Slowrider
STOP Voting!
Tim Gillett said:
My guess, they are small wire springs to hold the free end or put tension on the wound tape? Don't know.
My guess, they are small wire springs to hold the free end or put tension on the wound tape? Don't know.
A Reel Person
It's Too Funky in Here!!!
I'm sorry.
You make no sense.
Dr ZEE said:You don't have to - when excuses are all over around.
You may need one - when you've got non.
That's the way it goes, I suppose... or is it not?
You make no sense.
Dr ZEE
Anti-Pro Circles Insider
I don't have to. Sense is all over around.A Reel Person said:You make no sense.
B
Beck
Guest
A Reel Person
It's Too Funky in Here!!!
cjacek
Analogue Enthusiast
Ah, 'cmon Dave, you could fit another TASCAM in there, couldn't you ? 
BTW, that is breathtaking! WOW!!
BTW, that is breathtaking! WOW!!
RICK FITZPATRICK
New member
Fuck. You are amazing Dave. More power to you just for learning 579 songs. That says something about you. fitZ
Track Rat
Just Your Average Sized Member
I thought I was a gear slut.
A Reel Person
It's Too Funky in Here!!!
Hi, fitZ!!!
The only thing I'd like to clarify is that "davemania's station" is a playlist of 637 cover songs from 191 Soundclick artists and bands, including yours truly. The "hifi shuffle" play is best!
"Davemania" is a compilation of what I've banged out on my own, or with friends, of old and new recordings & to-the-present. [185] Covers of varying production styles and quality. I started in 1981 with tape-to-tape dubbing on cassette, if that tells u anything. I've done some very hacked covers, and some slick ones too.
Thanx all the same, though. I'm also astounded that I've collated over 400 recordings of cover songs on tape, fwiw. You know I just do it for fun. When I hit 500, I'll let u know!
Next time ur down here, stop by!
Aw shucks, naaaawww. I'm just out to have a good time!RICK FITZPATRICK said:
The only thing I'd like to clarify is that "davemania's station" is a playlist of 637 cover songs from 191 Soundclick artists and bands, including yours truly. The "hifi shuffle" play is best!
"Davemania" is a compilation of what I've banged out on my own, or with friends, of old and new recordings & to-the-present. [185] Covers of varying production styles and quality. I started in 1981 with tape-to-tape dubbing on cassette, if that tells u anything.
I've done some very hacked covers, and some slick ones too. Thanx all the same, though. I'm also astounded that I've collated over 400 recordings of cover songs on tape, fwiw. You know I just do it for fun.
When I hit 500, I'll let u know! Next time ur down here, stop by!
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A Reel Person
It's Too Funky in Here!!!
A Reel Person
It's Too Funky in Here!!!
cjacek
Analogue Enthusiast
You RULE, Dave!!
Track Rat
Just Your Average Sized Member
I bow before the king of sluts.
A Reel Person
It's Too Funky in Here!!!
Yeah, okay. You're worthy!
I hope you're catching my slutterriffic new jams in the mp3 forum!?!?!?
(posted 02/04/07)
(posted 02/05/07)
(posted 02/10/07)
I recorded 3 new tunes this week on the Tascam 424mkIII! More to come, soon!
Who needs sleep, anyway?!?!?!
Thanx!
I hope you're catching my slutterriffic new jams in the mp3 forum!?!?!?
(posted 02/04/07)
(posted 02/05/07)
(posted 02/10/07)
I recorded 3 new tunes this week on the Tascam 424mkIII! More to come, soon!
Who needs sleep, anyway?!?!?!
Thanx!
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C
clevodrummer
Tascammer
Wow!!!!!!!!!!!
That is just the coolest collection there is.
That is just the coolest collection there is.
junplugged
Taking the slow road
it's frightening
A Reel Person
It's Too Funky in Here!!!
