4 track cassette only good for demos, while real records are made on 2" Studer?

  • Thread starter Thread starter cjacek
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drstawl said:
Restating the same ridiculous statement does nothing to provide the reasoning behind it. :rolleyes:
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Agreed.
Where ever it may apply? :confused: ;)
***********
BTW,
A presentation of a statement, which based on misconsumption of a statement 'does a lot' to disclose an inability to comprehend reasonings.

/respects
 
analog aaron said:
Don't quote me on that,
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ok,
then
www.johnvanderslice.com said:
Life and Death of an American Fourtracker
Released May 7, 2002 on Barsuk (CD) and Sea Level (RTI vinyl)

Recorded January-December 2001 at Tiny Telephone, SF
Engineered by Scott Solter, John Croslin, and JV
Mixed by Scott Solter at Tiny Telephone
Mastered with a Pacific Microsonics A/D convertor in HDCD by Paul Stubblebine

Songs were tracked to an Ampex mm1200 2" 24 track at 30 ips (Basf 900)*

Mixed on a Neve 5316 to an Ampex ATR 102 1/2" running at 30ips (Basf 900)
No effect returns were used in mixdown, all sounds were committed to tape.
Smart C1 was used as mix buss compressor.

All vocals recorded with a SM69 FET > Neve 1089 > Urei 1176
Click to expand...
source
 
Dr ZEE said:
Agreed.
Where ever it may apply? :confused: ;)
***********
BTW,
A presentation of a statement, which based on misconsumption of a statement 'does a lot' to disclose an inability to comprehend reasonings.

/respects
Click to expand...
So you lack the ability to explain what you meant.

Fair enough.

/no respect whatsoever :rolleyes:
 
drstawl said:
So you lack the ability to explain what you meant.
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I can't explain anything to someone who sees a recording studio as WildLife Safari Entertainment.
Bully eats Greeny, Leo eats Bully, Vulter eats what's left ...
***********
well, what the hell, I'll give it another shot:

They keep saying, that the one who eats what's left can't fly.
They keep saying so due to the fact that the vacancy in their brains, reserved for the knowledge about the creatures, was taken by the "knowledge"about "who eats who for breakfast".

/whatever whatsoever.
 

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Herm said:
And now for some bad recording and playing from Herm and the boyz.
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Dude, that was cold. I can't believe you still have a copy of that shit. You MUST erase it and put something worthwhile on that ferrite.

John Hiatt??!?.......sounds more like Keith Richards the day he discovered heroin.

I apologize to anyone who had the nerve to listen to that catterwalling.
 
drstawl said:
It wasn't a comparison.

They were endpoints of a range of equipment.
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Yeah, that's how I read it...

but it did bring to mind how complicated this sort of discussion can get. For example, when I'm talking about 4-track portastudios, there's not really anything later then the TASCAM 644 (1989) that I can take seriously. The junior portas like the 05, 07 and Porta Two made back then and the later outsourced stuff like the 414 I don’t even count except for experimenting... getting ideas down. Perhaps someone could do something with the 424, but the quality is lower than something like the 244 (1984) or 246 (1986).

I guess we all draw a line below which equipment is unusable for professional results.

I was around when the TEAC 144 came out. It was my first portastudio and THE first portastudio. That and the 244/246, which I bought later… those were the ones that knocked our socks off. IMO like about everything else quality went down hill for cassette multi-tracks. On the other hand things improved for reel-to-reel… it ended on a high note.

So anyway, the full-size cassette multi-tracks from TASCAM, Fostex, Akai, Sansui, etc… they were used by many artists for serious work. Those are what I’m thinking of in these discussions.

:)
 
Where would the 8 tracks such as the 488 and the Yamaha version of the 8 track cassette fit in?

Some stuff I have heard from them is quite sonicly pleasing.
 
Beck said:
I guess we all draw a line below which equipment is unusable for professional results.
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Bingo!

Where this line is has to do with

1) the "native" level of artifacts introduced into a recording by the signal chain
2) the recording skills of the engineer doing the recording
3) the content (some material may be enhanced by lo-fi artifacts)
 
drstawl said:
It must get awfully frustrating trying to record with just a 1/4" TS cable.

:D
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It gets. And when it gets so, I record with two of those.
:)
 
iamjethro said:
Where would the 8 tracks such as the 488 and the Yamaha version of the 8 track cassette fit in?

Some stuff I have heard from them is quite sonicly pleasing.
Click to expand...

Some years back I've heard some truly professional sounding tracks off of a TASCAM 238, which is a cassette 8 track. If I'm not mistaken, it was Track Rat who posted them. If it wasn't for that, I would have been a bit down on the 1/8", 8 track format. On the other hand, I've never heard the 488 or any other 8 track cassette so I'm not going to say that they all sound great.

One other thing..... By "professional sounding", I'm talking about a combination of sonics and most important, the mix.
 
drstawl said:
professional result(s) is pure bullshit
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Agreed.
***********
btw, NO!, I did not screw your post. I've edited it so it makes a good point.
/later
 
speaking of declarations,
here's one:
Level-ranges of products is an essential marketing tool, NOT a collection of application guides.

here's another one:
Confusing application guides with marketing is a common practice of marketing professionals.

/happy consumption,
:D
 
drstawl said:
So you have actually DEFINED the position of the line...
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Nop. I defined what actually definds an applicability.
BTW, if you wish to play a REAL mind game, you should of say:
"It must get awfully frustrating trying to record with no equipment."
And then my reply would be:
"There is noththing between negative matter and positive matter, even though it may seem like there's a line."

/later
 
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