The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
Best Tape Machine and why? Recorders, Players & Tape Machines
Old 17th May 2015
  #91
Lives for gear
 
skybluerental's Avatar
 

As far as 2 track mix down decks go I have to say that the best sounding machine I have used is an Ampex ATR 102 1/4".

I have worked on Ampex 440C's. Studer B67, Studer A810, Studer A807, Sony APR, MCI JH 110, Otari MTR 12.................

All of them have the tape sound, but none of them sound as good as the ATR 102 to my ears...........
Old 20th May 2015
  #92
Gear Head
Like have owned a mci and mtr90 mk2
Now use a80 2" 16 and a80 1/2 2 track
Mci was early yellow top deck sounded good but would never own another. They break all the time. Mtr 90 always worked , punches were fast, but to clean.
If you find one cheap I'd pick it up due to they don't break much.
The studer a80 has issues here and there but is pretty good
Old 24th May 2015
  #93
Gear Maniac
 
Dan O's Avatar
 

Quote:
Originally Posted by cheu78 View Post
I own a Mara MCI JH24 16 tracks 2" and a Studer C37 in perfect condition..
Imho very nice sounding machines.

I worked with a Studer 827 16 tracks 2" and several studers A80.. the 827 is a cleaner sounding machine.. sounds nice.
I like good A80's for printing the mix... (as the mci's..)

Just my 0.02 $,



Cheu
How would you compare the mara mci with the Studer 827?
Old 24th May 2015
  #94
Lives for gear
 
cheu78's Avatar
Quote:
Originally Posted by Dan O View Post
How would you compare the mara mci with the Studer 827?
To tell you the truth I used the 827 in a different studio with RMGI tape, the Mara MCI jh24 with ATR tape (both 16 tracks 2").

So with that in mind I'd say that the Studer 827 is NOT a mojo machine, is a "clean" machine.. still has a sound to it, it was the last machine that studer built in the 90ies.. it's very reliable and sounds good.. has the "typical" size and depth of a tape machine, a bit less oomph and no apparent roll off at 15ips..or very very slight..sounds very good, in a clean way.

The MCI is a fatter sounding machine.. lowend is huge, yet doesn't sound "boosted".. the highend is very smooth yet not dull, but less "sparkly/lively" than the 827. It just sound so "right"..

This is my opinion, but remember tape was different and the studio/console was different.

I feel that the studer parts have a better quality overall, precision machinery made in Switzerland (you know what I mean), no expense spared, but I can't say anything bad about the mci on operation.
the studer machines were also more expensive when new.

I could compare the same take with the 827 with the prism ada8xr take, the 827 take converted with the prism sounded better than the straight "digital only" take (space and depth was a big difference..the tape take was slightly "rounder" sounding.. if that makes any sense).

I hope this helps,



Cheu
Old 24th May 2015
  #95
Gear Maniac
 
Dan O's Avatar
 

Ok, that's kind of the impression that I've got about the machines. I've listened to a a827 but not a fully functional jh-24. In terms of "cleanliness", how "high end sound", if you know what I mean, can you get on a Mara machine? For example if you're recording jazz or classical. ( I'm already pretty convinced that it is a good machine for rock).
Old 24th May 2015
  #96
Lives for gear
 
cheu78's Avatar
Quote:
Originally Posted by Dan O View Post
Ok, that's kind of the impression that I've got about the machines. I've listened to a a827 but not a fully functional jh-24. In terms of "cleanliness", how "high end sound", if you know what I mean, can you get on a Mara machine? For example if you're recording jazz or classical. ( I'm already pretty convinced that it is a good machine for rock).
I've never recorded classical stuff on mci (nor jazz yet).. I might try recording at 30ips though.. maybe the studer might be more appropriate to these genres..



Cheu
Old 24th May 2015
  #97
Gear Maniac
 
Dan O's Avatar
 

Quote:
Originally Posted by cheu78 View Post
I've never recorded classical stuff on mci (nor jazz yet).. I might try recording at 30ips though.. maybe the studer might be more appropriate to these genres..



Cheu
I think so too. Would be interesting to hear a couple of more modern jazz recordings done on an mci. ( And yes, 30ips is probably the best alternative if you can afford it. )
Old 24th May 2015
  #98
Lives for gear
 
skybluerental's Avatar
 

Quote:
Originally Posted by Dan O View Post
I think so too. Would be interesting to hear a couple of more modern jazz recordings done on an mci. ( And yes, 30ips is probably the best alternative if you can afford it. )
I have done several modern jazz records on an MCI JH 16 and 24.

