In 1988 I got my first job as a recording engineer. We had one of these machines. And yes, it is a gigantic pain in the ass to operate and maintain! I was also the in-house studio musician, and played guitar, bass, and occasionally keyboards (even though I don't know how to play keyboard - but, you do what you gotta do). I'd sometimes do punch ins by holding a pen between my teeth and hitting record, while playing guitar. Now, when I first got that job, I didn't know anything about recording either! But the guy who owned the studio showed me a few things. After two or three days of training, he tells me that this night, a Salsa band was coming in, and were recording AND mixing their whole album that night. Then he hands me the keys to the studio and goes home. Mind you, I'd been a recording engineer, three days, never ran a recording session before, and to top it off, I was in recovery from alcohol and cocaine addiction (I've been clean 31 years now). Well, I survived the session and the clients were happy with the results. Aligning the channels,,, Dear God! Seriously painstaking work. One mistake, and you're cooked. Wow,,, you sure bring back a lot of memories. Thanks for posting the video!
Congrats on getting a real work horse! I began my studio tech career on an early model of that very beast. It did not have separate settings for low and high speed, so if they wanted to record at a different speed, I had to show up and calibrate every channel for the new requirement. At least one hour per drawer! And I won't mention the headaches of the transport logic, or the AutoLocater II--which was made before printed circuit boards came into being. There must have been 4 or 5 of those machines in Honolulu when i was active and I serviced them all. Each studio had their own calibration tape. They were full track tapes, no separate tracks--very important for azimuth settings of the heads. And the manual! I hope you have one of those huge yellow 3-ring binders. It has all the procedures described, plus schematics of every circuit board. MCI was still MCI in those days and I had many conversations with the techs there. They were always very helpful. The definition of distortion is the difference between the input and the output. The tape recording process itself has distortion--the output is different from the input--in the frequency response. I used to record a CD onto a new tape, once the calibration was finished. The studio owner and I would listen to the input--straight from The CD player--and then switch to the playback head. The usual response was "That sounds better!" The tape has a 'fuller' sound or 'warmer' or something. And recording on slow speed actually increases the bass response. I think the roll-off is down to almost 20Hz. High speed starts rolling off just below 40Hz and is -3dB at 30Hz. So for low end, the slow speed is great. And the high end is still above 19KHz. Not too bad. The main difference between the hi and lo speeds is the noise floor. Hi speed has less noise. But I couldn't really hear it, though I could see it on an oscilloscope. Anyway it is nice to see one of my old friends again, doing that which it was designed to do; making music. Aloha.
Thank you DAW. I don't miss these machines a bit. The hours I spent keeping them running in top form, the time spent planning its use, the complications of the editing process, the expense in dollars and time, all of it. All that time and energy that could have gone into creating that I'll never get back. No sir, I don't miss them at all.
Brilliant... I was an Engineer in a Philly studio in the late 70's and early 80's and I miss these big elephants..We had Studer 24 tracks and Harrison and Spectra Sonics boards.
I did loads of sessions on the MCI JH-16 and it sounded great and you could punch in and out fast at 30 ips speed. I did the maintenance on it as well. Notice the big ceramic shaft capstan that it has! This brings back some nice memories.
I would love to see a follow up video of how the tape machine is patched to your mixer, converters, etc. Almost like a tutorial on how to integrate a tape machine into your home studio.
This brought back some great memories of working in a studio in the late 80's. We had a sweet deal where we had full run of the studio from 10pm - 10am when it wasn't booked. Luckily the most maintenance that I had to do was clean the heads & normalize the board lol.
Bias is a high frequency signal that is mixed with the audio signal going to the record head when you are recording (also to the erase head). Its purpose is to excite the magnetic particles on the tape so that they more readily accept the magnetic audio signal. The frequency is calibrated so that one wavelength fits inside the head gap at the selected tape speed. This gives a net magnetic signal of zero so there is no residual magnetism left on the tape by the bias. The real fun in calibrating this machine is the electronics that control the supply and take-up reel motors and the capstan motor. You don't have to mess with it as often, but they're a real pain when you do.
