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The Sony 3348??? Recorders, Players & Tape Machines
Old 1st August 2012
  #31
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cinealta's Avatar
 

16 bit. Good transport. Sounded ok. Did not sound as good as Mitsubishi X850.
Old 16th March 2018
  #32
Gear Nut
A Sony 3348HR should handle 48 tracks at 96khz. That's why it takes the DASH 2 inch format tape as opposed to the 1 inch DASH tape of say ahh...mmmm...A Mitsubishi X-850, 32 track. Very hard to find in good working order (along with it's manual)

Does a 3348HR sound good? They have been used on thousands of recording projects. For example: Rush's Power Windows, Hold Your Fire. The Beatles - Yellow Submarine Songbook (17 remixed Beatle tracks.) Make your decision on your ears NOT someone's opinion.

You should be able to get a "properly functioning" one Ebay for around $5000. Buy the manual if you can. Assuming they have it (Hard to find) don't be surprised if the seller wants $500 for the thing....Or more.
Old 16th March 2018
  #33
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Sony PCM-3348

the PCM-3348hr is 24/16 bit selectable.
sample rates: 44.056, 44.1, 48 kHz
on 1/2" tape

though partial to Sony, the Mitsubishi 32 track sounded WAY better.
Attached Thumbnails
The Sony 3348???-specs.jpg  
Old 2nd August 2018
  #34
Gear Nut
Paul Simons, "Graceland" was recorded on a Sony DASH 3324 (In whole or in part) and it's considered an audiophile album.

I have heard over compressed (like most projects today) crappy sounding 24/192 projects and have heard great sounding early 80's 16/48 projects. And vice a versa.
I think all this bad mouthing of the 3324 and 3348 is gonna hurt it's feelings. Seriously though - So many great albums were recorded on these beasts as well as the Mitsubishi X-800 and X-850 (32 tracks of 24/96 on 1 inch DASH tape) And they are still in use today. Thousands of mutltracks are in danger of being lost forever. We need these old animals to transfer DASH tapes to Pro Tools.

Only five studios in the U.S. have a working 3348HR. So I have been told. Is this true or an urban legend?

So no more trashing of DASH machines. They have feelings too.

Last edited by john morris; 2nd August 2018 at 11:07 PM.. Reason: mistake
Old 3rd August 2018
  #35
Gear Nut
3324 once was much loved!

Quote:
Originally Posted by ruidostudios View Post
I find it curious how everybody hates the 3324´s sound nowadays, although it is omnipresent in a lot of great recordings in the 80`s and 90´s.
If I am not wrong, the Dire Straits surround edition of "Brothers in arms" won a grammy, I have it on SACD and sounds good, even it was recorded on 3324 (Ithink through Apogges)
BTW I still own an old and ugly 3324 1st generation (why was it blue painted?) in my Horror's room and will never let it go (until someone donates me a Studer 827).
Cheers and excuse my English.

You know everyone forgets why so many studios wanted the new Sony 3324 back in 1982. (Those studios that had gold bricks lying around in their basements.)
1. Flat frequency response from 20 - 20 000 hz
less than 1 db. Try that trick with analog 2 inch 24 track running at 15ips back in 1982.

2. No WOW AND FLUTTER.

3. No cross talk between tracks.

4. A perfect copy could made of your DASH 24 track tape. No loss of bottom or top end. No increase in wow and flutter. No increase in noise or distortion.

5. No loss of transients or top end with repeated use of tape. This happened during the recording sessions of Fleetwood Mac's "Rumours." They had to go to copies.

6. You can synchronize as many 3324's as you want without having to lose tracks to synch pulse.

7. 100 db signal to noise ratio without noise reduction. Any good 2 inch 24 track running at 15ips back in the early 90's could manage at least 68db signal to noise ratio (A weighted). And Dolby A would push it up to 76db (A weighted). Back in the early 80's it was more like 66db (A weighted). You go back further and and the noise specs get sad - 62db unweighted back in 1974 which is why so many engineers thought (and rightfully so) that the 2 inch 24 track was an inferior machine to the 2 inch 16 track.

And quite a few engineers didn't like using any noise reduction at all. That promise of 100 db without noise reduction looked like a God send.

Yes, this is all available today at 1/50 of the cost (instead of 1982's - $10,416 a track price) but it wasn't then. My uncle (I work at his studio at his studio.) Remembers thinking, THIS IS IT.ANALOGUE IS OVER. WE HAVE ENTERED A NEW AGE. THANK GOD. My uncle said spec wise the 3324 was excellent but it lacked emotion and feeling. But he has told me since, "Considering all the advantages digital mutitracks gave, it was worth it too lose some emotion..."
Old 3rd August 2018
  #36
7+1
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Speaking of DASH...

