been there, done that. at one point (2011) I owned 7 tape decks. in addition to the one's in that picture, at that point I owned a pristine Technics RS-1500, a really fine Nagra IV-S, and an Ampex 351. prior I had sold my de'Paravincini modified Technics RS-1700. so I learned that in some things variety is just that.....variety. I want to have the best tape decks......and I think that the A-820 fits that view for me. YMMV.
Mike, I think dubbing with the stock electronics, from one 820 to another, is ideal. I use my Doshi for listening only. It would seem to me that if your goal to create a 2nd version of the original which is as close to the original as possible, using stock would be your best chance to achieve that.
Nice Mike. Do you dub all your tapes for back up ? I thought about it in the beginning and dropped the idea. I will be in a pine box long before the current tapes lose fidelity.
Mike, I think dubbing with the stock electronics, from one 820 to another, is ideal. I use my Doshi for listening only. It would seem to me that if your goal to create a 2nd version of the original which is as close to the original as possible, using stock would be your best chance to achieve that.
I am just wandering should it matter what machine you use if, so happen, your playback or dubbing machine are not the same as the machine your original tape was made from?
I am just wandering should it matter what machine you use if, so happen, your playback or dubbing machine are not the same as the machine your original tape was made from?
I can only speak as an observer; but if we look at what the Tape Project or what Chad is doing at Analog Productions; they both use a number of Ampex ATR-102's for their dubbing process. likely the same thing in Europe would be a Studer of some sort.
if one desires optimal dubbing performance; we start with top level transports, which means a very few master level recorders to choose from. the same things that separate these as playback units are doubly critical for a dub (pun not intended). then the heads and signal path, and while it's maybe easier to use identical heads and signal paths my guess is an expert could mix and match this stuff. however; clearly the experts choose to use all one type deck.
which bring us to me and my intention of eliminating as much ambiguity from my work flow as possible. I have no agenda to 'manipulate' any tapes. I don't need a mastering suite of 'flavors'. if I have a tape, then i'm already liking it just the way it is. and I want my dubs to be as close to an exact copy as possible.
been there, done that. at one point (2011) I owned 7 tape decks. in addition to the one's in that picture, at that point I owned a pristine Technics RS-1500, a really fine Nagra IV-S, and an Ampex 351. prior I had sold my de'Paravincini modified Technics RS-1700. so I learned that in some things variety is just that.....variety. I want to have the best tape decks......and I think that the A-820 fits that view for me. YMMV.
I am just wandering should it matter what machine you use if, so happen, your playback or dubbing machine are not the same as the machine your original tape was made from?
What is most important in the playback machine is that it is properly calibrated for the test tones on the tape and that the azimuth is set properly. This assumes the deck in general is working properly.
For the record machine you need to make sure that the deck is properly calibrated for the tape you are using.
Obviously there are other nuances to consider but I think those things are at the top of the list.
I also think it is easier to find and maintain a service relationship with one service technician rather than having to find a technician for each model and brand of tape machine. I don’t have that many data points but the Studer technician in Los Angeles, California, literally will work only one Studer model. He literally will not work anything else but that one model.
Another Studer technician I am aware of will work only on a different model of Studer from the first one above.
To be honest i only listen to tape in my new appartement, mostly my Telefunken M 15 A because it sounds great too and is a joy to use .
In the around 5 years i listen to tape none have ever let me down , i did have the studers recapped after purchase, not the Telefunken
The story that you literally need a tech at hand is not true.
Just happy listening thats all
I dont think the techs overhere discriminate , if they can repair a deck they Will , its there job/money lol
So very cool and exciting!
I'm using a pair of A-820/2CH decks for a dubbing chain (4 headstacks/rollers: 2 quarter-inch + 2 half-inch) and a refreshed A-810 for remote recording (kinda heavy though, unlike a Nagra IVS ). I've decided to standardize on a Merging Technologies Hapi with premium cards for ADDA.
Hope all is well with the good people of the Pacific Northwest.
So very cool and exciting!
I'm using a pair of A-820/2CH decks for a dubbing chain (4 headstacks/rollers: 2 quarter-inch + 2 half-inch) and a refreshed A-810 for remote recording (kinda heavy though, unlike a Nagra IVS ). I've decided to standardize on a Merging Technologies Hapi with premium cards for ADDA.
Hope all is well with the good people of the Pacific Northwest.
great looking lineup
just one Q:
I also thought about just playing dubs of my safety masters to "save" them, but should they not be played once in a while for safer storage?
best
Leif
great looking lineup
just one Q:
I also thought about just playing dubs of my safety masters to "save" them, but should they not be played once in a while for safer storage?
best
Leif
based on my experience with my A-820's, I've found zero audible tape degradation from playing. and also i think that print thru and other bad things about storing tape long term is helped by playing once in a while. yet if there are tracks you like to play a lot, and can easily make dubs, then it might be a sensible thing to do.
obviously when pro's dub multiple copies they do use a working master dubed from the real master tape. but that could be a contractual requirement, or that master could be older tape formulations more subject to deterioration.
Great setup! Suggest recording on mark-II to take advantage of its HX-PRO capability.
Bel Canto Musicale only has STUDER A807 as its on-site master recording gear, rolled by a cart. OTARI MTR-15, a great machine, was used to dub 2nd, 3rd generation tape. (Or they use DAT as mastering source? I have not owned any of Bel Canto Musicale's tape yet.)
Love to know what test tapes and signal generator you use to align your machines. Do you use a phase meter to set azimuth? What speeds do you use to playback and record?
