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Burning A Master...


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no i'm totally done with the pointless arguing. i think this thread contains a lot of valid arguments from both sides. certainly enough for someone to form their own opinion (because that's all you can get at this point. an opinion.)

i just needed to ask this guy why he charges people extra money to use a crappy home-grade tape recorder instead of his crappy all-in-one digital thing. and i also wanted to plead my case as to why i don't think analog recording is going kaputz. if anything, it's currently growing in popularity and availability.

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....

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here we go again.......

 

You tried, fuzzy!

 

And at least you got me out of the fray... that's an accomplishment, right there. I have that pitbull clamping jaw thing... I might still be going around and around if it hadn't been for your wise words.

 

 

Thanks.

 

;)

 

 

BTW... I gave away my TASCAM 1/2" 8 track, dBX NR rack and all... and the guy I gave it to has been lurking this thread to great amusement.

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no i'm totally done with the pointless arguing. i think this thread contains a lot of valid arguments from both sides. certainly enough for someone to form their own opinion (because that's all you can get at this point. an opinion.)


i just needed to ask this guy why he charges people extra money to use a crappy home-grade tape recorder instead of his crappy all-in-one digital thing. and i also wanted to plead my case as to why i don't think analog recording is going kaputz. if anything, it's currently growing in popularity and availability.

 

Basically :: myself and the clients we receive ~ are lazy & price conscious ...RECALL and SPEED thats on the financial side of our artist thoughts. The only way they have to compare the analog tape to a digital results ::is A-B them with both sources in front of them. They are just not that concerned in our market. For example ~ a song takes 10 hours @ $1000 to a the artist ---they don't seem to be willing to spend their precious $ ..on the extra time it takes to rewind--punches--etc. The clock is running and they are watching the 10in wheels roll..when they would rather be editing.

 

I started recording mono cassette in 1968/69..ended my analog days > with the Tascam 8trk 1/2, in about 1990. Our three studios ..are simple Roland DAW's. Space is very expensive, where I live.

 

My particular studiohttp://www.redshift.com/~cjogo/recording_studio.htm does not even allow live drums....and we are still in business after nearly 20 years.

 

The question about the 8 channel 3/4ips tape ~~was for a client. His original 4 tapes were @ 7 1/2 > except a Bay Area studio ..back in the 80's tried to save tape on the last 6 tunes and set it down to the lowest speed. Trying to finish up a project---maybe I will call one of the studios you suggested, back in the EAST. Can't find one in the San Fran area....Thanks

 

 

24 channels * will travel all-in-one web2480%20VS.jpg

 

Mic & record web%20CONGAS%20TO%20ALL%20PIANO.jpg

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I use the same Roland, I get very good results. So what do your clients think about you using the Roland units? I am curious because my clients first ask a lot of questions then after working with it they love the results and come back for more.


By the way I love the desk, where did you get it?

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i love the look of that ceiling!!! way cool. hell the room period. no live drums though? what are all those things in the second picture then? ;)

and my recall... most definatley would have all the plugins used on the project. it would be the same however as you selling off one of your outboard pieces and not being able to insert it. the project would still open, in the same quickness, minus the missing plugin, which it would note and i could work around it. the rest would still be accurate unlike your recall varying widely.

the point of a recall is to start at teh point you left off. i can work on multiple projects through out the day and always come back to them just like i left them. that is something you most certainly CANT do. i can switch between songs in a split second if i wanted to, i can mix entire albums in order if i wanted to, not on a song by song basis.

but none of that has anything to do with archiving.... in 50 more years those tapes will be SO BRITTLE, that you most likely couldnt run them through a typical deck and would probably require some esoteric process of extracting the information off of them, possibly an optical magnetic scanner as to not disturb the oxide on the plastic that is falling apart.

id rather take my chances with larger storage servers with redundancy for long term storage... drives are CHEAP, BIG MASSIVE DRIVES. so instead of 3 songs being on a tape... so what 5 reels of final takes for a typical album, i can store hundreds of ALBUMS with all the takes easily and redundantly. thats a much more secure archiving procedure than hoping for tape to survive.

also, you might want to consider buying a new MRL tape:

"So how do you verify the accuracy of a calibration tape? One way is this: When you buy a new calibration tape, buy two, not just one. Test them for consistency with each other, and with your previous calibration tapes. Then put one into daily use as the secondary standard, and put the other away as a primary standard, to be used only to verify the secondary standard tape.
While this works in principle, most will find it too expensive. And few engineers think of it until it is too late, and a problem already exists."