Great machine! About the "tails out vs. print through", here's the explanation: print through is active outwards (from reel center to reel periphery). So tails out storage makes the print through affect the tape AFTER the main sound, like a small echo, which can be musical. The other way around, the print through sounds like a "pre-echo", being BEFORE the actual sound. And that really stands out as "un-natural" and is more noticeable. So it's not that the print through levels are any different, it's that they sound awkward "heads out".
~somewhere on the river, DG is chillin with his wife and laughing about how they used a mic stand for the tape, and how everyone in the studio needed every finger on the board to mix. So cool to see you into this!
Wow - that takes me back. I spent 7 years in the late 80s and early 90s with machines like that, including an older Ampex 16 track and a Studer 24 track, and I honestly can't even remember the other two - except that I know I never worked with a Sony. Every few hours you had to clean the heads with isopropyl alcohol and special swabs that didn't leave dust. Typically we'd do that at the beginning of each session, at every break, and after the session. There were also conditioning fluids for the rubber parts that contacted the tape. There was always a big decision on 15 or 30 ips, everyone seemed to have a different reason for their preferences. Of course, tape was never a question, everyone I knew used Ampex 456. All of the studios I ever worked in had weekly calibration, often on Sundays when the artists were usually too hung over to want to be in the studio. It was not unusual to run the tape over the heads hundreds or thousands of times if you were doing any sort of overdubs, or had a performer that wasn't all that good and had to retake many times. Studio lore says that Bohemian Rhapsody had the tape over the heads so many times that you could see through it. Oddly enough, I'm sitting here with a system that cost a tiny fraction of that machine but is orders of magnitude more capable... and yet, there's still something about the solidity of those big analog machines.
MCI multi tracks were popular in Australia. At point they manufactured a "layback" machine that enabled audio studios to record audio onto 1" C format video tape, saving the need to buy an expensive C format video recorder (Sony sold lots of those, but they were expensive). SMPTE time code was used for syncing. Sony bought out MCI so that they could kill the layback machine.
Thank you! Bob Dylan just released a remixed & remastered original 24-channel analog tapes recording of Budokan 1978. Your video added the background/context I needed to appreciate the recording and editing involved. Excellent job and very clear explanation. Thanks!
Ow I remember doing 24Track edits for a producer, lots of edits from 1 song to the other, after it was done he said "ow lets go back to the originals". Shit luckily I had put arrows on the tapepieces I took out for the direction of the tape, and I had numbered them, so I could actually put it back together. Edit block, a razor and splicing tape, white marker to do edits. Another thing was spot-erasing, we used this to erase ticks etc. Cue up te tape and mark on the back of the tape the beginning with a white mark and the ending. Then there was a setting on the machine (Lyrec) to put the machine into record but without the pinchroller pressingthe tape to the capstan. Now you could move the tape by hand back and forth betwee your two markers over the erasehead. Thank god for harddisk recording/editing!
Tape neck ties was a thing while doing tape block editing. That’s actual cut , copy , and paste in the real world for those who don’t know about this. You know I miss the grease pencil and splice block myself sometimes.....
I totally understand. I'm all for the gear passion too. I almost bought one three years ago. Found and bought the rack mountable Tascam MS-16 1 inch. But I think of this 2 inch machine a lot. I have a friend selling one locally. It's tempting...
Thank you for going into alot of detail about this old 24-track; really eye opening. There's some UA-cam videos on this subject where not a single word is spoken, the presenter is mute, so the video is basically useless. You clarified a number of things, thanx. Get ahold of an old Tascam 24-track and do a tutorial!
Such a sweet machine. I am at the 16.51 minute mark and just before you got there I was looking at all the VU meters thinking, to align the heads I imagine you will have to be watching the levels on each as you play a test tone. Now I'll turn the video back on and listen to how you did the alignment. Frankly I'd love to hear one first hand. The closest I came was an EE friend restored a 4 track professional reel to reel and played a variation of a master tape recorded at 15 inch per second and I was blown away by how good it sounded.
