How many here are 'Analog ONLY'?

  • Thread starter Thread starter lonewhitefly
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I pretty much do analog only. Tracking to Otari MX series 1/2" 8-track and mixing to 3M M-23. I use an old Mackie CR-1604 compact mixer. Some tracks will run thru a Sound Devices MixPre, but a lot of stuff just uses the Mackie preamps.

I have a Yamaha standalone digital recorder which is really cleverly done, but it just doesn't see much use, other than occasionally when I need something easy to move around.

Cheers,

Otto
 
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diggy_dude said:
Before you succumb to the dark temptation of digital recording, and the evil for which it stands?
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:) Y'know, I came here a few days ago with an apologetically old-school attitude, and a fear and reluctance of the "Dark Arts" . . . But I feel like I've been set free ! ! I'm going to buy me one of those ANALOG T-shirts, maybe two. . .

Anyway, who's still pressing vinyl? . . Or literally "flanging" . . I mean, is there a line that history crossed. .

The purist, literal question is, "Who processes their signal chain with any ones and zeroes?" . . .
 
I'm doing very little recording these days but the main signal path is 24 channel S/craft then to either a Tascam ATR-60 (1" 16trk) and/or a Fostex D160 16 trk h/disk, also I can synch the two together if required.

If I'm just recording "sketches" of my own stuff it goes to the Fostex, when time allows for serious work then it's to tape.

:cool:
 
AtoDeficient said:
:) Y'know, I came here a few days ago with an apologetically old-school attitude, and a fear and reluctance of the "Dark Arts" . . . But I feel like I've been set free ! ! I'm going to buy me one of those ANALOG T-shirts, maybe two. . .

Anyway, who's still pressing vinyl? . . Or literally "flanging" . . I mean, is there a line that history crossed. .

The purist, literal question is, "Who processes their signal chain with any ones and zeroes?" . . .
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I just recently pressed a vinyl record (click 'Troun Records' below for more info) ...

I don't use a flanging effect in my music, but if I needed some kind of effect, I would likely go analog or skip it these days.

I don't think digital is inherently evil, but like anything it's a tool but many use it as a crutch as they say.

With my original question, I mean 'analog only' in the actual recording chain. I realize some may like pedals, reverbs, keyboards etc. that are digital ... i think that's kind of a different topic though. when you record a digital keyboard or pedal to tape, it tends to actually sound more analog. i don't really like digital instruments and gadgets for reasons more in the feel of them and they seem a bit boring from a playing/inspiration point of view. they generally sound and record okay.
 
I began to incorporate my Roland 1880 with my Ampex 440 but I'm not sure I'm still going to use it.. I was trying to have more track freedom because my 440 is only 4 tracks, but I'm not sure I like using the Roland. I might just bounce to a 32 and bounce back.

I've also got a Toft ATB side car now, 4 channel to compliment the 440 4 track. :)
 
I've had a hard time incorporating any digital equipment into my signal chain... I wouldn't really know where to start. I have done some dumps to a DAW, however, which I am not opposed to (sometimes the flexibility works better for certain things).

Anyway, all analog? How about all TASCAM! Tascam 34b -> Tascam M-312b -> Tascam 32. Pretty basic... been meaning to upgrade for a while, but the money is tight (I'm dreaming of a Tascam 48/58 or Otari MX-5050 and a Tascam m-520!)... For outboard gear, I use an ART PRO VLA II, a couple of old analog graphic eq's, and a FMR RNC for stereo mixdown. Both of my reverb units are digital, but, as mentioned previously, that's a different issue...
 
lonewhitefly said:
I don't use a flanging effect in my music, but if I needed some kind of effect, I would likely go analog or skip it these days.

I don't think digital is inherently evil, but like anything it's a tool but many use it as a crutch as they say.

.
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By my "flanging" comment I was referring to the legendary (or maybe fabled) flanging effect of thumbing the flange of a tape reel. . . Thats's about as analog as an effect can be. . . I myself am too afraid to try it.

(I only think digital is pure evil when I hear the early Nickelback or Kelly Clarkson mp3s. . . Ouch!)

I'm glad someone is still cutting vinyl . .. (Note to self: Buy a new turntable)
 
I do location recording, so I can only stay analog when I can go straight to 2-track using my portable Nagra.

At the moment, I dump that into the PC for editing / CD burning. I am in the market for outboard EQ and comp to avoid using any plug ins at all. Considering something like an Avalon 747 for starters (opto comp and EQ).
 
AtoDeficient said:
By my "flanging" comment I was referring to the legendary (or maybe fabled) flanging effect of thumbing the flange of a tape reel. . . Thats's about as analog as an effect can be. . . I myself am too afraid to try it.

(I only think digital is pure evil when I hear the early Nickelback or Kelly Clarkson mp3s. . . Ouch!)

I'm glad someone is still cutting vinyl . .. (Note to self: Buy a new turntable)
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ha, i've probably done so accidental flanging here and there in that case.

you have a pretty good case for digital's pure evil ... at least Nickelback (Kelly Clarkson is pure pop fluff, so much more honest and less offensive in my opinion)

yeh, it's so surreal to hear my own music on vinyl !
 
Ignatius- said:
I've had a hard time incorporating any digital equipment into my signal chain... I wouldn't really know where to start. I have done some dumps to a DAW, however, which I am not opposed to (sometimes the flexibility works better for certain things).

Anyway, all analog? How about all TASCAM! Tascam 34b -> Tascam M-312b -> Tascam 32. Pretty basic... been meaning to upgrade for a while, but the money is tight (I'm dreaming of a Tascam 48/58 or Otari MX-5050 and a Tascam m-520!)... For outboard gear, I use an ART PRO VLA II, a couple of old analog graphic eq's, and a FMR RNC for stereo mixdown. Both of my reverb units are digital, but, as mentioned previously, that's a different issue...
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Yeh, I was all-Teac/Tascam for a long while ... watch out, it may seem harmless but Tascam is a gateway drug.
 