I'd not be kidding if I said, there's still a fair amount of nice gear...
not yet pictured. Are you surprised?
not yet pictured. Are you surprised?
T
The Ghost of FM
Banned
Does this mean we will soon see an ATR80-24 in your stable soon?A Reel Person said:not yet pictured. Are you surprised?
Cheers!
Erockrazor
I mix in (2x) real-time
Would it be painful for me to ask if you could tell us a few of your favorites and why?
I am more than impressed. It's a beautiful thing. You're my idol.
I am more than impressed. It's a beautiful thing. You're my idol.
A Reel Person
It's Too Funky in Here!!!
I like it all, or I wouldn't have it.
My favorites are many and varied.
~My first was the Tascam 244, (1982), and I did a ton of "producing" on that machine, as well as cutting my chops.
~Followed very shortly in 1983 by the Tascam 38 & M30, on which I did another ton of stuff on, as well as cut my 8-track chops.
~I went the better part of 15 years with these 3 machines, without paying much notice to the newer models that came out, though I coveted a 246 and 388 since about 1986, but figured I couldn't afford them, then plus being a moot point at the time with a 244/M30/38 already at home and doing nicely.
~ In 1997, I'd been looking at the 424mkII in GC for so long, that when it was discounted about $50 off retail, I finally popped for one. I did another large load of "producing" on the 424mkII, though small in number comparing to my 244 recordings, which were many.
~I stayed with those 4 units until Y2K, when the floodgates opened.
~My first major score in 2000 was the Tascam 388, which I had also coveted since 1986, but was sure I could not afford it, though having a 38/M30 at home took the sting out of it. Anyway, in Y2K I scored my first 388, which I was very, very impressed with, right out of the box. It was like I'd achieved some sort of fulfillment when I got that unit.
~Followed then by many units: First the 246, which I was also thrilled about, on par with the excitement I got with the 388. The 246 is really a leading design, with almost all the bells & whistles you could imagine, for ca. 1986 machine, that is.
~I followed those with the purchase of a 234, which was a unit I'd wanted for a long time, due to it's prime compatibility with the 244 & 246, plus I already had the M30 mixer to run it. I liked the 234 so much that I got a few of them, even those which needed repair and new belts. I will say that I successfully refurbished a few 234's already, as well as a 244, but my "fixit" gear list is still almost as long as my "good" gear list.
~I followed that, probably, by purchasing a 238 which ultimately needed repair, but I was excited about the prospect of 8-in/8-out/8-simul recording onto cassette.
~The number of items I got seemed to accellerate in the Y2k~2005 timeframe.
~Sometime in the early rounds, I got a Tascam 34, then a 34B, both of which I'd wanted for some time, as I am fond of 4-track production, and I felt I was ready to go to reel-4-track, at the time having only been on 4-track cassette (but 8-track reel for nearly 2 decades). Anyway, the 4-track reel 34/34B were to round out my "Series 30" collection.
~Likewise, I scored a Tascam 32 as my first halftrack mastering deck, and I was then also filling out the "Series 30" collection I'd started. [EDIT] The 32 also does track 1~2 overdubbing in sync, which is a good feature to have on a 2-track machine [IMO] and is also found on other recorders. The way I got the 32 was inadvertent, as I'd bid and won a "Fostex E-8 with Minor Damage" for about a hundred bucks, but when I got there the damage was much worse than described, so the guy said, "You could take that Tascam, it's less smashed than the Fostex!" Yeah! (It had a bent knob). And so I did! Heh. [/EDIT]
~Likewise, I just had to score the Tascam 35 mixer, as I needed that vintage for the collection, despite having scored an M312 mixer also in an effort to expand. The M35 and M312 are similar but different, as I learned and mapped my way thru the many configurations of different Tascam mixers.
~At some point in time, 8-track cassette started to appeal to me more, having already gotten the 238, I followed it with a 488(std), a 488mkII and a 688.