You could simplify the description by just saying that it's like the 4 channel tape recorders we used to use, but it has six times as many tracks, amplifiers, and a wider tape. My favourite reel-to-reel over the years, for home use, was the Teac Studio 8. It was basically an 8-channel Portastudio using open reel tape. I still have two of them.
At first I thought this was a joke but I had to remember that most people watching this video have no clue what a tape machine is other than using a plugin... which is NOTHING like tracking to real tape. Man, the memories, the razor blades, the accidents...lol ... splicing tape was an art. If you really want to hear what tape can do, track using REAL instruments like trumpets, saxophones, drums guitars and basses... oh the saturation... especially on a nice horn section.
Great Video!! I agree, 2 inch tape sounds amazing especially for drums & guitars. I have an Mci JH-24 it’s in great condition the more I calibrated it the easier it got, and it’s really no big deal. You can see & hear it in action on my youtube video.
Thanks for introduction into this machine! Until now I knew it only from discussion with my father long, long, long time ago. I also remember the problem with heads azimuth and all adjusting stuff. In that time it was quite usual, any tape system had to be calibrated, even "Compact Casette" in HiFi deck at home. Really nice piece of hardware, have fun on it.
Wow. A real blast from the pat. I remember getting to the studio an hour and a half before a session to do the alignment, clean the heads, calibrate etc. and still just barely get ready for the start of the session. I wonder where you can even get the tape these days. You can't argue that they had a great sound.
Very nice job, I was very impressed how well you quickly explained about the relationship of frequency to tape speed. As a 55 year old guy those machines were the high tech way of their time to record the bands I grew up with. It is cool old technology but it is very clear why digital takes over.
That’s an impressive piece of engineering, what a beast. I’d imagine it beeing quite maintaince intensitve. This machine commends commitment and dedication. It’s like a cat, you give it food and shelter, it gives back love to it’s owner. Always nice to see electromechanical devices in an age that’s increasingly silicon chip based when it comes to recording media/storage.
That's Fantastic.. That's the same machine I use to run at Pantheon Studios. Loved that Machine.. Oi! The Joys of alignment and setting them up for 0; +3, +6 db Playback. Some other Crazy engineers would set it up for +12 db.. I didn't much like that.
Bias is a higher frequency applied to the recording head to energise the dipole molecules on the tape so they can rotate and align properly with the audio signal.
I've been doing a mixture of live shows, broadcasts, and studio sessions on and off for the last 20 year. And I can honestly say I've never used a tape/reel to reel. I started with Hard disk recoding, and wave form editing back in the mid 90's . Did use a neve console once, those were amazing.
The Studer A827 was perhaps one of the best 24 track machines produced. Was 1989, when they were still making them. I seem to recall that they made a small batch of them in the mid-90's but, I don't see any info on that, anymore. They are one of the most sought after and still command a high price for one in good working order. You can still get parts for them, as well, to some degree. Other than the Otari MTR series, there are few that compare. Nobody was making 24 track tape machines by the mid-90's, as everything was going digital, by then...
They probably was state of the art analog machine, but using Sony DASH or even Alesis 8 track Adat tape and other hardrive digital recorder change the game forever, having a DAT and a 4 track analog tape was already good enough to producer something with a sampler and a midi sequencer in the mid 90's today technologie IS unlimited but they produce crappy music, thats a problem, good music still exist but was more rare in 2K Era.
