

A lot of features are really just potential features if you don't use them. For example, easy to calibrate isn't much of a selling point if you only have to check it once a year.

Most machines can be improved if you are into hacking. The op-amps in some of the older Studers, Otaris and TASCAMs can be replaced with better varieties that didn’t exist when the decks were made.

The TASCAM 42 or BR-20 will get you more features and pro (+4 dB) input/output. For the project studio or home environment the TASCAMs are a good investment since parts are still available from the manufacturer at reasonable cost.

One of the things I really love about the Otari units is their ease of calibration / biasing, from the front panel. That is really the biggest thing for me and an advantage over some of the TASCAM units, especially if you like to align very often and switch tapes.

Parts are generally plentiful and a lot cheaper for the TASCAM machines, including heads etc ....

If this guy intends to record like everyday, he would be served better with a commercial deck which will last tons longer and be servicable, can be aligned in minutes, and has many more parts available than the non-commercial decks. If he wants a deck to record projects (either pro or non-pro) he would be better served with a non-commercial deck if he does'nt have heavy, daily use.

TASCAM and OTARI made pro (commercial) and semi-pro machines.

Perhaps my post was missed in the fray...

https://homerecording.com/bbs/showpo...60&postcount=12

I might add… the concepts of pro and semi-pro are largely marketing designations that ended up having little meaning in practice.

For example, the TASCAM 52 and 32 were introduced in the same year as “Pro” and “Semi-pro” respectively, but the industry largely ignored these designations. People chose machines based on features they needed, or could live without. The 32 proved to be a very robust industry workhorse.

Originally the idea was to cut cost for home and small studios. Editing features were Spartan to non-existent and a line level of -10dB was chosen for compatibility with consumer hi-fi equipment. The lower cost TASCAM machines were not made with ease of maintenance in mind. So-called Pro machines are designed for easier accessibility to calibration controls, but that’s because the industrial environment requires more frequent maintenance and adjustment.

Where you see the biggest difference is in features like return-to-zero, Counter memory locations, spooling mode, dump editing, remote control, on-board editing block, center time-code track, balanced +4dB input/output, switchable flux and equalization schemes, etc.

An inexpensive machine can sound as good as one ten times the price, but of course it won’t hold up so well in a busy commercial studio and the lack of features may make it unsuitable for that environment.

To be frank the sonic differences between so-called pro and semi-pro machines have been overstated and are more urban legend than fact. But these designations were carefully managed by the manufacturers who wanted to strictly control the markets. That is, they wanted people that could afford it to buy the expensive pro line and people that couldn’t to buy the semi-pro stuff. To the industry’s chagrin many very large and well-known studios found the less expensive machines fit nicely for certain applications. Such is the saga of the TASCAM 32.

Young editors and writers were spoon-fed the concept of pro and semi-pro, and it still lives on in news groups like rec.audio.pro… probably the worst offender. If everything one knows was learned on such a forum, one should probably start over.

The objective for most people on this forum is to have a working machine they can rely on, rather than simply having a Rolls-Royce emblem around their neck to impress their friends. Many Studers are such maintenance nightmares you can end up with a very expensive doorstop… er, albatross.

It sounds to me like talon is a collector/hobbyist that is curious about machines he hasn’t used. In that case the TASCAM Fostex and Otari machines can be had for so little you can hardly afford not to try one or two and see. If I had to pick one it would be the TASCAM 32.

Talon,

You may find the following helpful:

http://members.shaw.ca/ftp_pro/01.jpg

http://members.shaw.ca/ftp_pro/02.jpg

http://members.shaw.ca/ftp_pro/03.jpg

http://members.shaw.ca/ftp_pro/04.jpg

http://members.shaw.ca/ftp_pro/05.jpg

Note: you can click on the image for the full size, if applicable.

Oh yeah, forgot to mention that the above links contain catalogue / brochure scans of TASCAM 20, 30, 40, 50 and 60 series recorders. Good background info and specs on each of the recorders, though, as Tim (Beck) already mentioned in his fine posts, specs are rather conservative and certainly don't tell the whole story

.

 

[MCI2424]

Not very familiar with Tascam/TEAC reel recorders, besides what I've read about, and the things I've read on forums etc....

Would like to pick the brains of a few of the Tascam/TEAC bunch, and there are many of you here.

The models I would like for you to discuss and comment on are:

32-2
42
52
60/2


And how they would stack up against models like:

Studer/Revox : A807/C270 ; B67/A700 ; PR99/B77

Otari : Any models in the 5050 series.

and any of their cousin Tascam/TEAC models, if you wish.

My interests run towards .25 in., 1/2 track, 15ips mastering decks.

Go to this link if you want waaaaay too much information on Tape Machines.

https://homerecording.com/bbs/showthread.php?t=226537

Enjoy!

 

[Dr ZEE]

The guy wants how these machines are different and what makes some better than others. So, if you can provide some useful info otner than "they are all the same" then please do. Otherwise, please don't waste our time with your bullshit.

First of all based on the content of the original post - you don't know what the guy wants, you don't even know whether it's a guy or a 100 year old lady.
Second. One can not conclude whether one or the other device is better without stating the objective (the task to be accomplished by using the device, expectations, demands). MCI, I know it takes a little brain work and some analysis to grasp the concept, but you may try to.
So the devices can be designated as the same, as different, as better or worse (either way), or the differences can be pointed out and consequentially either justifiably dismissed or specifically highlighted, all depending on the specifics of situation.
The FACT is to come to any reasonable conclusion and thus "provide any real useful advice" one has to have as minimum two "rows of data":
1. clear information about the ojective(s) (what for and how the device is expected to be used)
2. Clear (real-life) practical experience with this specific device in the same environment and with the same objective(s) as specified in #1.
******************

Now, in respect to "bullshit"

All I said is based in fact.

I have no idea as to your machine, but, I HAD to set my tape tension .

"All I said based in fact" - is bullshit, because of "I have no idea as to your machine..."
"I have no idea" - that is rather in fact.

YOU may or may not have gotten lucky. Depends on how much you use your machine and how the tape tension is set.

"You may or may not have gotten lucky" - is bullshit.
The FACT is that thickness of 1/4" GP-9 tape and its effect on tape tension when using it on Tascam-32 machine is neglectable if measurable at all and has no practical effect on machine's performance nor it has any practical effect on head wear, motor wear or anything else.
Now, if you MCI2424 had any practical experience with Tascam 32, then you'd know it (well, maybe you would, I must say). But in your case, having practical experience with equipment does not require, because there's no requirements to pass what so ever in order to run around Home Recording forums and spread misinformation under pretentious claim of being a "professional expert".

... and bullying me ..

Nop, I am not buylling you. - I am raisin public awareness about you.

The original poster may find it actually useful, when adding to the "mix" the fact that MCI2424 has no practical experience with Tascam-32 (forget about objectives! - that's a separate issue ), yet would not hesitate to through in a heavy-duty comment or two about it. And that is just a one single example.

Happy shopping and all that.

 

[Dr ZEE]

BTW, MCI2424! I am NOT going to leave you Negative rep point with no signature and a comment "shitstick". I could do it, but I'd feel dirty after doing so.
I am just going to keep exposing you to the public (well, at least here - on Analog Only forum. You still can do your thing rather freely in Home Recording, but you are not the only one of that kind out there anyway and that's life ). That's all.