Roozter
New member
Would anybody have suggestions on what would be a good Teac/Tascam 2 track to go along with my M30 mixer and my 80-8 machine? Hopefully something that I could use 1/2" or higher on.
sweetbeats
Reel deep thoughts...
Your only option for a 1/2" halftrack mastering deck by Teac/Tascam (unless its a customized unit) I believe is the ATR60-2HS...hard to find and command a fair price unless its toast.
But why not 1/4" halftrack??
In that flavor there's the:
32
42
52
BR-20
ATR60-2
The 32 and BR-20 will likely be the most common, the 32 most of all, which will also likely be the most affordable. There's also the option of the 22-2.
Any of them will get the job done and done well.
Do you have other specific needs in a mastering deck? That might help narrow things down.
The OTARI MX-5050 series halftracks are also a great option, fairly available and well supported.
Fostex E-2 or E-22...help me out guys...less common, not as well supported, but comparable otherwise.
What else guys?
But why not 1/4" halftrack??
In that flavor there's the:
32
42
52
BR-20
ATR60-2
The 32 and BR-20 will likely be the most common, the 32 most of all, which will also likely be the most affordable. There's also the option of the 22-2.
Any of them will get the job done and done well.
Do you have other specific needs in a mastering deck? That might help narrow things down.
The OTARI MX-5050 series halftracks are also a great option, fairly available and well supported.
Fostex E-2 or E-22...help me out guys...less common, not as well supported, but comparable otherwise.
What else guys?
T
The Ghost of FM
Banned
Under the TEAC name, there was the following units which were all 1/4 inch half track deuces;
25-2
35-2
7300
And probably one or two more that I can't remember.
If it were up to me though, I'd try to find a nice TASCAM 42B! Always loved that deck for its feature set and sound quality.
Cheers!
25-2
35-2
7300
And probably one or two more that I can't remember.
If it were up to me though, I'd try to find a nice TASCAM 42B! Always loved that deck for its feature set and sound quality.
Cheers!
M
mdainsd
Member
I know the O/P stated Teac/Tascam, but I thing the Otari MTR-10 and even more so the MTR-12 should be considered when thinking about a mastering deck. Available in both 1/4" and 1/2" variants.
Roozter
New member
I guess I should say that Im not dead set on a Teac/Tascam mastering deck. Although I do prefer them due to the fact they have great service and I was even able to replace some parts on my M30 through them, AND I have everything going through Teac/Tascam already.
My big needs in a mastering deck will be first, the sound, specifically the unique character of the machine itself, and also the fidelity. Im looking for something to add a little flavor when the time comes to master but not mess up the sound the 80-8 has, and also since I will constantly be bouncing tracks (Im working with only 8) I was looking for something to counterbalance the degrading quality if thats possible. Also, Im looking for something thats been made some time around the 80-8.
B
Beck
Guest
All those listed are great machines, but when looking for "That Analog Sound" with some character as you describe, its hard to beat the Tascam 22-2. Even for those working with all digital tracks, simply using the Tascam 22-2 in the final stages will blow away any so called, "Tape" plugin. I've got a Tascam 32, but also keep a couple 22-2's on hand for that more obvious analog warmth. The 22-2 is also very kind to the sound as far as fidelity. It is by no means lo-fi. It's a fully professional sound that I would not hesitate to mix anything to, but it has that certain something that makes everything sound, "Better." The 22-2 is one of my long time secret weapons.
Roozter
New member
My chain at this point as become pretty much all analog/tube. Do you think using the 22-2 at the final stages would bring TOO much warmth to the master? And also, do you use the 32 as your main mastering deck/why do you prefer it over the 22-2?
lonewhitefly
Active member
I think the Teac 3300SX-2T is the best match (sonically) for the 80-8, personally. This machine has more of a sonic signature than the later models in my opinion.
None of these options will bring 'too much warmth' -- it's how most records were made before the digital age !
This record was recorded on an 80-8 and mixed to a 3300SX-2T. The mixer was a Teac 5, which is similar to your M30. It was mixed through an Art tube compressor, and there was no mastering -- the final 1/4" tape was simply transferred straight to digital. A lot of the final glue and sheen came from the 3300 mix deck:
Magic Hero vs. Rock People | Magic Hero vs. Rock People | CD Baby Music Store
My other records were mixed to Ampex 440 machines, which brings the 80-8 sound into a different territory. But it all depends on what you're looking for. If you want a '60s-'70s vibe or something more modern/indie.
None of these options will bring 'too much warmth' -- it's how most records were made before the digital age !
This record was recorded on an 80-8 and mixed to a 3300SX-2T. The mixer was a Teac 5, which is similar to your M30. It was mixed through an Art tube compressor, and there was no mastering -- the final 1/4" tape was simply transferred straight to digital. A lot of the final glue and sheen came from the 3300 mix deck:
Magic Hero vs. Rock People | Magic Hero vs. Rock People | CD Baby Music Store
My other records were mixed to Ampex 440 machines, which brings the 80-8 sound into a different territory. But it all depends on what you're looking for. If you want a '60s-'70s vibe or something more modern/indie.
