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what used two inch to look for? Recorders, Players & Tape Machines
Old 14th February 2003
  #31
Gear Addict
 

Yeah, it makes sense, and especially for those sizes. Oddly, 1" has been apparently unavailable in some formulations, though.

Bear
Old 16th February 2003
  #32
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groundcontrol's Avatar
 

I would definitely not put my money on an MX-80, even if running on a budget, especially considering the prices some MTR-90 machines are selling for these days. I seriously doubt those clients having started their productions on A800's being all exctatic about coming to your place to work on your MX-80... Personally, I would not settle for less than an A80 if I were to buy a used 2". I also would look for a 16 track headstack for it...

Good luck!
Old 16th February 2003
  #33
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drundall's Avatar
 

Quote:
Originally posted by Wiggy Neve Slut
if ppl start complaining that u dont have a studer well tell em to fist it! cos we got that cos we got an MCI with our 8024 neve and its just crap cos as if any half decent engineer is gona complain about tracking thru 24 x 1073's and a MCI-jh 24...... total ******S!!!!!!!.. i cant understand the goldent rule of Studers and Neve... i mean sure in a perfect world but its Melbourne here not LA!!! LOL!!!

I like the sound of the JH24 for rock but aligning that compared to aligning a studer sucks. But at least you can do it daily because the drift is a joke. And synchronization is also an issue. It's a punchy little machine but make sure you don't mind being a half dB off on alignments and get the fast punch mod if you can. Or if you get a 124 learn tech work and learn to make a sandwich between when you drop in and when the machine goes into record...amazing sound if you can hang.
Old 16th February 2003
  #34
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adamcal's Avatar
 

I got a deal recently.

I got a Otari MTR90 MK2 with about 60% head life, Remote(no autolocator) Plus a Dolby SR rack with 26 SR cards, about 30 dolby A cards, A big steel overhead rack to put the dolby rack into and was even given 4 used once rolls of 456. How much? 8K Aus (about 4.7K US).

I really only indend to track basics and do transfers so I think the heads will last me some time.

Ive already had a tech come in and do a line up and general mantience and all seems fine so far.

I do however need a bunch of globes, both for the meters and the transport buttons on the remote, Any Pointers?

Also, if anyone sees a autolocator or syncroniser card around, Let me know.

Attached Thumbnails
what used two inch to look for?-tape.jpg  
Old 16th February 2003
  #35
Gear Addict
 
mplancke's Avatar
Quote:
Originally posted by drundall
I like the sound of the JH24 for rock but aligning that compared to aligning a studer sucks. But at least you can do it daily because the drift is a joke. And synchronization is also an issue. It's a punchy little machine but make sure you don't mind being a half dB off on alignments and get the fast punch mod if you can. Or if you get a 124 learn tech work and learn to make a sandwich between when you drop in and when the machine goes into record...amazing sound if you can hang.
Huh? Which version of the JH24 are you talking about? Mine's an '87 and has none of these problems. It has had all the typical failure modes addressed, Molex connectors being the worst. It runs rocks solid, punches great; almost as tight as digital and holds an alignment forever.

I'd suggest going back to whoever had the unmaintained JH24 and telling them to get it up to snuff.

Mark
Old 16th February 2003
  #36
jon
Capitol Studios Paris
 
jon's Avatar
 

FWIW my JH24 experiences have been with a machine from 1977...it's actually a JH114, I think. The cards are different from a JH24; I'm not sure how much the sound is. It sounds fine to me, just more colored than the A820.
Old 16th February 2003
  #37
Motown legend
 
Bob Olhsson's Avatar
 

Quote:
Originally posted by drundall
I like the sound of the JH24 for rock but aligning that compared to aligning a studer sucks. But at least you can do it daily because the drift is a joke. ...
My experience was that our JH-24 was solid as a rock provided you DIDN'T align it every day. Most trim pots become squirrelly after a fair amount of use. Replace them, put in machine-pin IC sockets, resolder all of the Molex pins, keep the power supplies clean and you've got a really stable, great-sounding machine.

