Teac A-2300sx!!?!?

  • Thread starter Thread starter esotericality
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esotericality said:
I found this on ebay, what do you guys think?

http://cgi.ebay.com/TEAC-A-2300SX-R...ryZ41480QQssPageNameZWDVWQQrdZ1QQcmdZViewItem
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I have a-4300sx (here's current e-bay item example ), which I think is pretty much the same machine, but with autoreverse play, and it's a bit larger in size).
What can I say about it? well, I happened to like the machine allot. If it's in good working order - you get excellent recording/playback (well, what 7-1/2 ips speed, 1/4" (four track stereo) can offer).
The price looks ok (I think that's about what these decks in working condition go for - $100-$200 or so)....
If I'm not mistaken these were popular hi-fi consumer decks, they are from late 70s/early 80s (?) ... I've seen somewhere mentioning that they used to cost back then around $600-700, which means what? - nothing really :p .
Similar models which can take 10.5 inch large reels are A-3300 / A-3300sx
here's nice looking a-3300sx deck on e-bay
 
realize that these machines are like casette decks, except reel to reel format.... meaning that you can NOT overdub tracks, just like as with a casette player. They would potentially make a good mixdown deck, but I would think you would prefer a 1/2track format VS a 1/4track stereo...which is what these machines are.

In other words, you get a "one pass" recording.... Once you record your stuff, that's it. You can either play it back, or record over it, erasing what was previously there.

clear as mud?
 
Thanx mixmkr!

I was gonna mention the same thing, but I "assumed" that he's probably not looking for "overdub" capability in a stereo reel deck. You know what they say about when you "assume", eh? :eek:

Anyway,... if eso's looking for a 2-track with overdub capability,... he should look at the Tascam 22-2, Tascam 32 (& the higer end 42/52/ATR60-2), as well as the Fostex Model 20 & E2. (Not sure about the A2 at this time,... will have to review).

There are a couple Tascam cassette decks that do track 1 & 2 independent overdubbing, and that's the 225 Syncaset and (my favorite) the 124AV Syncaset. What's cool about the 124AV, is that it's a HALFTRACK CASSETTE with overdubbing capabilities, running a standard 1-7/8 ips.
 
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A Reel Person said:
Anyway,... if eso's looking for a 2-track with overdub capability,... he should look at the Tascam 22-2, Tascam 32 (& the higer end 42/52/ATR60-2), as well as the Fostex Model 20 & E2. (Not sure about the A2 at this time,... will have to review).
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you're the expert on this, but although you can record the left and right channels indepently on these machines, am I correct that you cannot choose which head you monitor from indepently of each other?...in other words (in Teac language)..no symul sync??
 
I can't claim to be an expert on the A-2300sx, but...

to the best of my knowledge, it's a 4-track/Stereo consumer format recorder, probably running 3-3/4 & 7-1/2 ips, with no selectable "simulsync" on the tracks.;)
 
no...I meant the 1/2 track machines don't have symul-sync (either) (I was replying to your quote in my post above)
 
mixmkr said:
no...I meant the 1/2 track machines don't have symul-sync (either) (I was replying to your quote in my post above)
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The 32 has sync capacity, and ARP knows his stuff so I'm sure the others do as well!
 
I'm going to have to defer to my own ignorance, if that's the case!!...

Not having direct hands-on experience with the 22-2 myself, and with my better technical lit being somewhat inacsessible at this time, the quick detail in the Tascam catalog I found says, "independent Monitor and Record functions on each channel", which at least in my own ignorance suggests a sync capability. Why would you monitor one track while recording the other track separately? Alternately, why would these controls have to be independent, and what would make that a distinguishing feature worth mentioning?

It's my general assumption that all the halftrack 1/4" decks have Track (1-2) sync capability, including the 22-2, 32, 42, (etc),... the Model 20 & E2. Sorry, I know what you often get when you assume! :o ;)

Unfortunately, I don't see the 22-2 on my "buy" list at this time, (for personal reasons, and not to reflect negatively on the 22-2 as a worthy buy), so I won't have any hands-on time with the 22-2 any time soon!.;) I'm sorry, I don't even have the user's manual, either! Maybe later!! ;)
 
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not sure why overdubbing popped here ... ;)
well, if for some reason you wish to have a deck which can be used as two-track stereo recorder, would be able to record/play regular 1/4" 1/4-track stereo tapes (do we call it "consumer format" ? ;) ) at 7-1/2 ips speed, and also have 15ips speed option, and also can be used for overdubbing, then look for 4-track teac A-3340/A-3340s/ ( this looks like great deal - all the useful extras are there! :)) , or teac A-3440 or tascam 34/34b/22-4
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If you really need to overdub with deck like teac a-2300, well you can do it, but the result will be just one track mono mixed recording of previously recorded material and new material. You can record something on L-track only, revind the tape, then set L-track to play-back send L-output to the mixer (let's say mixer's chnl-1), set R-track to record, send mix-out (mix out L) from the mixer to R-track then play new material (let's say new material is going to mixer's chnl-2) (pan hard left), mix with L-track material (chnl-1) (pan hard left), mixer's main output L to be recorded onto R-track or the tape. What is it good for? - I have no idea :D
 
Sound-on-sound, baby!

The crude poor mans' overdub! Ah, the days of tape-to-tape overdubbing,... are days I'll never long for!................... :eek: ;)
 
I thought most musicians wanna overdub, these days, but...

there I go assuming again! :eek: ;)

Anyway, that's not to say there's anything wrong with 4-track/2-channel decks or standard stereo recording. It's just another piece of the puzzle, but it's a little more production capability to have independent 15 ips & track 1-2 ycn/overdubbing capability, if you can find it.

