DAW in sync with taperecorder

[Anonymous]

For ease of use it's obviously more practical to set the DAW as the master, but maybe this introduces extra stress on the tape machine, that tries to follow the super tight SMPTE code of the DAW? Maybe that’s a good reason to set the tape machine as the master and the DAW as the slave?

Or doesn't it matter at all which one is master and slave?

[David Allen HammondModerator]

What kind of tape machine? I used to record smpte on an outside track and let that be the master. I haven't gotten my new tape machine up and working yet, but will try when I do (probably several months from now).

[Anonymous]

A TEAC 80-8

[Anonymous]

What kind of tape machine do you have, David?

[David Allen HammondModerator]

I bought a Tascam ATR 60-16 last year, but it needs cleaning and calibrating before I can use it. I've been working my day job and playing out, and haven't gotten around to it yet.

[Anonymous]

David,

I fully understand you, dear friend. I am in the same situation. Racking new gear, setting everything up, etc. is just like producing, recording and mixing music itself. It’s quite hard to combine if you have a full-time job. At the end of the day, we all have to pay the mortgage, right? Still, the blood creeps where it cannot go and the longer you wait, the more it starts to itch.

About the Tascam, not so long ago, I wanted to buy one as well. In the end, I didn't do this because it is a bit overkill for me to have 16 tracks analog. You know, I only have a production studio and when I need to make serious recordings, I just rent a studio.

Anyway, this information might be interesting for you. It comes directly from ATR about calibration tape.

Option 1:
1"
15ips-IEC
250 nWb/m (+3dB)
1k, 10k, 100Hz and Sweep
Short Version (45 second tones)
$275

Option 2:
1"
15ips-IEC
250 nWb/m
1k, 10k, 50 Hz
Short Version (72 second tones)
$275

Option 3:
1"
15ips-IEC
250 nWb/m
1k, 10k, 16k, 50 Hz
Short Version (54 second tones)
$275

[David Allen HammondModerator]

I am going to get an MRL tape in the near future. We bought an old adobe that needs to be remodeled before we can move the studio in. So my focus is making money to pay for the additions (new kitchen, control room, and large iso room for the piano). I expect I'll get to the tape machine when that is closer to done; hopefully this summer.

[Steve HoggartParticipant]

I have always set up tape with usually no more than 3 tones I noted if it was recorded with eq.

The test tape only came out now n again. I still have a 1/4 inch machine and print my tones from my DAW I print 100 1K and 10K

The reality is if you get old local band stuff in there are generally no tones and it's 7.5 ips sometimes it's even spooled the wrong way round. If yer doing this now there is a shed load of work involved.

The tape costs to do analogue are huge! defo worth it though but it needs to be done right!

[David Allen HammondModerator]

I have to do a calibration of the machine when I get that far. It needs a major cleaning, degaussing and bias adjustment. If I can afford it, I may have it refurbished. There is a guy in New Mexico who works on these decks. (what are the odds of finding someone here?) I will be using new tape. My console has 1K and 10k test tones. I still want to have an MRL since I doubt it's been set up for a loooong time. It's a 1" machine that can run 15 or 30 ips so I can get a fair amount on a reel at the slower speed. Can't wait to try it out, chomping at the bit so to speak, but have to get the new house/studio ready first. I definitely want to do a proper job, no reason to bother with the analog world unless it gives me a sound I want. Although, there is the psychological factor of having bands play live to tape. More present etc.. Not so much we'll fix it in the mix..

[Anonymous]

A MRL tape is necessary for the calibration because you have to adjust the PB head (Azimuth, Zenith, Angle, Elevation, the whole nine yards) first before you can adjust the REC & ER head. It is true that once this is done, you can print tones on the tape from your DAW, it is even very clever to do this. This tape can then be used for future calibrations on your tape recorder. Once your machine is calibrated, you are good for the next five years or so, but still…

A complete maintenance is required if you buy a used analog machine! It is not cheap at all, but you have to do it. Other else, the sound will be terrible, you will destroy your tapes, you get wow & flutter and all kinds of misery, and you will be frustrated every time again that you will use the recorder.

There is only one good device for degaussing the heads and that is the HAN-D-MAG. Again, not cheap, but necessary. Furthermore, you only need patience, 99% alcohol and a mountain high ear sticks from the pharmacist to clean the heads.

You know that once you decide to take the step to go hybrid, nothing is cheap especially with analog tape recorders! However, I see it as the absolute best “plug-in” that I ever bought! I do not regret the investment for one single day, seriously. Although, I had to skip skiing vacation for the next 2 years. 🙂

David, minor correction in my previous post: The 16 tracks machine I wanted to buy was a TASCAM MS-16 and not the TSR-16.

[Warren HuartKeymaster]

Hi Ann, I used to have an MSR24, 1 inch 24 track! Fine machine for the time! I remember being so excited I could record 24 tracks! Haha those were the days!

[Warren HuartKeymaster]

Hi Ann, I used to have an MSR24, 1 inch 24 track! Fine machine for the time! I remember being so excited I could record 24 tracks! Haha those were the days!

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