The one "gotcha" with all 2" machines is that the machine must NEVER be run without the heads properly aligned, ESPECIALLY with brand new or newly relapped heads. Even a few hours of misalignment can ruin a set of heads. The first sign is edge tracks that are just never stable no matter what kind of tape is used. I've also run into a lot of techs who obviously have never seen a machine with a properly broken in headstack because they think edge track instability is normal.
Old 16th February 2003
  #38
Lives for gear
 
dave-G's Avatar
I seem to remember that there was a year in the manufacturing history of the MCI machines after which some of these maintenance issues were mitigated... maybe 86? I dunno.. Where's Randy Blevins when you need him?

oh, and by the way Bob, perhaps someone should take that "w" out of your subtitle . . . . .

. . . although, "Mowtown Legend" does make you sound like one hell of a landscaper.

-dave
Old 17th February 2003
  #39
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by dave-G
I seem to remember that there was a year in the manufacturing history of the MCI machines after which some of these maintenance issues were mitigated... maybe 86? I dunno.. Where's Randy Blevins when you need him?
Randy's around, just pick up the phone. Those decks went out of production in 87' IIRC, maybe '88. Most of the maintaince stuff like the dreded red IC sockets was taken care of by 84'. There are little changes that came along the line. The last decks from '82 have tranny's on the input cards to keep the noise on the synch head down. Any deck from '83 should have those tranny's in place.

Slipperman, if you read this before I call you, call me!!! If your deal ain't done I have a friend of a friend who's selling a Jeep and he's in Stillwater. If it's not too late I'd love to help this guy out and there's a long story behind this deck.

BTW, the MX-80 was supposed to be a cheaper MTR-90. So what can you expect? Not to knock an MTR because they are solid but I never thought they sounded all that hot.
Old 17th February 2003
  #40
Gear Head
 
droog's Avatar
 

Quote:
Originally posted by Wiggy Neve Slut
and if ppl start complaining that u dont have a studer well tell em to fist it! cos we got that cos we got an MCI with our 8024 neve and its just crap cos as if any half decent engineer is gona complain about tracking thru 24 x 1073's and a MCI-jh 24...... total ******S!!!!!!!.. i cant understand the goldent rule of Studers and Neve... i mean sure in a perfect world but its Melbourne here not LA!!! LOL!!!
They complain because that machine has been poorly maintained. For ages you couldn't open the first drawer far enough to be able to allign track 8! Has he fixed it yet? I'll agree MCI's sound great , and it is a very couloured sound , but they do have the potential to throw a fit in the middle of a session. BTW try getting hold of transformers for the repro cards , the ones in the plastic cylinder. Last quote I heard was AU$200. The guys at Blevins said they were getting pretty rare.
Old 17th February 2003
  #41
Lives for gear
 
Wiggy Neve Slut's Avatar
 

Quote:
They complain because that machine has been poorly maintained. For ages you couldn't open the first drawer far enough to be able to allign track 8! Has he fixed it yet? I'll agree MCI's sound great , and it is a very couloured sound , but they do have the potential to throw a fit in the middle of a session.
HAHAHA... so u know the machine well! and no the drawer is not fixed properly.. but if i wave my machine wand and whisper sweet words to it she comes good and gives me access. sadly im the only person who turns the machine on now given the cost of tape and the lack of easy if any 'autotuning, editing, looping, blah blah' funtions afforded by tape PT is the go to now.

That particular machine is like a severe love hate relationship somedays it runs liek a dream and leaves u wondering how u ever made that punch and then other times it will just not wana play ball and crack the ****s.. i think it has a really disorganised personality... cos all 2"s have them... thats why i treat her with respect and go and play with her still so she (and her capacitors) dont get lonely (and dry out!).. perhaps im just as fuct up as the machine?yuktyy

But overall JH-24's are rock solid machines that are reasonably easy to keep goin and there are still a few around to scavenge for parts... a good choice for ROCK etc

PEACE
Wiggy
Old 17th February 2003
  #42
Lives for gear
 
atticus's Avatar
Just curious, but do any of you have any experience with the Telefunken 2" decks (or 1/2" for that matter). I've seen them around and I'm just wondering how they stand up to the standards discussed here. Thanks.
Old 17th February 2003
  #43
Han
Lives for gear
 

I have an MX80 for about five years now and all I can say is it sounds pretty good and I've never had any serious problem.