Roozter
New member
Well to be honest I absolutely worship Brian Wilson/The Wall of Sound, and I know it's cliché but I think Pet Sounds might be the pinnacle of pop recording, at least to my ears. I also love Motown, The Rolling Stones' golden age albums (Sticky Fingers to be specific) as well as a lot of the classic rock from the mid to late 70's. It's probably way too far back but Elvis Presley's early stuff is great to my ears, as well as the production style on Suspicious Minds.
So right now Im kind of leaning towards the 22-2, Otari 5050 or MX55, or the Teac 3300SX-2T. I guess if I could get my hands on some time of Ampex I would obviously go for it.
It would be a huge help if someone with some knowledge of all those machines could give me some kind of +/- breakdown of them.
lonewhitefly
Active member
Well the records you mentioned were all cut on Ampex, Scully or 3M machines (mostly Ampex).
The Japanese decks didn't come until later. The 80-8 is really the first small-format 1/2" deck, and it'll get you in the ballpark. Look round Craigslist for an Ampex 440 2-track (or mono if you're into it -- cheap). They're big but they'll get you close to the sonics of those records if you mix carefully. I have a Scully 280 2-track for sale if you're near the Bay Area (pickup only, it's in a full rollaround console) -- PM me. With these kinds of decks, you'll usually need to have a tech go through it first time around. With the Teac/Tascam, Otari, those are generally more 'plug & play' since they were probably used by home hobbyists or radio stations. A lot of the studio decks you see around Craigslist have been sitting a long time and may need work.
The Teac 3300 ('70s) has more of the 'vintage' sonic mojo than the other ones mentioned in this thread ('80s-'90s). Using old tape like Scotch 203 will help as well.
Ampex decks are totally different than Tascam, Otari, etc. ... that said, you can get similar results if you're careful in your production approach. good luck!
leddy
Well-known member
The 22-2 can be pretty transparent with respect to distortion if it's properly set up and levels are conservative. At 15 ips I don't think you can get around the low end bump, so you'll always hear something from that deck that wasn't there before.
If you want pure transparency, find a Nagra. (They cost about 25 x's a 22-2).
Roozter
New member
Teac A 3300sx Vintage Reel to Reel Recorder Used Good Condition | eBay
Should I make an offer on this one? and if so, whats the max amount I should ever pay?
Should I make an offer on this one? and if so, whats the max amount I should ever pay?
Roozter
New member
Im a trash in trash out guy. I try to get it perfect when Im micing (and I mic minimally, especially the drum kit, 5 mics max), I generally try to avoid compression if I can, and I do mixing in mono for the majority of the time, before I go stereo. Not to mention most of instruments are 50-70's reissues (I use flats on my 62 reissue J-Bass for the Wrecking Crew sound). So I may not be able to get my hands on Ampex machines but I do try and do things old school as much as possible.
lonewhitefly
Active member
No, that's not the right deck ... that's a 4-track (not 2-track) model. Look for the '2T' designation, or a '2-track' emblem in the lower right.
Also, the price is steep and the unit has not been properly tested. I've owned 2 working units (2-track 15 ips version), which I bought for around $200 each in good working order.
If you can get this one cheap, it might be worth a gamble (but it will be a gamble!):
http://www.ebay.com/itm/Teac-A-3300...pt=Vintage_Electronics_R2&hash=item43bd2c5f65
TASCAM MAN
New member
Dam I wish I would have never got rid of my 22-2 !!!
TASCAM MAN
New member
OK I just bid on one (22-2) in great shape in hopes to get it at the right price....but just compared the specs to my Fostex A-2 and they are almost identical 
Lt. Bob
Spread the Daf!
for some reason I've always been partial to Fostex. I dunno why ...... I know they're not built as rugged as Teac machines but there's always been something about them that I thought was cool and I've always gotten good performance out of them,.OK I just bid on one (22-2) in great shape in hopes to get it at the right price....but just compared the specs to my Fostex A-2 and they are almost identical
R
RRuskin
Rick Ruskin
A couple of things to mention: 1. The 80-8 was not 1st 1/2" 8 track machine. The Tascam 70-H8 was. 2. You may be hard-pressed to find replacement capstan motors for any of the Tascam 2-tracks mentioned in this thread as none of these parts are made anymore.
lonewhitefly
Active member
Yeh I know the 70 series came first, but those were still set up w/ the larger format of the traditional studio decks:
... though you could argue that Stephens made the first small format machine, but their 8-tracks were 1".
... though you could argue that Stephens made the first small format machine, but their 8-tracks were 1".
R
RRuskin
Rick Ruskin
The 70 series was designed for use with TASCAM's 1st console, the Model 10 which except for the mic inputs, was an RCA jack/-10 board.
While Stephens put his decks in small packages but there's no way his designs would be considered small format.