The Reel to Reel Thread For Newbies

[audiotech]

First of all, when you're talking about 4 track reel to reel recorders, are you taking about a machine that records 4 different tracks simultaneously or the 4 track consumer machines that record tracks 1 and 3 in one direction and you have to flip the tape to record tracks 3 and 4? The consumer model will only record two tracks at a time.

No matter what 4 track machine you're talking about, you're still recording 4 narrow tracks to a piece of 1/4" tape. This ends up being a bit less than 1/16" spacing per track. There are exception though, some 4 track machines do use 1/2" tape.

Otari machines are workhorses, at one time just about every radio and television station owns at least two. To me a vanilla sounding machine is a good thing. When setting-up a machine I strive in getting the output of the tape sounding as close as possible to the input signal. The difference between the Tascam 32B and the Studer A80 is like apples to onions, lol. Although you can get a great sound and service from the Tascam, I own four of them, the Studers are usually at the top of the list in their transport and electrical characteristics. The Studers also command premium prices compared to most other used machines.

The speed difference had a definite affect on the quality of the recording. You'll have a flatter more extended frequency response with 15 ips over 7 1/2. You'll also have a slightly better signal to noise ratio, less wow and flutter and if you actually edit the tape using the good ole razor blade, the cutting space between two editing points will be double from that of tape recorded at 7 1/2 ips.

Dennis

[donsolo]

I have a Teac 2 track 1/4" machine that runs 7 1/2 ops. It's very tapey sounding. This is only good on a 2bus of you're going for a vintage but cheap sound which does work in some indie rock things.

It's almost better to use tape sparingly. Take your drum stereo bus and print that to tape and bring it back digital and blend. Tape does nice things with transients, ESP if you print very hot.

There are great tape simulations but they don't do wow and flutter which is bad from an audiophile standpoint so I tend to avoid it for jazz.

Now, vocals are a good candidate for tape too but remember, the cheap machines hiss pretty heavily even with Dolby engaged.

I've used cassette for similar purposes but that's an even trashier result.

[mynaemisjonas]

Ok new question. What is the proper way to take the balanced signal from my converters to the unbalanced rca on the tape machine and then back again?

[leddy]

Originally Posted by mynaemisjonas

Ok new question. What is the proper way to take the balanced signal from my converters to the unbalanced rca on the tape machine and then back again?

Short cables.

Have you found a tape machine?

For very low budget, I would highly recommmend a Tascam 22, and find some Maxell UD35 for it (these decks were intended for +3 tapes 1-mil thick). Run it at 15 ips. If the deck is decent and still has its factory set up, this will sound good and probably cost less than $150.

[mynaemisjonas]

Im picking up a pioneer rt707. But ill grab a tascam 22 if i see one

[bytehoven]

Originally Posted by mynaemisjonas

Ok new question. What is the proper way to take the balanced signal from my converters to the unbalanced rca on the tape machine and then back again?

You can make up XLR <-> RCA pig tails and then just watch your console +4 output is dialed back to not over drive the -10 RCA input stages.

Another ATR you might see if you can find because it had great wow specs, was a Technics isolated loop setup. These where also easy to edit with due to the playback head being easily accessible on the right side of the loop.



Despite what some say about Otari, I still miss my old 1/2" 8 track and 1/4" 2 trk.

[jsmallsawe]

Originally Posted by donsolo

There are great tape simulations but they don't do wow and flutter which is bad from an audiophile standpoint so I tend to avoid it for jazz.

That's not entirely true. The Waves Eddie Kramer tape plugin DOES have wow and flutter adjustment.

[mynaemisjonas]

I ended up with a teac 3440, 4 track and 4 channel. Is it cooler to hit the mic inputs or should i stick with the line inputs? By the way ill be some mixes with and without tape. As a learning tool for other tape noobs. We shall see what 7.5 ips sounds like.

Edit:

I just read that this machine does 15 ips as well as 7.5... COOL!

[leddy]

That's a fine deck. I'd use the line inputs if you can.

There's a world of info to learn about tape and setting up your machine. How are the heads? You should track down an MRL tape for it. I'd also record some test tones, especially very low and very high freq. A-B the signal before tape and from the play head. Listen for anything that sounds different or looks different on the meters. Gotta figure out if its healthy or not before you do anything serious on it.