Only a capacitor on one of the cards and some bad soldered connections.

I fire it up in the morning and it always works like a charm.
It has no alignment problems, in fact it needs little attention and I've never worked on a machine with a better puch capability, 23 tracks punched in between two tom strokes and no problemo at all.

Syncing to another machine works great as well (with a Tascam synchronizer)

So, I wonder why some guys were having so many problems with the MX80, IMHO it's a decent machine.

And about the Telefunken 2" machines: I sold my M15A 16 a while ago because I hadn't used it for years. It is built like a Centurion tank and the sound is great, but it isn't a "current" machine and I believe parts are hard to find.
Old 17th February 2003
  #44
Gear Addict
 

Studer A80 MKIV

Hey,
I'm looking at a Studer A80MKIV next week. Waiting for the tech report to come in. What's the skinny on these? What's an average price? What should I look out for, beyond what the tech report reveals?
Thanks in advance.
Old 18th February 2003
  #45
urumita
 
7rojo7's Avatar
 

A827, any track count.
Functionality wins.
Old 18th February 2003
  #46
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Roland's Avatar
It seems to me someone needs to design a decent tape simulating plugin for Pro-tools!!! lol.

It should include the following just for realism sake.

1. Every morning, you should have to arrive at the studio at least one hour before the band to run test tones through it and there should be a hardware card with a lot of small pots only accessible with a watchmakers screwdriver that you can't find because the last tech forgot to put it back where it belongs.

2. 2-3 times a day you need to take 5 whilst you clean bits of the pro-tools with cotton buds and isopropyl.

3. If you record on tracks 1 or 24 the plugin should recognize this and make sure it sounds significantly worse than the other tracks!

4. If someone closes the pro-tools session without putting the cursor to the end of the track you should get an annoying pre-echo before the track starts that you can't edit off.

5. On every playback of the track the sound should smear ever so slightly and get duller regardless of whether you are in record or not.

6. Frequency response should automatically have two big humps in the bass end and should you want 30 ips mode bass end curtails sharply below 40hz. (you probably have to use this one as if you run 15ips mode the pluging is designed to add significant amounts of hiss!)

7. For every 3 tracks you record (30ips mode) you have to pay an additional royalty of £120.00. If you don't mind the noise you can do 5 tracks for £120.00 (15ips mode)

8. If you hit it unlucky you get an occasional dropout thrown in for added realism (this is a free upgrade from the software company). N.B. These will occur totally randomly and the software company can not accept liability for any consequential loss.

9. It only sounds good if its hooked up to a Neve desk! (I got to thank Wiggy for that one)!

I would love to come to America and check out all your analogue rooms, but the Earth is flat and I don't want to fall of the edge!

Regards


Roland

P.S. Should anyone really think I am for real about the above, you are right!! lol
Old 20th February 2003
  #47
Gear Addict
 

Re: Studer A80 MKIV

Quote:
Originally posted by Benjy King
Hey,
I'm looking at a Studer A80MKIV next week. Waiting for the tech report to come in. What's the skinny on these? What's an average price? What should I look out for, beyond what the tech report reveals?
Thanks in advance.
Someone help....Slipperman....anybody?
Old 22nd February 2003
  #48
Han
Lives for gear
 

Benjy, there are a couple of threads about the subject on Fletcher's board at PSW

http://recpit.prosoundweb.com/viewforum.php

You might get some help there too (ask Steve Albini)
Old 22nd February 2003
  #49
Gear Addict
 

Thank you so much.
Old 22nd February 2003
  #50
Lives for gear
 
De chromium cob's Avatar
 

One major consideration no one else has mentioned is that while the Studer 800MkIII is a wonderful sounding deck and cheap right now, you may have to smash a big hole in the studio to get it in because its wider and deeper than a standard door frame. A great sounding recorder does you no good if you cant fit it through the door!
Old 22nd February 2003
  #51
One with big hooves
 
Jay Kahrs's Avatar
I'm not too hip with the different versions of the A80. I have a MkIIRC 1/4" deck which I love to death. I've also spent time on a MkII 2" deck which sounded great but you couldn't punch for ****. I'd do a search of rec.audio.pro at google to see what the deal is. I know it's been posted there before. The A80 narrow body decks look stupid IMHO.
Old 23rd February 2003
  #52
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De chromium cob's Avatar
 

Quote:
Originally posted by bombguy
They fit through the 36" standard (building code) doors here.