"ALL manufacturers have shed, which is due to hydrolysis (chemical decomposition) of the tape binder (2). It commonly results in goo that transfers to the heads. You can see this by eye after you run the tape. If you clean it off of the heads, it will come right back the next time you play the tape. It may cause the tape to stick to the heads or guides so tightly that the transport can't move the tape even in play" mode! More subtly, it will lift the tape away from the heads, causing poor high-frequency response, and the more tape you run, the worse the response gets. So if you see erratic levels, usually getting worse and worse as you play the tape, suspect shedding.

You can bake the calibration tape at 120 F for several hours, and get a temporary repair [2], but the tape is basically a complete loss."

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I like the recording space...makes my basement studio look like poop. Now in my defence I have new studio plans in my new house plans which we intend to build in a year or so if things go well. That studio will rock (and I will most likley still use the Roland). One thing you may consider is some different mic pres, I like the ones on the A&H mix wiz board they sound great, I also borrow a grace and a fmr rnp on occasion. If you can snage a roland mmp-2 off of ebay for cheap I would recommend it. If you run it through a coax or digital in you will get excellent results.

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i love the look of that ceiling!!! way cool. hell the room period. no live drums though? what are all those things in the second picture then? ;)

 

The studio with all the drums ~~ is a studio, down the coast, I engineer/perform with.

 

This is the drums for my studio DRUM_ANGLE.jpg

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I use the same Roland, I get very good results. So what do your clients think about you using the Roland units? I am curious because my clients first ask a lot of questions then after working with it they love the results and come back for more.



By the way I love the desk, where did you get it?



The Roland is well respected :: in the circle of studios, around our little community. This VS " all in one system" just makes recording very easy, on the equipment side of the process. We do have an external pre & converter, as well, as effects..so it not totally Roland. RACK_CLOSE_UP_DESK.jpg
It is the only computer in our studio --we track & mix exclusively with the 2480. We offer a TASCAM 8trk cassette > if one has to have analog. Using the external hard drive caddies and the DVD backup ..just seems "long term" versus a 2in tape I have to bake....I cut my teeth on analog:blah:
::::::::The by far, most difficult medium ever produced ---was the 8 track cart in the late 60's. ...No rewind :mad:

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I am almost afraid to post here but here it goes
I think that this is the difference between a multi million dollar facility and a facility that may have spent less then 100k total. No disrespect, but a Roland VS is not a professional facility I applaud the fact that you can make money and you have valued returning customers

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I think you are mistaken, a professional is a person that earns money from a particular skill. Therefore a person that makes money with a Roland VS is in fact a professional. Now you may not find it "high class", but that is your choice and the client. Now to further add, I am not aiming for top tier clientel, but with that in consideration I have many credits to my name and I have done work which has landed on TV. No offense meant but your opinion of professional is flawed.

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Use the best quality CD recordable media you can, and then check it it if you can for errors.

 

Technically speaking the CD you send for duplication (onto CD recordable - 'non pro' - commercial radio won't usually accept them) or replication (a glass master CD is made - 'pro' - CDs are acually printed and everyone accepts them... except vinyl junkies LOL!) is called a Pre Master CD, which is somewhat confusing as it's the CD which has been mastered by yourself or your Mastering Engineer!

 

Considering the cost and effort it takes to do everything to get a decent track together yourself, respectfully, are you seriously concerned over a few pennies on the final medium, the final link in your chain?!

 

Cheers,

 

Dude.

 

http://www.dudemusic.tv

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