If you want to hear a few of them, check out:

Matt Ulery, "By a Little Light" MCI JH24 @ 30 IPS.

Quentin Coaxum, "Current" MCI JH16 @ 15 IPS.

Doug Rosenberg, "Better Than TV" MCI JH24 @ 30 IPS.

Marquis Hill, "The Poet" MCI JH24 @ 30 IPS.
Old 24th May 2015
  #99
Gear Maniac
 
Dan O's Avatar
 

Quote:
Originally Posted by skybluerental View Post
I have done several modern jazz records on an MCI JH 16 and 24.

If you want to hear a few of them, check out:

Matt Ulery, "By a Little Light" MCI JH24 @ 30 IPS.

Quentin Coaxum, "Current" MCI JH16 @ 15 IPS.

Doug Rosenberg, "Better Than TV" MCI JH24 @ 30 IPS.

Marquis Hill, "The Poet" MCI JH24 @ 30 IPS.


Thanks for sharing. Sounds great! I'm gonna listen some more. Which studio is this recorded in?

( It's always rock and country when people talk about mci. )
Old 24th May 2015
  #100
Gear Maniac
 
Dan O's Avatar
 

Quote:
Originally Posted by skybluerental View Post
I have done several modern jazz records on an MCI JH 16 and 24.

If you want to hear a few of them, check out:

Matt Ulery, "By a Little Light" MCI JH24 @ 30 IPS.

Quentin Coaxum, "Current" MCI JH16 @ 15 IPS.

Doug Rosenberg, "Better Than TV" MCI JH24 @ 30 IPS.

Marquis Hill, "The Poet" MCI JH24 @ 30 IPS.
Can you possible provide some more info if you have time? Such as tape formula and noise reduction on the recordings and maybe mixdown format.
Old 25th May 2015
  #101
Lives for gear
 
skybluerental's Avatar
 

Quote:
Originally Posted by Dan O View Post
Can you possible provide some more info if you have time? Such as tape formula and noise reduction on the recordings and maybe mixdown format.
Sure,

The MCI JH 16 is at Shirk studios and the JH 24 is at Joy Ride.

Tape would have probably been 499.

No noise reduction.

After cutting to tape, the tracks were transferred to Pro tools and mixed at my private studio.

Mix down was a little different for each one.

Console for mix down was my Neve 5465 fed by RADAR converters.
The mix would have also been captured with the RADAR converters and recorded back into Bro Tools.

Outboard gear was Urei LA 3A's, 1176's, Retro 176, ADR Compex, Pultecs, API EQ's, EMT 140 stereo, Fulltone Tube Tape Echo, etc............. Mix buss compressor was a Smart C1, although these days I use a Dramastic Obsidian, which I think sounds a little wider and deeper.

The only one of those I mentioned that was mixed to tape was Doug Rosenberg, "Better Than TV."
It was mixed to an Ampex 440c running at 15 IPS.

Hopefully this helps.
Old 25th May 2015
  #102
Gear Guru
 
Brent Hahn's Avatar
 

I've just spun through all 4 pages of this thing. Interesting to me that nobody has mentioned the sound of a machine's record and playback eq. Unlike a console, with a tape machine you can't bypass it, so it shouldn't suck. I like the sound of Ampex and Studer eq. I really don't like the sound of MCI eq, especially the HF, which to me sounds a lot like the MCI consoles' HF eq.
Old 25th May 2015
  #103
Gear Maniac
 
Dan O's Avatar
 

Quote:
Originally Posted by skybluerental View Post
Sure,

The MCI JH 16 is at Shirk studios and the JH 24 is at Joy Ride.

Tape would have probably been 499.

No noise reduction.

After cutting to tape, the tracks were transferred to Pro tools and mixed at my private studio.

Mix down was a little different for each one.

Console for mix down was my Neve 5465 fed by RADAR converters.
The mix would have also been captured with the RADAR converters and recorded back into Bro Tools.

Outboard gear was Urei LA 3A's, 1176's, Retro 176, ADR Compex, Pultecs, API EQ's, EMT 140 stereo, Fulltone Tube Tape Echo, etc............. Mix buss compressor was a Smart C1, although these days I use a Dramastic Obsidian, which I think sounds a little wider and deeper.

