At 15 ips, you should get good hour with 14" reel without having to reload since it has just about double the lengths of tape than the normal 10" reel.
I may have sourced a Nagra IV-S with the adapter, but I'm uncertain if it will properly accommodate a 14" reel -- my suspicion is that it won't. :-( It would appear the longest recording time available with RMGI LPR 35 is about 48' @ 15 ips (3600 ft).
Your suggestion of a 14" reel is an elegant solution for recording on the A820. My deck is biased for RMGI SM 900 and ATR Magnetics Studio Master. It appears the standard 2500 ft length, for either 1/4" or 1/2" format, allows for about 33' of recording @ 15 ips.
Is the concept to splice enough tape together to take advantage of the 14" reel
Sam
We start to tape live event only from two years ago, my partner who is a classical music fan and a diyer of string instrument, also fan in hi end audio too but today all amps in his system is custom built by me , he like to have mini concert in home for chamber music only, piano + violin + cello etc,
we started with a Revox A77 4 track, audio technica cardioid mic and a SS mic preamp inside the living room. after change and change many times we found the best sounding place is the indoor swimming pool room and the equipment change to Royer ribbon mic with tube, custom built WE437A+WE300B mic preamp, Studer A80 modified with tubes and silver transformers, all cables in silver too. A CBC radio's engineer show us how to set mic in first ( we only use two mic no mixer) now we know where to set each time in different positions depend on instrument, so we only in one location and chamber classical music only, beside to dub copies from our master tape, maybe also can pay for the copy right from musical company to make copy by our two modified A80 in future, this is all my experience in recording
tony ma
Thank you for sharing The hands-on experience with recording, in the manner you and your partner have embarked upon, will yield invaluable insight --I believe-- when evaluating audio systems. How are you monitoring the recordings?
Hi Sam
Thanks for the the kind of word, actually we only try by luck but I do believe that one type of repro system can't be good for all kinds of music, so we use my partner's system for monitoring , my all horn system is not bad for the purpose but not the best, his system is a multi amps all tubes SE, WE300B for line stage, WE437A to drive WE300B parallel for full range to Quad ESL 63, add on WE437A drive 826 SE over 15K to JBL 2405, also add on WE437A drive 838 SE under 80 hz to JM lab 15" home made box designed by JM lab, all silver in cables and transformers, the crossover between preamp and power amp is WE300B driving passive filters for xover, the whole system without feedback and best for classical chamber music repro. so far we only did for piano violin viola cello and double bass recording, we do not know is good for other kind of instrument too or not, will try in the future
tony ma
I contacted Mike at ATR Magnetics last year about supplying 1/4 &1/2 tape special order and he said no problem.I looked at there website and he currently is quoting the 14" reels in his price list.Here is the link.Hope this helps in your quest.
Hi Sam
Thanks for the the kind of word, actually we only try by luck but I do believe that one type of repro system can't be good for all kinds of music, so we use my partner's system for monitoring , my all horn system is not bad for the purpose but not the best, his system is a multi amps all tubes SE, WE300B for line stage, WE437A to drive WE300B parallel for full range to Quad ESL 63, add on WE437A drive 826 SE over 15K to JBL 2405, also add on WE437A drive 838 SE under 80 hz to JM lab 15" home made box designed by JM lab, all silver in cables and transformers, the crossover between preamp and power amp is WE300B driving passive filters for xover, the whole system without feedback and best for classical chamber music repro. so far we only did for piano violin viola cello and double bass recording, we do not know is good for other kind of instrument too or not, will try in the future
tony ma
Wow, Tony -- what a rig I have various loudspeakers and have concluded, for my taste, that I prefer either no crossover, i.e., Beveridge Model II driven by integral OTL amps, or having the crossover before the amplifiers, i.e., nothing between the amps and transducer...cable notwithstanding.
So, do you think you've captured the sonic experience with your recordings I can see it, now...great recording = tremendous satisfaction -- not so great recording ~ have them play, again...haha, just kidding
I contacted Mike at ATR Magnetics last year about supplying 1/4 &1/2 tape special order and he said no problem.I looked at there website and he currently is quoting the 14" reels in his price list.Here is the link.Hope this helps in your quest.
Odd...I visited the ATR Magnetics website, recently, and didn't observe it -- maybe, I should have flushed my cache and refreshed. I'll check it out...thanks!
Well, Bruce if your doctoring and/or studio business don't pan out... you can start an audio standup comedy tour. I'll show up to all of your shows (with my own tape machine)! ;-)
With jokes aside, I believe this "Reel to Reel" section of WTB fourm is one of the most visited and viewed when I scan the other areas in audio related subjects. The sports and other boring non-audio catagories also have many views though... ;-)
Wow, Tony -- what a rig I have various loudspeakers and have concluded, for my taste, that I prefer either no crossover, i.e., Beveridge Model II driven by integral OTL amps, or having the crossover before the amplifiers, i.e., nothing between the amps and transducer...cable notwithstanding.
So, do you think you've captured the sonic experience with your recordings I can see it, now...great recording = tremendous satisfaction -- not so great recording ~ have them play, again...haha, just kidding
Hi Sam
I started a post talking about the difference between real and repro sound before, and telling what I feel from the live event's recording, actually it can't be compare because it belong to different kind of sound never can be the same, whatever how good the equipments are, but in compare two different recordings can be very easy to get it because they are same kind of sound, you can easily to find out which one is closer to the real one and will never turn back again with the looser but this is a endless road not only the parts of the equipment change can effect quality, the sound of the instrument ( musician brought their very expensive thing) also can, even same instrument play by different musician also sound different too, hard to detail it in words have to feel them directly for understanding
tony ma