~Having gotten a whiff of the high techy 688, I then started after finding the 644, 'cause they are so alike, and I've always had a prime fondness of 4-track cassette.
~I'd gotten a few Porta One's and Porta Two's, only one of which did NOT need repair, but such is the way of Ebay. So, I have one Porta One that works almost flawlessly with only an intermitten A/C jack, and the rest are fixit items of various sorts, mostly involving the mechanical transport problems. Won't engage, won't move takeup spindle, etc. One has a problem with the left-buss amp. However, the Porta-One and Porta-Two fills out a vintage collection that coincides with the 244/246/234 and 388 vintage models. [EDIT] I think they really got it right with the Porta One and Porta Two, with flat, ruggedized design, good features, good sound & dbx, with battery op and strap buttons for true field recording capability. What a gem! [/EDIT]
~I'd also gotten much great gear, the highlights of (not pictured) were a few Tascam 564 MD Portastudios, a Fostex FD-4, an FD-4 with internal HD and a Fostex FD-8 with internal HD, as well as a Yamaha MD8,... all of which are digital/analog hybrid machines, and all are fine machines.
~I'd coveted the 424mkIII for about 3~4 years in the GC shops, and when the price went down to a low-blowout $329, I finally popped for one. Then, the price went way down to $279 and I sensed a clearance on the mkIII, so I bought another 424mkIII. Having done that, and I know this will sound insane, but I couldn't bear to break the brand new 424mkIII's out of their boxes and just mark them up, so I opted to go out on Ebay and score 2 more like-new 424mkIII's for ultra-ultra low Ebay prices, on which I do my "hands on" work on 424mkIII's on the Ebay units, while 2 NIB 424mkIII's sit in the closet.
...
You see, a lot of what happened after y2k was a "get it now" philosophy that hit me, as many of these units were already obsolete, but I wanted my share of it, mostly stuff I wanted for decades but could not afford new at the time.
...
There's more to this story, but I won't bore you. The further purchases included M520 mixers, an MSR24 and MS16, the halftrack 124AV mastering cassette deck that also does track overdubs in sync. If I'd had [EDIT]an MF-P01 and[/EDIT] the 124AV in 1979, I dare say I could probably have ruled the world! Heh, heh.
~The 414mkII seemed like a leading deal when Ebay prices hit ~$65, so I bought like 5 of them. [EDIT] That's a sleeper deal, if there ever was one! [EDIT]
~The Porta02mkII's and MF-P01's were Porta's I'd scored with an eye to setting up my kids with simple 4-track recorders. Yes, whoever stated that above was correct! (SUPERBEATBALLER! ) However, out of the several 02mkII's and MF-P01's, there are only a couple that arrived 100% trouble free. The rest went into my ever expanding pile of "fixit" gear. I happen to think by now that the 02mkII's and MF-P01's are a bit too cheap, and they develop problems easily, mostly but not limited to solder joints and probably a few op amps that blew out too. I did, however, make a few little "experimental" 4-track tapes with my kids already, with more to come too. They are interested in my recording stuff, but young kids have to be brought along slowly and supervised. I taught my 8yo daughter the workings of the 414mkII, but I prefer to start them off on a Porta02mkII and/or and MF-P01. My kids currently are 13, 9, 8, 6, 16mo and 1.5months old. There's still lots of time to hone their chops!
[EDIT]
Okay, I won't lie,... I wanted the diminutive Porta02mkII and MFP01's for myself, too! Heh, heh. They really don't sound too bad either, considering the format. The reputation of this low end format is worse than it sounds! It is what it is, however, which is a scratchpad recorder that's not intended for really high end or polished recordings. If it's any news to'ya, the sound of the MF-P01 and Porta02mkII cannot touch that of a 424mkIII, or much less that of a 246 or 688!
[/EDIT]
.....................
[EDIT]
I am just a tape slut, and that is the bottom line!
[/EDIT]
.....................
