I really like a lot of the comments you’re getting...good feedback/thoughts.
I think you’ve got your own answer in one of your own statements...too many options. That is a focal point issue.
Us analog hounds often reference one of the reasons we like working in analog is the limitations...working in 4-track cassette or an open reel 8-track format, for instance, forces us to be thoughtful and creative with how we arrange tracks/takes/overdubs...taking care to get a good performance for the take...more care in instrument setup, mic selection/placement, etc. We cancel this out when we have 5 different options for tracking in analog. And then of course we are exposed to the constant tinkering and repair vs making music...I can really, REALLY relate!! It’s really just a form of self-sabatoge. That’s what I’ve become patently aware of the past few years. It’s not always just one thing...like I’ve got that going on with me, but there’s a meaningful parallel track where I’ve honed in on what equipment I do want to keep permanently (and in my case, as far as the analog side goes, that’s the Studer 928 mixing desk, Ampex MM-1000 1” 8-track/2” 16-track, and 3M M64 halftrack) it’s just that in my case those selections call for a host of surrounding equipment...dozens of rack units of outboard gear. I’ve been selective about what I’ve acquired and why, and vastly limited purchasing train-wreck gear that needs gobs of TLC and repairs...in recent years I’ve chosen to spend a little more for something that’s turnkey. I’ve sold off a lot of stuff in recent years, and in some cases gotten better at letting go of fixing it all up to get the most money out of it. Just get rid of it and move on. My wife has helped with that and it is really really refreshing to have what was another project just *poof* gone with a bit of cash in my pocket...that feeling of being suddenly a bit closer to being able to focus/work on what I know DOES fit the vision...I feel that little spark again. But the big project now is building racks, and accomplishing tons of wiring. What I troll auction sites for now is very limited. My buying has really slowed down because I’ve settled on the system. And I determined the analog console is the absolute hub and so selected a console that can function in that role for the analog side and digital side. Anything that doesn’t fit into that has been or will be sold. And that includes treasures like my Tascam 58 with all the trimmings. I believe when things are up and running, I’ll be doing a lot in the digital realm, but using the DAW like an analog tape machine...that’s what I’ve done in the past. But when I’m tracking to tape I made the decision it was typically going to be 1” 8-track, but having the Ampex setup to run 2” 16-track if desired. That’s it. That’s why I sold the 388, 238, 488, 688, I’ll be selling the 58...I do have a project 244 (actually 3 of them to make one good one), because I have an affinity for sketching things on cassette 4-track, but that’s just kind of for funsies. But it’s one console that fits the vision for what I want to be able to do at the caliber I want, and the Studer fits. And I ponied up and spent some real money on it in part because it WORKS and needed little done to it at all...relatively plug and play. Yes I do have the prototype Tascam “M-__” console around still and I don’t think I’ll ever be able to part with that, but that’s mainly because it’s a complete rarity...one of a kind...I expect it will never be part of the signal flow. Operationally it doesn’t fit in, but we’ve got such history, so that’s a unique outlier.
So for you...can you live with 8-track or do you need 16 tracks? If it was me, out of what you have, I’d be focusing on the 1/2” 8-track. That 38 is the most robust machine out of all of your machines, the easiest to work on and likely most reliable in the long run...easier to find parts for it and user support, and the best sonic potential out of all those tape machines. I’d be letting go of the 1/4” multitrack machines. If you gotta have one I’d be keeping the M80, not the A8. But honestly why have two formats of 8-track? If you have to have the 16-track and you also want 8-track with the better sonic potential then that clinches the 38, because at least that way you only have one width of tape to deal with for multitrack. But, for me personally, if I was in your shoes, I’d be letting go of the 1/4” multitrack machines and the 1/2” 16-track. And as far as mixers, that’s easy...what is the Model 5 doing that the M-520 can’t do? Yeah I know it has the trafo mic inputs but honestly those Tamiya trafos are not remarkable in any way. I think the M-520 is superior sonically, and feature-wise runs circles around the Model 5. I love the Model 5’s build design, but the M-520 can handle with ease a comprehensive DAW setup and an analog multitrack setup...central command. That’s IF you want to use the analog console that way...understand I’m projecting my decisions about the signal flow of my studio on you, but if it was me I’d sell the Model 5 and be done with it, and hang everything in the studio on the M-520 and make some music. I think the M-520 with its feature set and aesthetic is a unique and enjoyable console to use, and I think it sounds nice too.
So theres my 2p.
Try this: dig out some old projects you’ve done or been involved in...I don’t care if it’s sketches you’ve done, complete solo projects, or bands you were in...just pull out some of your old shit you captured when you had little to no gear. I’ve been organizing my music library lately and for the first time gathering together all my sketch ideas or little songs I’ve done over the years...it’s the first time I’ve had together in some organized way projects I’ve been an artist on, projects I’ve engineered, and all my own personal stuff. I’ve used 4 different DAWs over the years and I didn’t realize how much material I have that I haven’t listened too...like altogether FORGOT about because I stopped using and don’t have easy access to the software, and never mixed so many projects. So I’ve been using my current DAW to build stems for these old projects and at least make a rough master so I can listen to this stuff...I was surprised...dozens and dozens of songs. It’s refreshing to realize I’ve actually made some music, and then to realize much of it was done in a pinch with almost no gear. For me it’s motivating to A. focus on the studio build that makes sense, but also B. not be afraid to just throw together a quick and dirty simple means to capture ideas in the meantime...the ultimate setup doesn’t have to be setup or finished or whatever to make and capture ideas and create something. Give yourself permission to create here and there is you work through any gear glut.