I began recording in 1993 on analog machines starting with my first Tascam 424 PortaStudio and later upgraded to the eight track Tascam 488mkII. There was a good deal of project studios in my hometown (Las Vegas NV) so as I gained experience & friends in the industry I got to work on Tascam & Fostex 8 track reel to reels and eventually a few 16 track machines. Soon ADAT's and then DAW's took hold and there were few if any analog machines ready to record bands, demos, jingles, etc. because the convenience and quality just made digital so much more attractive. I went back to college to finish my music degree and there was an MCI JH24 at the studio of recording tech program I went to. We got to record some stuff on it basically learning hybrid techniques (recording drums on tape and dumping the tracks into a DAW, etc) over the course of a week and it was incredible. Great sound. BUT!...the maintenance and constant babying of the machine you'd have to do was just insane. I remember the pain in the ass of cleaning heads & demagnetizing ¼" 8 track machines in the past but a 2" 24 track machines upkeep was just crippling. Analog of course has "THAT sound", but it's inconvenience and expense just becomes too much to deal with when you've got infinite tracks, zero physical maintenance and fairly good analog emulation plugins in a laptop in your backpack. But these behemoths will always have a special place in the hearts of us who were around them awhile. Because when they worked, the sound was incredible.
Tails out is a good practice. My studio has a 1972 Teac 3300s 2 Track Mastering deck @ 7.5 & 15 IPS. A great audio tool. Best success with your tape machine !!
I remember playing on an album which was recorded with an Ampex, 16-track on 2-inch tape. I forget what the tape speed was. It had a good sound. I played on two albums which were recorded on an MCI 24-track, Scotch 250 2-inch tape, running at 30-ips (72 cm/sec). In the hands of a good engineer, there is something special about the "sound" of 2-in tape running at 30 ips. At 30-ips, the oxide on the Scotch 250 used to shed like crazy. About once per day, the engineer would go to the tape machine and use his t-shirt to wipe off the oxide on all the heads.
Beautiful machine! Congrats on your acquisition! I have to admit I'm a little jealous. I only have an Otari MX5050 2-track. It's a fun toy. I hope you get a lot of enjoyment from your "new" machine! Be well...
Pretty cool man! I just bought a TEAC A-2300SX as my first tape machine just to print final mixes to. Nothing like that beast. Ran my first mix through it last night and it sounds killer. I’ve been on ProTools since 6.1, so while I have a ton of analog gear on my console inserts, digital had already taken the cake when I started out. I’ve always been so intrigued by tape. I know Foo Fighters still prints to tape. Some of the best records ever made were to tape. Digital is so much faster for editing, and I’m not about to try to splice tape during a session. Ha ha! What a nightmare! Have fun brother! 🤘🎛️🤘
Great video mate! And yes I prefer a plugin, but I'm just a semi pro and time, space and money are crucial. But again, that doesn't mean, that I wouldn't like to work with tape anytime again.
I enjoyed this video. I come from the analog tape days and there is a lot more to it, like calibrating that you touched on, but you need that calibration tape or some test tones. The fun part was when a tape had no test tones printed on it.
MCI or Sony MCI machine like this is a a fantastic bit of kit. Done more than a bit of work on them and for the most part they can be fixed. Finicky at times but fantastic none the less. They also can be loaded with a 16 Track head for and even better signal to noise ratio. I heard tell that Ampex even made a custom 8 track head for one of these 2" decks for a lucky owner. Yes that is around a 1/4" track width, let that sink in. IF the head report is good on this machine then the guy is lucky indeed!
X S I’ve spent hours (many so far) and I’m finding Reaper totally frustrating. Anything I try to achieve ends up with me hitting a brick wall. This software is truly for people that like to tweak, and yet the simple stuff is impossible to find easily without trying loads of different skins. I’m hating it so far.
The shield button allows the operator to mark the tape with a wax pencil for certain positions of the tape, chorus, .... so the operator can find the right spot on the tape to use it as a reference or for cutting and taping back togheter the tape. That's probably why both shield and edit buttons are side by side, also the button to jog the reel.
Congratulations!!! You have NO Frigging idea how my soul has ached to own one of these in pristine condition! I would really appreciate guidance on making ownership a reality.
So cool. When I was younger and wanted to be a studio engineer (never happened) that is what I dreamed of using. Hope you use it like it was created to be used. 🤘
I've been following your excellent channel for a while. Welcome to the best sounding recording medium ever created by man. Give us a video on your thoughts about what it does to the sound of music.