So, my fingers are numb and the story is not over, but I'll give you a quick summary:
~The 244, 424mkII and 424mkIII are my favorite Portastudios, just based on having used them for real production. All the others have endured test recordings and await any real production efforts on them.
~The 246, because though I've not produced anything real on it, the 246 is just the leading design in Portastudios for 1986 timeframe, and cannot be ignored!
~The 234 'cause it's a standalone and highly funtional item in the style of the 246, 244 and 388.
~The Tascam 38 and M30 system is still my favorite, based on history of having produced on it for decades.
~The Tascam 388, 'cause it's simply the be-all and end-all of Portastudio-format design, though at 86lbs Tascam wouldn't dare call it a "Portastudio". How'bout "The Herni8or"! Eh, I mean the "Studio 8"!!! I've also produced a smaller but fair amount of stuff on the 388, and it's never let me down! The all-in-oneness, EQ's, and 8-simul to affordable 7" reels of 1/4" tape is really a winner in my book!
....
[EDIT]
~Can't forget the 238, 688 and 488mkII, which are real swell and sound great! There is so much to say about how wonderful these machines are! They sound damned good, considering the format. It's astounding, and the 688 especially has all the fancy features you could want! The 488mkII is the bomb 'cause it matches the 424mkII, which is the bomb, only twice the tracks!
[/EDIT]
......
Ones I'm eager to put on the ledger and put to use in actual productions are:
the 238, the 688 & the 488mkII. The MSR24 and MS16 with M520 mixers hooked to them. Talk about a wonderful mixer, the M520 is "it"!
.....
I'm sure there's more to the story, but that's a pretty good recap. I bought a bunch of Fostexes too, my favorites I guess would be the A8LR, the M80 and the R8, however none of these decks have seen any legitimate production work, all yet TBD. Yes, and not to mention the A2, Model 20 and E2 I got also.
.....
Nearly every piece of gear has been used for small test recordings, and a small subset of this gear has actually done production work. They will all have their turn, though, it really depends on my mood. Some days I just say, "I wanna record on ~this~ format or ~that~ unit", and so I just do.
....
[EDIT]
A major point not to overlook is that not all of this equipment is properly set in place or set up at this time, which is an ongoing work in progress. The wiring on a 24-track system is a nightmare in itself, then multiply that by how many 8-tracks and 4-tracks, and 2-tracks, and mixers, and... AAAAAAUUUUGGGGGHHH!!!! However, my aim is to set it up as much as possible for drop & pop, plug & play convenience in recording. There's a lot of heavy lifting involved, though. Heh, heh.
My life as far as my living arrangements have been in a state of flux for about a year and a half, so the setup of the studio is an ongoing work in progress.
There's the need to focus on projects to completion, too, which is something I've had a bit of trouble with over the years. I used to say,... "Today's pre-production is just tomorrow's undecipherable tangle of wires!"
[/EDIT]
....
That covers a lot of ground in over 2 decades of recording and collecting gear. My hands are numb from this post, so I'll leave at that for now. I'm sure there's at least one piece of gear I've forgotten, so I'll chime in later.
[EDIT]Ah yes, the 464! Did I tell'ya I got a 464??? I'm addicted most to the high end Portastudios, with the 464 being one of them, so it was only a matter of time before I got one. [/EDIT]
...
This must sound like a story of a person with a sick obsession, and I may not disagree, but I got all my gear to give myself the collection I always wanted but could not afford, and to use in real world recording, which I'm still quite fond of. I am not a "keep it under glass" collector, though I have those tendencies,... of maybe wanting one "pristine" unit and one "beater" that gets all the use! Heh, heh, I know that's sick, but if I can afford it,... many of these purchases were "what the heck" purchases, the total of which I'd probably not consder right now, (totalling thousands of dollars, easily!)