SteveM said:
I began to incorporate my Roland 1880 with my Ampex 440 but I'm not sure I'm still going to use it.. I was trying to have more track freedom because my 440 is only 4 tracks, but I'm not sure I like using the Roland. I might just bounce to a 32 and bounce back.

I've also got a Toft ATB side car now, 4 channel to compliment the 440 4 track. :)
Click to expand...

How are you recording on the 440? live band, or one part at a time? I'm interested in 1/2" 4-track sounds lately.

After recording a completed song on the Scully 280-4, I'm now convinced that 1/2" 4-track (bounces and all) sound a lot better for my stuff than 1/2" 8-track. But man, you really have to figure things out and make some compromises. I would find myself having completed something, and then going, "oh yeh, you can't do that. you screwed up!". I ended up with 75% of the parts on one track!
 
lonewhitefly said:
How are you recording on the 440? live band, or one part at a time? I'm interested in 1/2" 4-track sounds lately.

After recording a completed song on the Scully 280-4, I'm now convinced that 1/2" 4-track (bounces and all) sound a lot better for my stuff than 1/2" 8-track. But man, you really have to figure things out and make some compromises. I would find myself having completed something, and then going, "oh yeh, you can't do that. you screwed up!". I ended up with 75% of the parts on one track!
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I'm doing it on my own so it's one part at a time and yes it's taking some figuring out! I'm still trying to figure out what's best. But the sound straight off the 4 track sounds so good that I don't want to send it right to digital. I used to use a 4track teac and it was never a problem but now I'm being more anal. I haven't gone past the 4 tracks yet and I'm having my capstan checked out right now. But I think I'm going to from 4 tracks mixed with verb or whatever else to the Tascam 32 and then back on to the 440. I'll see how it works out. The 32 is pretty quiet. Maybe I'll use a gate.
 
SteveM said:
I'm doing it on my own so it's one part at a time and yes it's taking some figuring out! I'm still trying to figure out what's best. But the sound straight off the 4 track sounds so good that I don't want to send it right to digital. I used to use a 4track teac and it was never a problem but now I'm being more anal. I haven't gone past the 4 tracks yet and I'm having my capstan checked out right now. But I think I'm going to from 4 tracks mixed with verb or whatever else to the Tascam 32 and then back on to the 440. I'll see how it works out. The 32 is pretty quiet. Maybe I'll use a gate.
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If you're not too concerned w/ stereo spread, I'd say it would likely sound better bouncing internally (from playback, not sync). you would have to do 1, 2, 3 > 4; this would be only one bounce (through the better electronics of the 440) as opposed to 2 in the 32 (one in and one out).
 
lonewhitefly said:
If you're not too concerned w/ stereo spread, I'd say it would likely sound better bouncing internally (from playback, not sync). you would have to do 1, 2, 3 > 4; this would be only one bounce (through the better electronics of the 440) as opposed to 2 in the 32 (one in and one out).
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That's a really good point. The only worry is I fret losing the individual tracks in case I regret the mix. That's one of those things I need to get over again. But I suppose I could bounce some tracks and sit with the single track for a little while to see how I like it before I record over the others.
 
SteveM said:
I began to incorporate my Roland 1880 with my Ampex 440 but I'm not sure I'm still going to use it.. I was trying to have more track freedom because my 440 is only 4 tracks, but I'm not sure I like using the Roland. I might just bounce to a 32 and bounce back.

I've also got a Toft ATB side car now, 4 channel to compliment the 440 4 track. :)
Click to expand...

Sounds to me like you could benefit from a second 440 4-track. Do a rhythm bed of tracks on one, then mix to one track on the other and add the rest.

Cheers,

Otto
 
ofajen said:
Sounds to me like you could benefit from a second 440 4-track. Do a rhythm bed of tracks on one, then mix to one track on the other and add the rest.

Cheers,

Otto
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Would be great if I had the space! Another point is once I bounce to another deck and a song is complete with new tracks, there would be no way to sync the individual old tracks with the new tracks on any other device. So I might as well just bounce them. Unless I was going to redo the new tracks.

To save space I try and do my vocal and rhythm guitar on one track.
 
I'm not necessarily all analog, but for whatever reason, I can't help an analog mindset, and tend to see a digital recorder (DAT or the Delta 66, I even have a Creamware TDAT system that I haven't had a chance to use because I don't have the right TRS cabling, (the damn thing is ring hot :wtf:.....) as a substitute for a tape machine, i.e. the Delta 66 is a four track, the Creamware 16 track, and think in terms of those track limitations, so all the I/O is via the M-520 or Model 5.
 
LWF,

How did the bounces that you did on the Scully come out?
 
SteveM said:
LWF,

How did the bounces that you did on the Scully come out?
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pretty good ... I much prefer the extra noise and hiss over the thin-ish sound that comes from the Teac stuff. Not knocking it at all (I still use the Teac stuff), but it doesn't quite have the sonic punch of the Scully & Ampex.

There'll be song coming out pretty soon. We did a track really quickly for a Jim Henson tribute compilation that will be released (I think this month) as a download (a cover of "Who Are the People in Your Neighborhood?" from Sesame Street). I'll post a link to it once they get it out there. This song was done with all internal bounces on the Scully, then mixed to the Ampex.

That's the only thing I've recorded on the Scully that's close to being released. Working on some more tracks currently, but they are pretty far from release at this point. The last thing I did, I actually recorded 4 tracks on the Scully, mixed it to the Ampex (mono) while recording another overdub live, then dubbed that one track back into one track on the Scully. That one sounds really good!
 
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