The only one of those I mentioned that was mixed to tape was Doug Rosenberg, "Better Than TV."
It was mixed to an Ampex 440c running at 15 IPS.

Hopefully this helps.

First of all. Good job with the records they sound really great! And thanks for the info it was interesting to read.

The JH-16 at 15 ips was pretty easy to spot.

I was a bit surprised though that "better than tv" was mixed to 15 ips. I would have guessed "the poet" since from what I can hear it has a little less air, especially in comparison with "better than tv".

You seem to have a great setup also with the Neve and the nice outboard. How big role do you think the Neve played in terms of getting such great sound.( It sounds really full and rich with a very good 3D picture. )
Old 26th May 2015
  #104
Lives for gear
 
skybluerental's Avatar
 

Quote:
Originally Posted by Dan O View Post
First of all. Good job with the records they sound really great! And thanks for the info it was interesting to read.

The JH-16 at 15 ips was pretty easy to spot.

I was a bit surprised though that "better than tv" was mixed to 15 ips. I would have guessed "the poet" since from what I can hear it has a little less air, especially in comparison with "better than tv".

You seem to have a great setup also with the Neve and the nice outboard. How big role do you think the Neve played in terms of getting such great sound.( It sounds really full and rich with a very good 3D picture. )
Thanks for the kind words.

Don't forget that the 15 IPS multi track you heard (Quentin Coaxum) is a 16 track 2 inch machine instead of the 24 track 2 inch that was used for the 30 IPS recordings. That 16 track machine at Shirk's is one of the older MCI's with loads of trannies that really color the sound more so than the newer 24 track I used at 30 IPS on the other recordings.
It is also in a totally different studio with different sounding rooms, console, etc and that yields a different sound as well.
I think there are many other factors that contribute to the sound of that record much more than just 15 IPS vs 30 IPS. There is electric bass on that one too, where as all the others are upright. I also spent A LOT of time and effort on the drum sounds on that Quentin Coaxum record. We did some pretty crazy stuff to the drums to get them to have that fat, dead sound. The drummer was very open minded to my suggestions which allowed us to get what I think is a very cool drum sound.

I can hear the difference between 30 and 15 on the same machine, but it is pretty subtle. The main advantage to 30 IPS, especially in recording jazz is that there is less hiss.

As far as "The Poet" being darker than "Better Than TV," that was much more of a creative choice than the sound of a tape deck. Marquis loves a dark, round sound and so we went for that in the mixes. Doug was more hands off with respect to sonics, so "Better Than TV" is mixed a bit more sparkly and airy.

As far as my Neve desk goes, I really love that little console. It just sounds great no matter what I put through it. It has tons of headroom. It certainly plays a role in the sound as does the analog outboard gear. The thing that I notice about mixing through the Neve and my outboard gear is that it I am usually able to get things sounding good QUICKLY, which is so so important when doing a mix in my opinion.

Hopefully this sheds a little light on things.

Thanks for listening.

Last edited by skybluerental; 26th May 2015 at 11:17 PM..
Old 13th September 2017
  #105
Lives for gear
 
burns46824's Avatar
Otari MTR-90s are pretty neutral and dull sounding when stock. Once you upgrade the channel cards, WOW...so nice sounding! I do a lot of submixing on the multitrack and I lose almost NOTHING upon recording a second generation. Couldn't say that when the machine was stock...you had to hype the high frequencies.

I highly recommend this machine if you are working exclusively on tape and not "dumping" to ProTools. The functionality is superb.
Old 14th September 2017
  #106
Lives for gear
I like the "neutral" or "vanilla" sound of Otari. I don't agree that they sound that way, unless you compare them with more colored machines, but as is, they sound very analog and anti-digital, if clean. Same with higher end revox machines. I like tape coloration, but it's more of an effect to be used or not, while a recorder should be as bland and vanilla as possible, but since it's tape, not sterile.

I like vanilla ice cream when adding different toppings and stuff, and I don't want some fancy rocky road or cherry garcia or whatever complex ice cream when making a sundae.
Old 14th September 2017
  #107
Lives for gear
 
cheu78's Avatar
Some of my favs Ampex mm1200 modded, MCI JH24 16tracks 2", MCI JH110 stereo, Studer C37 (and Studer A820 and some A80).