Though my time and efforts for recording have been limited as of late, I've not thrown in the towel yet! All this gear will get good use, as long as I'm still around to use it. After that, I'll pass it on to my kids, and hopefully they'll gain a full appreciation of my obsession, and will learn to record on their own someday.
BUT IT'S ALL INSANE! I'M INSANE! IT'S ALL FOR ME! ME! ME! ME! HAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!!!!!
My favorites are many and varied.~My first was the Tascam 244, (1982), and I did a ton of "producing" on that machine, as well as cutting my chops.
~Followed very shortly in 1983 by the Tascam 38 & M30, on which I did another ton of stuff on, as well as cut my 8-track chops.
~I went the better part of 15 years with these 3 machines, without paying much notice to the newer models that came out, though I coveted a 246 and 388 since about 1986, but figured I couldn't afford them, then plus being a moot point at the time with a 244/M30/38 already at home and doing nicely.
~ In 1997, I'd been looking at the 424mkII in GC for so long, that when it was discounted about $50 off retail, I finally popped for one. I did another large load of "producing" on the 424mkII, though small in number comparing to my 244 recordings, which were many.
~I stayed with those 4 units until Y2K, when the floodgates opened.
~My first major score in 2000 was the Tascam 388, which I had also coveted since 1986, but was sure I could not afford it, though having a 38/M30 at home took the sting out of it. Anyway, in Y2K I scored my first 388, which I was very, very impressed with, right out of the box. It was like I'd achieved some sort of fulfillment when I got that unit.
~Followed then by many units: First the 246, which I was also thrilled about, on par with the excitement I got with the 388. The 246 is really a leading design, with almost all the bells & whistles you could imagine, for ca. 1986 machine, that is.
~I followed those with the purchase of a 234, which was a unit I'd wanted for a long time, due to it's prime compatibility with the 244 & 246, plus I already had the M30 mixer to run it. I liked the 234 so much that I got a few of them, even those which needed repair and new belts. I will say that I successfully refurbished a few 234's already, as well as a 244, but my "fixit" gear list is still almost as long as my "good" gear list.
~I followed that, probably, by purchasing a 238 which ultimately needed repair, but I was excited about the prospect of 8-in/8-out/8-simul recording onto cassette.
~The number of items I got seemed to accellerate in the Y2k~2005 timeframe.
~Sometime in the early rounds, I got a Tascam 34, then a 34B, both of which I'd wanted for some time, as I am fond of 4-track production, and I felt I was ready to go to reel-4-track, at the time having only been on 4-track cassette (but 8-track reel for nearly 2 decades). Anyway, the 4-track reel 34/34B were to round out my "Series 30" collection.
~Likewise, I scored a Tascam 32 as my first halftrack mastering deck, and I was then also filling out the "Series 30" collection I'd started. [EDIT] The 32 also does track 1~2 overdubbing in sync, which is a good feature to have on a 2-track machine [IMO] and is also found on other recorders. The way I got the 32 was inadvertent, as I'd bid and won a "Fostex E-8 with Minor Damage" for about a hundred bucks, but when I got there the damage was much worse than described, so the guy said, "You could take that Tascam, it's less smashed than the Fostex!" Yeah! (It had a bent knob). And so I did! Heh. [/EDIT]
~Likewise, I just had to score the Tascam 35 mixer, as I needed that vintage for the collection, despite having scored an M312 mixer also in an effort to expand. The M35 and M312 are similar but different, as I learned and mapped my way thru the many configurations of different Tascam mixers.
~At some point in time, 8-track cassette started to appeal to me more, having already gotten the 238, I followed it with a 488(std), a 488mkII and a 688.
~Having gotten a whiff of the high techy 688, I then started after finding the 644, 'cause they are so alike, and I've always had a prime fondness of 4-track cassette.
