Exactly... mastering engineers do this all the time. It's called "tape layback". A lot of studios are also mixing down their multi-tracks to tape. This is nothing new and has been going on for decades.
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New tape pre-amp king!!
- Thread starter Bruce B
- Start date
Exactly... mastering engineers do this all the time. It's called "tape layback". A lot of studios are also mixing down their multi-tracks to tape. This is nothing new and has been going on for decades.
Hi Nick:
Nice preamp you have built. As for the "tape sound"- I understood it to be the rare odd (3rd) harmonic distortion effects from tape that adds the special "flavor" to music played via tape media. It is pleasing to my ears a little different way than the sound from the classic tube devices that I know to produce even harmonic distortions.
Of course, no tape machine will reproduce perfectly flat frequency responses but like the LP with only two null points but still sounding good, flat response is overrated, IMHO.
Optimally set up Sony APR-5003 is a nice performer. My only complaint was its super loud fan. I once measured closed to 80dB standing in front of the Sony. Two APR 5003s I have, they had received fan modification to be whisper quiet. Let me know if you are interested in learning what I did to them.
Ki
Interesting review on th Doshi phono stage too. Wouldn't it be cool if you could do tape and phono (with all those MC load options) from the same unit ? The Doshi Universal...
Interesting review on th Doshi phono stage too. Wouldn't it be cool if you could do tape and phono (with all those MC load options) from the same unit ? The Doshi Universal...
It would be easier to do RIAA and NAB but IEC would be slightly tougher. Also, MC carts have lower output impedances than heads so the voltage vs current noise equations get too compromised for one vs the other if you use the same type of pre-preamplifier. Besides, having seperates is more manly right?
I have done exactly that to both my APR machines (i only have one now), rebuilt the PSU and put in a 32dba fan. We should trade war stories. Mine are mostly about old ampex machines though
Nick,
The reason why you choose different type of input devices in the phono and tape units was mainly noise? Or did you use the FET / transformer approach because it "sounded" better on vinyl?
Hello, Nick,
Your response is appreciated.
At this point in time, my opinion reflects an all-analog capture and reproduction, i.e. direct-to-two track recording, employing minimal mic technique (analog mics x 2-->mic pre-->2-track analog R2R recorder/reproducer), of acoustic music is realizable and has the potential to offer the greatest approximation of the live event via two-channel stereo.
Regards,
Sam
Sam,
There is no doubt that your approach has a great chance of providing state of the art results. Over time though I have heard some amazing multitrack recordings and some amazing multi track digital recordings of events where I was present and helped setup mics (the engineer being Peter MaGrath).
There is no doubt that your approach has a great chance of providing state of the art results. Over time though I have heard some amazing multitrack recordings and some amazing multi track digital recordings of events where I was present and helped setup mics (the engineer being Peter MaGrath).
I got my start as a recording engineer in NYC. I used to work part time at RCA and remember setting up Telefunken ELAM mics for the Marsalis quintet as well as other classical sessions. What you guys do is near and dear to my heart and is the reason I got into audio. Somewhere in a closet, my mic collection is stashed away, ready to come out when I have more time. (among my mics are a mint pair of 414's with c-2 capsules, perfect for M+S miking on small jazz groups). The MC section in my Phono stage started life as a Mic preamp and one day, I hope to get that project back on track.
There are specific advantages to using FETs for MC's and bipolars for tape heads that have to do with output impedance. My goal is always to do the most elegant solution possible. The version of the Tape playback unit that i demoed at RMAF actually used FETS in the input. For Bruce's application i needed a more robust input section so i could drive 2 seperate eq sections. To do this, i chose the IC solution and the results are as good or better.
Hi Tony,
I find your approach -- inspired
I don't know if I'll ever release any titles, but my brief excursions with direct-to-two track recordings has persuaded me that is where it's at
Nick,
I wasn't going to pursue direct-to-two track recording, until my Studer tech tantalized me with the potential results available via this technique.
I know I shouldn't do it, but I'm now shopping for an A827
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OMG
Excellent I'm using a factory-matched stereo pair of Schoeps CMC6 mics with MK 5 capsules, MK 8 capsule, into a Gordon Model 5 micamp, recorded into a Studer A820 and/or Korg MR-2000s at DSD128. On-location recording is a VERY exciting proposition, indeed
Before it's all over, I'd like to record with some C12's, M49's, and M50's I'm informed there's plenty of talent down here, e.g. San Diego. I guess I have to get out and take advantage of it...darn day job
Christian,
Have you done some recording
Yes, I was a very active taper from about 1989 -2000. Was using DAT with schoeps mk4 active wires. Recorded quite a few big name acts that don't allow recording along with those that did...specifically Grateful Dead from '89-'95.
Ditto. At the end of my taping days, my final rig was AKG 481 >Grace Lunatec V2 mic pre >Apogee a/d 1000 > Tascam DAP1 w/ Audio Magic Excalibur II cables throughout, powered by Eco-Charge batts. 95 - 2001 was focused on Bruce Hornsby, Allman Bros, some DMB, Phish... After 95 or so, it started feeling more like work than the fun it once had been. I knew then it was time to lower the mic stand for the last time. Sold off almost everything to buy a Walker turntable. Still have the cables and my original first deck: the trusty Sony D5M cassette.
My very first 'professional' location recording was with a stereo pair of mics, Neve mic pre and a Teac 3440 at a Woody Herman concert at my college in '78
Then I upgraded to a Revox B-77
Then I upgraded to a Revox B-77
I hear that. Taping was work, especially when you had to go stealth for those bands it was required for. I still have one of my portable DAT machines and AKG 568EB shotgun/hyper card hybrid mics I used when in taping sections for bands behind the soundboard. The schoeps always required a great seat in front of the soundboard for them to perform best. I am dabbling with the idea of taping some symphonies during the summer but that would require me to purchase another set of mics and a Sound Devices 702. Maybe I will get back into it. There is no better souvenir from a concert than a well recorded tape to enjoy it again in the comfort of your home.
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