Most of the TEAC consumer decks of the time (that I know of) ran 3-3/4 & 7.5 ips., & the A-2300sx looks like a consumer format recorder in that class. A recorder like that would be a good upgrade over cassette recording, but it's not a mastering or production recorder. I don't have all the vintage TEAC lit in front of me at this moment, so I beg yer pardon for any assumptions on my part which lead to any factual errors. :o ;) :eek:
 
A Reel Person said:
The crude poor mans' overdub! Ah, the days of tape-to-tape overdubbing,... are days I'll never long for!................... :eek: ;)
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funny you mention that because I just did that a few hours ago with my a-160!!! yeah, brought a tape deck into the mixer though, and mixed it into the 160 while playing a lead part over the rhythm. it worked. For the rhythm, I did a line in from the amp, and then used a sm57 mic. the line in panned hard right, mic hard left. Then for the lead guitar, I switched left and right for the two channels. while I switched the pickup to the neck to try and get a more full sound out of single notes on the lead, to kind of make them blend better. It turned out pretty decent! my best recording yet, i just got my mixer and mic a few weeks ago.
 
Dave, I'd say this: "It never hurts to have an extra switch in the toolbox" :D
 
A Reel Person said:
Most of the TEAC consumer decks of the time (that I know of) ran 3-3/4 & 7.5 ips., & the A-2300sx looks like a consumer format recorder in that class. A recorder like that would be a good upgrade over cassette recording, but it's not a mastering or production recorder.
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I can tell with straight face: A recorder like that would be a good upgrade over most professional digital mastering or production recorders as well. :p
 
Hello!

This is an up close and personal view of the 22-2. This configuration of switches implies that it does track1/track2 sync, and I don't know what it'd be for, if not that.

To me this appears to be a 2-track/2-head deck with the requisite 1-2 overdubbing capability. I don't see switches that denote a seprate Sync/Repro head. In most modern recorders I'm accustomed to, the Record/Reproduce head does the "sync" function by itself, based how it's switched through the electronics. All cassette Portastudios are 2-head sync capable decks.

I don't wanna go too far out on a limb on the 22-2, considering I don't own one, but the 32 is a 3-head deck that does tracks 1-2 sync/overdub, and that I know first hand.

I'll just have to beg your pardon for my ignorance if I'm wrong. :o :eek: ;)
 

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A Reel Person said:
Not having direct hands-on experience with the 22-2 myself, and with my better technical lit being somewhat inacsessible at this time, the quick detail in the Tascam catalog I found says, "independent Monitor and Record functions on each channel", which at least in my own ignorance suggests a sync capability. Why would you monitor one track while recording the other track separately? Alternately, why would these controls have to be independent, and what would make that a distinguishing feature worth mentioning?
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Good questions... but remember, the 22-2 and the 32-2 are still three head decks. How it is setup is that you can "arm" (for record) each track seperately, and the same for "monitoring". However, to monitor, you are monitoring off the INPUT (source) and NOT the record OR playback head. And...as we all know, the symul-sync feature allows monitoring (temporarily)off the record head to keep things all sync'd up. (I think machines like the 38 were the first decks where the playback head was actually redundant, as the record/playback head had basically the same specs for playback)

As to why you have that feature, I might assume for NON critical sync'ing so you could overdub.. An example might be narration over background music. (then mixed to mono, I would guess)

Or...if you are just recording a mono source (like narration), you could technically just record one channel, and be able to rewind and double your available record time by recording on the other channel. (or just flip the tape as you would in a 1/4 stereo format)

Just my opinions and (guessing at facts, maybe..and stuff that we all probably know anyway!!), the 22-2 basically came out so the home user could afford a 1/2 track machine. At the time, the next cheapest machine was for a used pro machine...about 5 grand at the time (maybe?). Also at the time, that was basically the only format radio stations really preferred, record dup plants wanted..etc ....so if you were doing jingles, making 45's or LP's etc... you could "get into" the format without selling your first born.
I remember buying mine new for around $800 at the time. However, I also believe the S/N wasn't anywhere near its bigger brother the 32-2, and especially something like an Ampex, MCI, or whatever. I think it hovered around the low 60's...maybe. You HAD to hit the tape hot, but you could, as I almost always pegged my meters until my EAR said "no".

Oh yeah...forgot the Revox stuff. ...about twice the price, maybe?...wasn't it? Actually nicer machines (than Tascam) I thought. ...the PR77..or something like that (boy, its been a looong time!)


EDIT... nice pic (above)
but...see my explanation above.
Believe me, if you COULD sync, the 22-2 would make a great "jam along" machine for quick and dirty. But, it didn't :(
 
btw, notice that you did have mic AND line input controls. In addition to the output controls, they were separate L/R also..,..rather than just one control for both sides.

A high impedance mic and a line in was a good combo!! ;)


Now...I gotta admit some "down and dirty".

What I liked to do with my 3340 and my 22-2 was mix to the 22-2 (and maybe even add a 5th track, live).

Then!!
take that tape and put it back on the 3340 and playback with channels 1 and 4 ONLY, for instance. Then I could add on two more tracks.
The advantage, one less generation, eh? (although you did muck with the 1/2 track tape by playing on the 3340...but you really didn't hear THAT much differece) With only TWO generations(with this "poorman's method), you could get A LOT of tracks, especially if you internally bounced on the 3340. Maybe 15 tracks or so (without doing the math)
 
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