~I'd gotten a few Porta One's and Porta Two's, only one of which did NOT need repair, but such is the way of Ebay. So, I have one Porta One that works almost flawlessly with only an intermitten A/C jack, and the rest are fixit items of various sorts, mostly involving the mechanical transport problems. Won't engage, won't move takeup spindle, etc. One has a problem with the left-buss amp. However, the Porta-One and Porta-Two fills out a vintage collection that coincides with the 244/246/234 and 388 vintage models. [EDIT] I think they really got it right with the Porta One and Porta Two, with flat, ruggedized design, good features, good sound & dbx, with battery op and strap buttons for true field recording capability. What a gem! [/EDIT]
~I'd also gotten much great gear, the highlights of (not pictured) were a few Tascam 564 MD Portastudios, a Fostex FD-4, an FD-4 with internal HD and a Fostex FD-8 with internal HD, as well as a Yamaha MD8,... all of which are digital/analog hybrid machines, and all are fine machines.
~I'd coveted the 424mkIII for about 3~4 years in the GC shops, and when the price went down to a low-blowout $329, I finally popped for one. Then, the price went way down to $279 and I sensed a clearance on the mkIII, so I bought another 424mkIII. Having done that, and I know this will sound insane, but I couldn't bear to break the brand new 424mkIII's out of their boxes and just mark them up, so I opted to go out on Ebay and score 2 more like-new 424mkIII's for ultra-ultra low Ebay prices, on which I do my "hands on" work on 424mkIII's on the Ebay units, while 2 NIB 424mkIII's sit in the closet.
...
You see, a lot of what happened after y2k was a "get it now" philosophy that hit me, as many of these units were already obsolete, but I wanted my share of it, mostly stuff I wanted for decades but could not afford new at the time.
...
There's more to this story, but I won't bore you. The further purchases included M520 mixers, an MSR24 and MS16, the halftrack 124AV mastering cassette deck that also does track overdubs in sync. If I'd had [EDIT]an MF-P01 and[/EDIT] the 124AV in 1979, I dare say I could probably have ruled the world! Heh, heh.
~The 414mkII seemed like a leading deal when Ebay prices hit ~$65, so I bought like 5 of them. [EDIT] That's a sleeper deal, if there ever was one!
[EDIT]~The Porta02mkII's and MF-P01's were Porta's I'd scored with an eye to setting up my kids with simple 4-track recorders. Yes, whoever stated that above was correct! (SUPERBEATBALLER!
) However, out of the several 02mkII's and MF-P01's, there are only a couple that arrived 100% trouble free. The rest went into my ever expanding pile of "fixit" gear. I happen to think by now that the 02mkII's and MF-P01's are a bit too cheap, and they develop problems easily, mostly but not limited to solder joints and probably a few op amps that blew out too. I did, however, make a few little "experimental" 4-track tapes with my kids already, with more to come too. They are interested in my recording stuff, but young kids have to be brought along slowly and supervised. I taught my 8yo daughter the workings of the 414mkII, but I prefer to start them off on a Porta02mkII and/or and MF-P01. My kids currently are 13, 9, 8, 6, 16mo and 1.5months old. There's still lots of time to hone their chops! [EDIT]
Okay, I won't lie,... I wanted the diminutive Porta02mkII and MFP01's for myself, too! Heh, heh. They really don't sound too bad either, considering the format. The reputation of this low end format is worse than it sounds! It is what it is, however, which is a scratchpad recorder that's not intended for really high end or polished recordings. If it's any news to'ya, the sound of the MF-P01 and Porta02mkII cannot touch that of a 424mkIII, or much less that of a 246 or 688!
[/EDIT]
.....................
[EDIT]
I am just a tape slut, and that is the bottom line!
[/EDIT]
.....................
So, my fingers are numb and the story is not over, but I'll give you a quick summary:
~The 244, 424mkII and 424mkIII are my favorite Portastudios, just based on having used them for real production. All the others have endured test recordings and await any real production efforts on them.
~The 246, because though I've not produced anything real on it, the 246 is just the leading design in Portastudios for 1986 timeframe, and cannot be ignored!