Cheu
Old 14th September 2017
  #108
Gear Maniac
 
Dan O's Avatar
 

Quote:
Originally Posted by burns46824 View Post
Otari MTR-90s are pretty neutral and dull sounding when stock. Once you upgrade the channel cards, WOW...so nice sounding! I do a lot of submixing on the multitrack and I lose almost NOTHING upon recording a second generation. Couldn't say that when the machine was stock...you had to hype the high frequencies.

I highly recommend this machine if you are working exclusively on tape and not "dumping" to ProTools. The functionality is superb.
What type of upgrades have you done to your channel cards?
Old 14th September 2017
  #109
Lives for gear
 
Arseny's Avatar
Mr Jonathan Horwitch, which recorded Jazz since 1960's, mentioned Revox C278 in his only post here on GS. He said "Absolutely a hidden treasure of a machine".
https://www.gearslutz.com/board/9989212-post8.html

I didn't have like 10k-15k for a bigger multitrack Studer A80x, so I was searching for a C278 (made by Revox/Studer) and I have, thanks God, finally found one here in Switzerland. It is only a 8 track 15IPS machine, but more affordable then the big Studers, if you find one. I have an experienced Studer technician here that cares about it and a 2 track A80.

There is indeed something esoteric in the audio captured with C278. Especially when I record my singer songwriter stuff (voice & ac. gtr): it inspires me and it contributes to my artistic vision more then tracking digitally. It supports me - like a good sounding guitar amp is taking me to some sonical landscapes and telling me how to play further. It shapes the audio in a pleasant way, so it already sounds a bit more like a record, a bit more finished, at least to my ears, and for the music styles like acoustic, indie, folk, jazz… Of course, my Tubetech MEC1A preamp is also contributing to that.

Not quite sure, but it seems that the magic is happening when recording directly to tape and not just putting a digitally recorded material on tape. However, I didn't like the sound of some more complex material like an entire song prepared in DAW with lots of guitars and drums, when recorded to C278 as stereo. I prefered direct live recordings from preamps, less instruments and not too modern and aggressive music styles - for C278.

I remember watching Tchad Blake in one of his videos, where he uses U-He Satin only to add some crosstalk :-)
Hey, there are some good tape plugins and hardware tape emulators, so I am not sure if audio engineers really need a real tape today, but some artists certainly take advantage of it. Jacquire King said something like, artist behave differently when being recorded to tape.
Old 15th September 2017
  #110
Lives for gear
The one you can get tape for.
The one running the widest fastest tape.
The one with a good set of heads.
Old 15th September 2017
  #111
Lives for gear
Quote:
Originally Posted by Arseny View Post
Mr Jonathan Horwitch, which recorded Jazz since 1960's, mentioned Revox C278 in his only post here on GS. He said "Absolutely a hidden treasure of a machine".
https://www.gearslutz.com/board/9989212-post8.html

I didn't have like 10k-15k for a bigger multitrack Studer A80x, so I was searching for a C278 (made by Revox/Studer) and I have, thanks God, finally found one here in Switzerland. It is only a 8 track 15IPS machine, but more affordable then the big Studers, if you find one. I have an experienced Studer technician here that cares about it and a 2 track A80.

There is indeed something esoteric in the audio captured with C278. Especially when I record my singer songwriter stuff (voice & ac. gtr): it inspires me and it contributes to my artistic vision more then tracking digitally. It supports me - like a good sounding guitar amp is taking me to some sonical landscapes and telling me how to play further. It shapes the audio in a pleasant way, so it already sounds a bit more like a record, a bit more finished, at least to my ears, and for the music styles like acoustic, indie, folk, jazz… Of course, my Tubetech MEC1A preamp is also contributing to that.

Not quite sure, but it seems that the magic is happening when recording directly to tape and not just putting a digitally recorded material on tape. However, I didn't like the sound of some more complex material like an entire song prepared in DAW with lots of guitars and drums, when recorded to C278 as stereo. I prefered direct live recordings from preamps, less instruments and not too modern and aggressive music styles - for C278.