--Erik
I'm saying that alot of smaller residential studios are now able to afford them, but dont have 36" wide doors...Alot have to deal with 30" wide doors or stairs, ect....It would be pretty embarassing to buy a deck and not be able to get it in the studio space.
Old 23rd February 2003
  #53
One with big hooves
 
Jay Kahrs's Avatar
Then you leave it outside the control room and call it "the machine room." So you can't see the metering on the deck, big deal. Get a console with metering for each channel.
Old 27th February 2003
  #54
Gear Maniac
 
THEMIXFIX's Avatar
 

Benjy:
I work on an A-80 MK IV a LOT, and it's a REAL GOOD machine, especially if you get it at the right price.



Craig:

IF you want to attract clients who *know* what's up, (or THINK they do), then you HAVE to get an A-800 MK III or an A-80 MK III or IV. dfegad grggt

If they are not very well versed in 2" analogue machines, an MM-1200, an MCI-JH 24, or an MTR-90 will all do a swell job, too!! heh
Old 28th February 2003
  #55
One with big hooves
 
Jay Kahrs's Avatar
Well Bob, that's kind of a ****ty thing to say. Lots of good records have been made on MM1200, MTR 90 and MCI JH's. ****, I'd rather have an MTR-90 then an A80 because at least you can punch on the Otari. Still, the A800 is damn tough to beat.
Old 28th February 2003
  #56
Gear Maniac
 
THEMIXFIX's Avatar
 

Jay:

I meant STRICTLY because of the 'Brand and Model Name Recognition' factor!!

****, I'll use ANYTHING that's there to make a recording!!
Old 28th February 2003
  #57
One with big hooves
 
Jay Kahrs's Avatar
Ah, that makes sense then. Who wants to track on a deck that was made by the same people who made video games and buses?
Old 1st March 2003
  #58
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cajonezzz's Avatar
 

Going to look at a JH 16 on Monday. Super clean, I've tracked on it and no the owner and tech. Funny as I haven't talked to them in a year or more and I get an email out of the blue.....owner is moving and needs to sell.
they bought 3 years ago for 5500, and dropped another 3500 into it.

details to follow.....fingers crossed.
Old 1st March 2003
  #59
One with big hooves
 
Jay Kahrs's Avatar
Awesome, good luck with it. And that JH-24 is still out here if your interested. I'm trying to talk the guy into parting it out, mostly because I want the power supplys.
Old 4th March 2003
  #60
Lives for gear
 
cajonezzz's Avatar
 

thanks Jay. the 16 track would be great if we were not worried about compatability issues....I think were gonna pass on it. The guy that had the MX 80 i spoke to you about called back today. I guess his buyer fell through so it's back up for sale.
I realize there were quite a few poor comments in this thread about that particular machine, but as I have a gig in the machines hometown in a couple weeks, i think I'll check it out just for grins. If it's what the guy say's it is ( practically brand new, under 1500 hours on it) it may be a way to get our foot in the door.
Again, we wouldn't be slamming this machine day in and day out. Projects would start on ,and then be moved to PTools for finishing /mixing for the near future at least)

If there are other caveats please jump in and tell me....if the sonics of the MX80 would cause the would be new "two inch " guys to turn their noses up I'd like to know that as well. Otherwise I doubt we'd be making any headway by making the investment. ) BTW the price would be around 6k.

On another note, I had the opportunity to get a little schooling on the set up of a machine (MTR90 III) the other day at a session my wife was on. we we're early for the call and the engineer was kind enough to really take his time to walk me through it....I'll probably live to regret this but I really enjoyed the process....futzing around and twisting those little set screws on the cards and all. It's kinda a shame that I've been recording for 20 years but have'nt till recently taken an interest in the mechanics of the craft. ( reminded me of adjusting the carb on my 65 Impala when I was a kid) Better late than never I suppose.
soldering party in the new room starts next week.....almost 3 months in to the build
grggt
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