~The 234 'cause it's a standalone and highly funtional item in the style of the 246, 244 and 388.
~The Tascam 38 and M30 system is still my favorite, based on history of having produced on it for decades.
~The Tascam 388, 'cause it's simply the be-all and end-all of Portastudio-format design, though at 86lbs Tascam wouldn't dare call it a "Portastudio". How'bout "The Herni8or"! Eh, I mean the "Studio 8"!!! I've also produced a smaller but fair amount of stuff on the 388, and it's never let me down! The all-in-oneness, EQ's, and 8-simul to affordable 7" reels of 1/4" tape is really a winner in my book!
....
[EDIT]
~Can't forget the 238, 688 and 488mkII, which are real swell and sound great! There is so much to say about how wonderful these machines are! They sound damned good, considering the format. It's astounding, and the 688 especially has all the fancy features you could want! The 488mkII is the bomb 'cause it matches the 424mkII, which is the bomb, only twice the tracks!
[/EDIT]
......
Ones I'm eager to put on the ledger and put to use in actual productions are:
the 238, the 688 & the 488mkII. The MSR24 and MS16 with M520 mixers hooked to them. Talk about a wonderful mixer, the M520 is "it"!
.....
I'm sure there's more to the story, but that's a pretty good recap. I bought a bunch of Fostexes too, my favorites I guess would be the A8LR, the M80 and the R8, however none of these decks have seen any legitimate production work, all yet TBD. Yes, and not to mention the A2, Model 20 and E2 I got also.
.....
Nearly every piece of gear has been used for small test recordings, and a small subset of this gear has actually done production work. They will all have their turn, though, it really depends on my mood. Some days I just say, "I wanna record on ~this~ format or ~that~ unit", and so I just do.
....
[EDIT]
A major point not to overlook is that not all of this equipment is properly set in place or set up at this time, which is an ongoing work in progress. The wiring on a 24-track system is a nightmare in itself, then multiply that by how many 8-tracks and 4-tracks, and 2-tracks, and mixers, and... AAAAAAUUUUGGGGGHHH!!!! However, my aim is to set it up as much as possible for drop & pop, plug & play convenience in recording. There's a lot of heavy lifting involved, though. Heh, heh.
My life as far as my living arrangements have been in a state of flux for about a year and a half, so the setup of the studio is an ongoing work in progress.
There's the need to focus on projects to completion, too, which is something I've had a bit of trouble with over the years. I used to say,... "Today's pre-production is just tomorrow's undecipherable tangle of wires!"
[/EDIT]
....
That covers a lot of ground in over 2 decades of recording and collecting gear. My hands are numb from this post, so I'll leave at that for now. I'm sure there's at least one piece of gear I've forgotten, so I'll chime in later.
[EDIT]Ah yes, the 464! Did I tell'ya I got a 464??? I'm addicted most to the high end Portastudios, with the 464 being one of them, so it was only a matter of time before I got one.
[/EDIT]...
This must sound like a story of a person with a sick obsession, and I may not disagree, but I got all my gear to give myself the collection I always wanted but could not afford, and to use in real world recording, which I'm still quite fond of. I am not a "keep it under glass" collector, though I have those tendencies,... of maybe wanting one "pristine" unit and one "beater" that gets all the use! Heh, heh, I know that's sick, but if I can afford it,... many of these purchases were "what the heck" purchases, the total of which I'd probably not consder right now, (totalling thousands of dollars, easily!)
Though my time and efforts for recording have been limited as of late, I've not thrown in the towel yet! All this gear will get good use, as long as I'm still around to use it. After that, I'll pass it on to my kids, and hopefully they'll gain a full appreciation of my obsession, and will learn to record on their own someday.
BUT IT'S ALL INSANE! I'M INSANE! IT'S ALL FOR ME! ME! ME! ME! HAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!!!!!
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