I remember watching Tchad Blake in one of his videos, where he uses U-He Satin only to add some crosstalk :-)
Hey, there are some good tape plugins and hardware tape emulators, so I am not sure if audio engineers really need a real tape today, but some artists certainly take advantage of it. Jacquire King said something like, artist behave differently when being recorded to tape.
the c278 has some kind of dynamic bias control I think for noise reduction that never caught on and is unique to that machine i believe
Old 15th September 2017
  #112
Gear Guru
 
Sounds Great's Avatar
 

If I were buying one right now, I'd get a Studer 827. I've had a chance to use a lot of them and the 827 has enough of the mojo to make me happy. Especially if you go with a 16 track head-stack, which would be my choice. And the reliability and operation of this machine is off the charts, it doesn't get any better.
Old 15th September 2017
  #113
Lives for gear
 

Sony APR-5003/V 1985

I'm going to change units here and say that my "Personal Favourite ATR" is the Sony APR 5003/V these were about the last MCI/Sony branded and Sony Made 1/2 and 1/4" ATR Mastering Decks that still to this day come a 2nd to an ATR 102. Rumour has it Sony took a great deal of technology from the 5003/V and there's certainly Studer and Ampex design in these 1/4" or 1/2" decks.

They have built in SMPTE and RS422 and live to numerous Video and Other Audio tape machines very easily the Extender cards and Remotes were a bonus a remote tooling can be custom ordered even today. They are not really a Thick or Thin ATR though so where in the centre of "Clean" and at 320nWb or 380nWb on GP9 or RMGI 911 at +3 dBm they sound amazing. They're reliable and OEM parts and substitute parts are available at 30 IPS the frequency response is lovely and while they do impart a "Tape Sound" it's certainly not that transformer laden JH-16 or 16/24 sound.

Certainly you'll gain that Tape Sound, and the APR forums are extensive and have been running for 14 years, many are used in Broadcast and Recording alongside Forensic and custom audio suites, they have memory storage for different Tape Formula and settings so going from 456 to 911 and GP9 was a breeze, their design in Auto lift head guides and tape travel lift mechanism equates to an easy tape path and editing, these units have an edital type block built in and they're table top or Rack hinge design means the rake angle always suits. Auto shuttle MVC control make lining up edits simple and easy. They are often on ebay though I doubt I'd purchase a unit unless I could inspect it, even in 2000 these APR 5003/V machines were changing hands at a premium.

Here's a detail overview.
Regards,
TheLastByte

Best Tape Machine and why?-image.jpg
Attached Thumbnails
Best Tape Machine and why?-image.jpg  
Old 16th September 2017
  #114
Gear Guru
 
Sounds Great's Avatar
 

The Sony comes out on top in this old chart. And the Studer A827 for multi-track.


Response Curves of Analog Recorders
Old 17th September 2017
  #115
Lives for gear
 
Joao B.'s Avatar
 

Quote:
Originally Posted by skybluerental View Post
Thanks for the kind words.

Don't forget that the 15 IPS multi track you heard (Quentin Coaxum) is a 16 track 2 inch machine instead of the 24 track 2 inch that was used for the 30 IPS recordings. That 16 track machine at Shirk's is one of the older MCI's with loads of trannies that really color the sound more so than the newer 24 track I used at 30 IPS on the other recordings.
It is also in a totally different studio with different sounding rooms, console, etc and that yields a different sound as well.
I think there are many other factors that contribute to the sound of that record much more than just 15 IPS vs 30 IPS. There is electric bass on that one too, where as all the others are upright. I also spent A LOT of time and effort on the drum sounds on that Quentin Coaxum record. We did some pretty crazy stuff to the drums to get them to have that fat, dead sound. The drummer was very open minded to my suggestions which allowed us to get what I think is a very cool drum sound.

I can hear the difference between 30 and 15 on the same machine, but it is pretty subtle. The main advantage to 30 IPS, especially in recording jazz is that there is less hiss.

As far as "The Poet" being darker than "Better Than TV," that was much more of a creative choice than the sound of a tape deck. Marquis loves a dark, round sound and so we went for that in the mixes. Doug was more hands off with respect to sonics, so "Better Than TV" is mixed a bit more sparkly and airy.

As far as my Neve desk goes, I really love that little console. It just sounds great no matter what I put through it. It has tons of headroom. It certainly plays a role in the sound as does the analog outboard gear. The thing that I notice about mixing through the Neve and my outboard gear is that it I am usually able to get things sounding good QUICKLY, which is so so important when doing a mix in my opinion.

Hopefully this sheds a little light on things.

Thanks for listening.