I agree 2 inch tape sounds amazing especially for drums & guitars. I have an Mci JH-24 it’s in great condition the more I calibrated it the easier it got, and it’s really no big deal. You can see & hear it on my youtube videos.
Thank you so much for the tour. It's fun to see your passion. I'm even more curious to see how you plan to use it. I still haven't figured out how it's going to that much of an improvement over what the Telefunken was doing for you since you're not actually a recording studio, but I'm sure you've got a million ideas for it. Looking forward to learning about this.
I think the best part about analog recording is the limitations you need to work within. Less can definitely be more. That being said, artists don't make much money selling recorded music these days and the added costs of doing an analog recording is not practical for 99% of them. It's very niche. The listener generally doesn't care what medium the recording was made on. Kudos for living your dream, but don't bankrupt yourself.
The Sony machine is actually a MCI machine. MCI (Music Center Incorporated) was a prolific manufacturer of professional analog studio tape machines and recording consoles for many, many years. A large number of recording studios in the US and overseas bought MCI machines, as they were less expensive than their competitors. The 8, 16, and 24 track machines used the same circuit cards, which was an economical advantage for MCI. Their Autolocator, which is seen in this video, was a far more advanced "remote control", and MCI sold them at 500-700 dollars, at a loss, which was a major point in selling their machines over the competition. When Sony wanted to get into the professional analog studio tape machine business in the US, MCI sold their business to Sony.
Nab and iec are the type of equalisation that america or Europa used... so back in the day depending where you were in the world and so thanks to the calibration tape you where using in your part of the world (test tape that was set to one or the other equalisation standard) you where selecting one of the other standard by pressing the button and then calibrating the machine through the test tape.. before in repro and then in record on a blank tape... (obviously you would choose a tape to record on that where more appropriate for the equalisation that was on your test tape) hoping to help :)
The set up on this machine was usually done by studio technicians fully versed in the intricate workings of the 24 track analogue tape systems. Great video thoroughly enjoyed your walk through took me back many a long year.
Back then "they" had something called timecode. It was most often used to synchronise audio tapes with film of video editing systems though. In the 1990s timecode was also used to control tape recorders from software in order to master tapes. It is still present in most editing sofwares.
BTW... FYI... The timecode was called, SMPTE timecode and was recorded on a separate track on the tape, or in video, a separate space of audio on the tape. It was then used to playback into the next machine w/a card that would read the timecode and control the machine. The master machine was the master timeclock, controlling the other machines. The band, Toto first used the synchronizing of three 24 track machines in 1982, for 69 tracks of audio (3 for SMPTE timecode), on their Toto IV album.
Yeh that's right I used to use a TR909 rhythm composer and record the sync signal onto the tape, you had to record the signal at one end of the head or it got interfered with by the audio recorded next to it, when you rewound the tape the TR909 would follow and play from the correct position, I also used cubase in this way.
The passive nature of the dancer arm on MCI recorders is a serious weakness, as is the fact it is a fixed guide rather than a rolling one. If there is any flaw in your tape or if the tension is less than ideal, the fixed dancer arm will do some serious damage. Though it is highly polished stainless steel, it is literally scraping on the non-oxide side of the tape at all times, often at very high speed. The much more sophisticated Studer had all rolling tape contact surfaces, and in later models, fully servo-connected dancers on both sides of the headstack which maintained tension to perfection. Precious master tapes were treated much better by the Studer and Ampex recorders.
MCI JH-24 and late JH-16's have an optional roller dancer arm and it's still available. And it is not a fixed arm, the tension of the arm is fixed, to which servo-based active tensioning reacts. In fact MCI only stresses about 140g on the heads, way less than any Ampex ever and only Studer A800 stresses less than that.