Anyone here have a functioning machine? Id like to do a transfer in to pro tools from an album done years back..
Old 26th October 2018
  #37
Here for the gear
 

Did you ever locate a DASH transfer facility ? I have a low hour 3348HR and will have transfer capability soon.
Old 4 weeks ago
  #38
Gear Nut
Quote:
Originally Posted by Bassmankr View Post
Does anyone know if the 3348HR will do all 48 tracks at 24 bit/44.1k or 48k? Will it do full duplex with the converters (can run input A to D and output D to A)? If you can tolerate the real estate they take up, given how good the analog side is of them, even with the dated converters it might make sense to use them as a set of converters only and not put anything on tape (use the DAW).
The 3348HR will record in 24/48 and 24/44.1. All 48 converts can be used independently of the machine. My Uncle has two of them. But we just transfer DASH tapes. We don't record anything on them.

Some producers claim that the Sony 3348HR had a sound all of it's own. Just sounds like clean analytical digital to me. I have never played a DASH tape back from a 3324, 3348 or 3348HR and said,"My God , that machine has a sound of it's own!" But I will take the sound of a first generation 3348 over DAT any day.
Old 3 weeks ago
  #39
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John thanks for getting the info out there even though my post was from 11 years ago Lol. Looks like if someone needs a lot of converters to team up with an analog desk then grabbing a Sony on the cheap is an option.
Old 3 weeks ago
  #40
Quote:
Originally Posted by Bassmankr View Post
John thanks for getting the info out there even though my post was from 11 years ago Lol. Looks like if someone needs a lot of converters to team up with an analog desk then grabbing a Sony on the cheap is an option.
Possibly not an option for your average home studio unless you’ve got space to spare!

Not sure it’d be that cost effective either - plus you’d still need 48 channels of aes io to make it worthwhile!
Old 3 weeks ago
  #41
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Sigma's Avatar
The problem with the 3348 and the x850 was that the tails of a sounds decay weren't fluid ..they kinda sounded gated instead of faded
Old 3 weeks ago
  #42
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One of the most cost effective paths for 48 channels of decent conversion with interface is still going with two used RME 9652 PCI cards with two used Alesis HD24XR units with Windows 7 other than Pro Tools Daw box. Some gotchas but it performs plus you can add another 9652 card and HD24XR for 72 channels. Frankly the newer computers while carrying more load have much higher latency. Like most things audio you need to pick your set of compromises.
Old 1 week ago
  #43
Gear Nut
Quote:
Originally Posted by PlatinumSamples View Post
Good luck finding tape - they were very well designed and very popular at one time. I think you can find them for about $2,500 now.

Rail

They stoped making DASH tape in 2006. I have no idea where Chris and Tom are getting their tape from. You can still find the odd bit being sold here and there. But for the amount of work the brothers are doing it amazes me where they find that much DASH tape from.

Maybe...They are making it in the basement. ?
Old 1 week ago
  #44
Gear Head
 

The Sony went to Digital Hardware paradise.... If I am not mistaken CLA himself isn't using it anymore. The Sony joined all the ADATs and DATs in heaven (or hell?!)...

The same destiny of most digital tech. The same thing that happened to all those 888 they (try to) sell you for 30 dollars
in garage sales, and the same thing that will happen to your new shiny expensive Avid rigs, and your UAD cards and external hardware. Apart from (maybe!) a few reverb units which are still resisting (until plug ins will eat them whole), it is the digi-destiny.
That's why I will, personally, never invest again in digital gear, especially AVID/Pro Tools or external acceleration cards as much as I can... I go native and invest in a powerful computer that will serve me for around 5 years maybe. I would invest in top of the crop converters and that's it (that you cannot avoid!), and still they are going to be surpassed too (but still, for example an old Apogee AD8000 is still kind of respectable, while my Powercore card is laying in some dark drawer.... )

Digital doesn't get vintage, it just gets old....
Old 2 days ago
  #45
Gear Nut
3324 Blues

Quote:
Originally Posted by dbbubba View Post
I was "forced" to work on a SONY 3324 (the 24 track original version) between '93 and '95.
Although the deck had the Appogee converters I still didn't like how it sounded.
Cymbals sounded really flat and crunchy to me.
I was playing some tracks that were recorded on it just the other day.
It was paired with Neve 8128 and that theoretically is a half decent sounding console.
(note that I said "half decent.)

That deck is sitting in an abandoned studio and I could pick it up for almost FREE!
Why would I?
You can't get the tape except for the guy posting here.

You were recording on a Sony 3324 as late as 1995? But that's a 16/48 machine and the industry had all moved on to 24/48 by then. Well as long as it ahhh....you know m mmmm......works. And sounds good....Or O.k. at least.

It came out in 1981. The 3348 had firmly established itself by 1990 and the 3348HR by 1994. Your studio had an old (should have been retired) 14 year old 3324. The 3324 was built to last and was state if the art for it's time.

Why not pick it up. One day when they are gone ( In the great DASH purge of 2030.) you can pull it out and make some money one day when they are all gone. Only 5 studios in the U.S. with a working Sony 3348HR. Who knows.

Last edited by john morris; 2 days ago at 05:17 AM.. Reason: mistake
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