I know this is an old thread but your post made me check out that Quentin Coaxum record and I'm really loving the music and the tones (the drums sound awesome). Great job!
Old 17th September 2017
  #116
Lives for gear
 
skybluerental's Avatar
 

Quote:
Originally Posted by Arseny View Post
Mr Jonathan Horwitch, which recorded Jazz since 1960's, mentioned Revox C278 in his only post here on GS. He said "Absolutely a hidden treasure of a machine".
https://www.gearslutz.com/board/9989212-post8.html

I didn't have like 10k-15k for a bigger multitrack Studer A80x, so I was searching for a C278 (made by Revox/Studer) and I have, thanks God, finally found one here in Switzerland. It is only a 8 track 15IPS machine, but more affordable then the big Studers, if you find one. I have an experienced Studer technician here that cares about it and a 2 track A80.

There is indeed something esoteric in the audio captured with C278. Especially when I record my singer songwriter stuff (voice & ac. gtr): it inspires me and it contributes to my artistic vision more then tracking digitally. It supports me - like a good sounding guitar amp is taking me to some sonical landscapes and telling me how to play further. It shapes the audio in a pleasant way, so it already sounds a bit more like a record, a bit more finished, at least to my ears, and for the music styles like acoustic, indie, folk, jazz… Of course, my Tubetech MEC1A preamp is also contributing to that.

Not quite sure, but it seems that the magic is happening when recording directly to tape and not just putting a digitally recorded material on tape. However, I didn't like the sound of some more complex material like an entire song prepared in DAW with lots of guitars and drums, when recorded to C278 as stereo. I prefered direct live recordings from preamps, less instruments and not too modern and aggressive music styles - for C278.

I remember watching Tchad Blake in one of his videos, where he uses U-He Satin only to add some crosstalk :-)
Hey, there are some good tape plugins and hardware tape emulators, so I am not sure if audio engineers really need a real tape today, but some artists certainly take advantage of it. Jacquire King said something like, artist behave differently when being recorded to tape.
I work with Jonathan Horwich pretty regularly as an engineer and have recorded on his Revox 8 track a bunch of times. It is a really nice sounding machine for sure.
I cut a Bobby Broom record on it a few years ago. Recently I mixed some stuff for him off the Revox machine at my studio through my API and also recorded an upcoming acoustic EP for Davy Knowles on it. The greatest things about the Revox 8 track are how portable it is and how well it holds calibration! Sonically it is VERY flat and clean sounding analog. I really like working with it!

Jonathan's main 2 track 1/4" machines are 2 Sony APR 5003's and an ATR 102.

He does some really cool stuff with releasing music on 1/4" analog tape.
Old 17th September 2017
  #117
Lives for gear
Quote:
Originally Posted by tonymite View Post
You would have to have pretty special ears to be able to close your eyes & tell what brand of tape machine a song was recorded on.

If this is the case - I would just stick to digital

Access to all these studios may not be an option - and each studios signal path will vary.
I know studio forums can be a wank .. but I'm waiting on a reply from the right folk - the ones whose philosophy I recognise/admire.
My advice is do not waste your time and money. You will be dissapointed if you think dragging a big old Studer into your studio is going to impart warmth and balls to your final mix.
Old 17th September 2017
  #118
Here for the gear
 

Thanks Steve!
Old 18th September 2017
  #119
Lives for gear
Quote:
Originally Posted by Elsapo2001 View Post
My advice is do not waste your time and money. You will be dissapointed if you think dragging a big old Studer into your studio is going to impart warmth and balls to your final mix.
I love tape, but I have to agree. The only way to get the real sound of tape is all analog from start to finish, or with a colored machine, like the ampex 440, perhaps a few passes. But the studer at low speed with certain stock would do the trick. Like low output perhaps like ampex 407. A lot of guys get too OCD and get the high output tape on a clean machine for specs, but I have been using old 407 and it sounds great on a wide track machine.
Old 18th September 2017
  #120
Lives for gear
 
Plush's Avatar
RE: ReVox C278

Progression in tape / tracks was:

1" 4 track Studer J37--the best professional standard
1/2" 4 track Studer (various) last was A807
1/2" 8 track ReVox C278--the last ReVox / Studer machine with design features from the A807, primarily the left side tape servo.

The ReVox C278 is a credible machine but no where near the fidelity available from other machines from the Swiss maker.

Last edited by Plush; 18th September 2017 at 06:01 PM..
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
lanervoza / So much gear, so little time
6
nalin / So much gear, so little time
0
Circular Light / Low End Theory
21
blumediaprojekt / So much gear, so little time
2
FMNYC / So much gear, so little time
4

Forum Jump
Forum Jump