WOW, THANKS YOUR THE VIDEO , YOUR TAPE MACHINE IS AN MCI .CALLED A JH24, OUT OF FT. LAUDERDALE FLA.BUT SONY MADE A DEAL WITH THEM. IT'S WAS TOP OF THE LINE PRO ONLY BACK THEN ,THE BIGGEST STUDIOS AND THE BEST IN THE BUSINESS . I KNOW BECAUSE I WORKED FOR THEM. THANKS FOR SHOW.
Jeez Louise... I remember working with a JH24 at Profile Studios in Vancouver...they had acquired it from Marvin Gaye's estate. Sounded great....but there was that day the solenoids went for shit and spilled an entire roll of tape into the room...good times!
aand of course dont forget to demagnetize your heads, at this tape size and speed, you will start loosing high freq pretty quickly due to head magnetisation.
@Cable Hell Studio you can easily google details, but i'd say less "intuition", more "logic" - more movement in relation with more surface > more friction > more magnetization....
It was high tech in the days.Worked on a few audio/video tape machines in my career.High maintenance to say the least.They last forever if maintained well.
As an old audio geek i can confirm that NAB (formerly NARTB, i believe) and IEC are two different sets of pre- and post-equalisation standards. Interesting video by the way, earned you a new subber. :)
One of the best days of my young life was taking delivery on or first Sony/MCI JH24 MIII AutoLoc3 24tk at our previously 3M 16tk studio. It we paid $25K in mid 80s. If memory serves, the extension cards for the electronics cost a grand. They allowed you to acess/work at a component level on the rec/play/erase/bias cards outside the draw. Pretty good tour considering that you weren't born into a 2" world. PS; Every US built Tape machine know to man used the most obscure light bulbs on earth. Hell, 3Ms used a mylar fan built around a machined flywheel. Try replacing one of those.
Awesome I have a Sony APR 24 Could you do a tutorial on how you set up your audio cables on where you got your audio cables or if there's a resource on where to find these input and output cables I do have some cables and mismatch if that came with the machine is it as simple as soldering a quarter inch Jack to the end of each 8 in output connected to the rear panel of the machines
I can now understand how the beatles did some cool tricks, I know they like to record a song 3-5 times using different pitches then fade back and fourth to make tripping effects but I think they also played with head angles. instead of a slow fad out at the end of the song make to recording if the end of a song with an angled recording head and fad to the off time recorded then out.
I’m in school for engineering and I always wanted to learn tape, but I don’t think I’ll get that opportunity soon.... not many studios have tape machines around Atlanta, Georgia
Totally off-topic but it's so cool to hear that we have the same pronunciation. Typical dutch - English. Now on-topic....GREAT CONTENT!! I'm also a gear dinosaur ;-)
hey dude, de ''auto'' mode is juist t meest geniale aan dat ding. wat het doet, is vanaf de opname kop afspelen, ''sync mode'', nodig voor over dubben. Punch in met de record knop, monitort de input, punch out met de play knop, en je hoort weer wat er op de tape staat. Wat die ene knop doet is ongeveer het zelfde als al die grijze knoppies aan zetten
Interesting to watch. I had an album recorded using this in the early 90s. I cant remember if the machine was in the mixing room or not - maybe not due to the noise mentioned
Used to spend 1 hour per day at my studio calibrating the 24 track and the 2 track machines... I would never go back... Nowadays these DAWs and top converters sound as good as any of these old tape machines...
No undo on those punches, dropping in was nerve-wracking enough but dropping out was more terrifying when somebody wanted to hold a note for a bit longer.. Going from an Otari MTR-90 to Otari RADAR was such a joy and more so when they brought out the 24-Bit second generation. A great system and no waveforms to distract you from just listening. The convertors were amazing too. The only annoying thing was not having the RTZ tape rewind time to consider the next move..
Heh. Cool to hear that. I was the lead software developer for Otari RADAR 1 & RADAR 2. It was an interesting time, and with a bit of luck and some hard work, we were able to recreate “the fastest winding tape deck” to an audience of audio engineers trained on tape decks, and bring them into the digital world.