Have fun.

[mynaemisjonas]

Aye, it will def be receiving some form of level calibration with test tones before I print anything to it.

I am going to send signal from my subgroups on my console to it. Would it be better to do drums on 1 & 3 and then everything else on 2 & 4? Any method to the madness? Print a double LLRR mix?

[heyokay]

I've just brought an Akai 1710. I know it's not studio quality, but I'm loving it at the moment. So warm and juicy. I'll probably use it sparingly, but I still have to experiment with her fully yet.

Two problems I have is that the 'nipple' on the motor (the part that moves the tape) keeps spinning off. Any reason for this? And also the headphone output is far too hot for my headphones. Should I get a pair with lower ohms?

[Bill@WelcomeHome]

To minimally maintain a tape deck you should have tape head cleaner to clean the heads, guides, and tape path, foam covered swabs which won't leave lint, and rubber restorer for the capstan. A little stainless polish for the other metal parts helps things stay looking good. (Don't polish the tape path or any parts that touch the tape.)

An MRL tape for calibration and alignment wouldn't hurt. Signal generator, frequency counter, tape head demager, spring scale, and a meter that reads very small levels (the typical $30 Radio Shack meter won't read that small) ....

You'll want to find a calibration and alignment instruction manual. Teac was very good about supplying such information for their machines, Teac/Tascam owners may find it easier to get copies even today. Some machines are easier to set up than others. Typically the two-head machines are a PITA, because you have to record the settings, then rewind and play them back, reading the results, tweaking, and starting over. It can take a very long time to set up a machine this way. With a three head deck you can read the results of your tweaking in real time off the playback head. So if you can buy a three head machine, it is a better deal.

Tape speed: Faster generally sounds 'better', but in pro rooms there was a general agreement that low end sounded better at 15IPS than at 30IPS. Still, each studio made their own choices. Slower speeds will add more hiss and other artifacts, getting down into the very low budget consumer speeds like 3 3/4IPS or less can create a possibly 'interesting' sound. Wider tape tracks generally is also better, so a one inch 4 track could be expected to sound better than a 1/4 inch four track.

Different tapes require different setups. It was usual in the studio to re-calibrate whenever tape stocks changed, or whenever a client brought in their own tape.

Most home/small studios that want to add a 'tape' sound really don't care about how the decks are set up, they just want some wow and flutter, graininess, and a bit of distortion. They aren't going to bother with proper setup. It is funny, I listened to a webinar today and Dave Hill of Crane Song was talking about how we hated all the limitations of tape and were so happy to not have them anymore and now some of us are trying to emulate those sounds...

[mynaemisjonas]

So in my attempts to spend a small amount of money, and solve the problem of running unbalanced cable through my studio. I have stumbled upon this, which would technically be a balanced cable? or do I have it all wrong?

Hosa Stereo RCA to Two Mono 1/4" TS Cable at zZounds


balanced as a cable, because internally it would be like an xlr cable?

[Bill@WelcomeHome]

Originally Posted by mynaemisjonas

So in my attempts to spend a small amount of money, and solve the problem of running unbalanced cable through my studio. I have stumbled upon this, which would technically be a balanced cable? or do I have it all wrong?

Hosa Stereo RCA to Two Mono 1/4" TS Cable at zZounds


balanced as a cable, because internally it would be like an xlr cable?

An unbalanced output is still unbalanced until you put it through something that will balance it. THEN the cable will matter. And yes you have it wrong, that is just 2 RCA to quarter inch cables. This can be achieved by using the cable from an XLR, the two signals can share a ground., but it is not balanced at that point, and not what you seem to be asking for.

[mynaemisjonas]

Im giving the unbalanced cables a try, so far so good.

[heyokay]

I'm getting a lot of wow and flutter with my machine. Would this be down to the tape or the recorder? The tape is TDK LX 35/90 if that helps.

[audiotech]

Originally Posted by heyokay

I'm getting a lot of wow and flutter with my machine. Would this be down to the tape or the recorder? The tape is TDK LX 35/90 if that helps.

I would guess it to be the machine, unless there are slitting problems with the TDK tape. Check to make sure the guides and heads are thoroughly clean. If this doesn't remedy the problem, look to replacing the capstan belt if the machine is not a direct motor drive capstan assembly.

Dennis