I'm surprised you didn't show storing and recalling locate positions on the autolocator. I did quite a few sessions on the JH-24. My main machine was a 3M M79, but then the studio got a Studer A-80. Best sounding was the Studer. Fastest punch-in was the 3M. BTW, we also had a Sony/MCI console in Studio C.
Those 3M's were nice! that was the first 2" deck I learned on. Learned to replace parts on the board for the 3M updates, replace the heads, etc! The console we had was a '69 era Quad Eight!
Holy shit, sounds like my path.. Except I started on an Teac 3340 4tk, Otari 1" 8tk, then M56 3M 16tk then JH24. We were going to go Studer but went 48 & bought a second JH24. We had a JH636 and was in the process of buying the Hit Factorys old Neve when the 90s hit. An 8068 if mem serves.
@@michaelstram Was it an M56 or m79? Either way, both used those mylar fan belts to spin the capstan. Only place I knew that had belts, pucks, capstands, lights, ... was some dude in LA who worked at 3M minicom and bought up the remain parts 10yr after production ended. Sans him, parts were a real a show stopper. Good sounding machines. Many live LPs were recorded on M79s do to their small size. In fact I'm pretty sure Beat It was recorded on a pair of M79s.
GDawg2K2 m79 ! 😃 has the huge locator for it too. Came out of a studio in Illinois north of chicago. The quad eight console was a custom built film board with a joystick. If I remember is was 16 x 16x 8 x 4 x 2 or some crazy arrangement like that. Built in 69 I was told.
@@michaelstramoh yeah, the entire front of the deck came out as the remote. People have no idea how many iconic LPs were done on M56s or M79s. Allmans Live at the Fillmore, Boston, the hay day of Power Station was using 3M M79s. No need to mention their client list. Dam, That was the Golden era of recording. From 42nd to 54th street 7th-10th ave was loaded with the most iconic studios & music stores that ever beat. My studio was in Boston but I also did a lot of work in NYC. The Eastern shuttle Bos-NY left hourly. If memory serves, you just walked up to the desk dropped 25 bucks & you were in the city 30min later. It was great.. Then the story seen in the film Sound City began playing out at countless studios across the country. But I digress. Sorry for rambling.. I'm just an old man reliving a 20yr blip on the history of music. Have a good day.. )
In 1988 I got my first job as a recording engineer. We had one of these machines. And yes, it is a gigantic pain in the ass to operate and maintain!
I was also the in-house studio musician, and played guitar, bass, and occasionally keyboards (even though I don't know how to play keyboard - but, you do what you gotta do). I'd sometimes do punch ins by holding a pen between my teeth and hitting record, while playing guitar.
Now, when I first got that job, I didn't know anything about recording either! But the guy who owned the studio showed me a few things. After two or three days of training, he tells me that this night, a Salsa band was coming in, and were recording AND mixing their whole album that night. Then he hands me the keys to the studio and goes home. Mind you, I'd been a recording engineer, three days, never ran a recording session before, and to top it off, I was in recovery from alcohol and cocaine addiction (I've been clean 31 years now). Well, I survived the session and the clients were happy with the results.
Aligning the channels,,, Dear God! Seriously painstaking work. One mistake, and you're cooked.
Wow,,, you sure bring back a lot of memories. Thanks for posting the video!
Congrats on getting a real work horse! I began my studio tech career on an early model of that very beast. It did not have separate settings for low and high speed, so if they wanted to record at a different speed, I had to show up and calibrate every channel for the new requirement. At least one hour per drawer! And I won't mention the headaches of the transport logic, or the AutoLocater II--which was made before printed circuit boards came into being. There must have been 4 or 5 of those machines in Honolulu when i was active and I serviced them all.
Each studio had their own calibration tape. They were full track tapes, no separate tracks--very important for azimuth settings of the heads. And the manual! I hope you have one of those huge yellow 3-ring binders. It has all the procedures described, plus schematics of every circuit board. MCI was still MCI in those days and I had many conversations with the techs there. They were always very helpful.
The definition of distortion is the difference between the input and the output. The tape recording process itself has distortion--the output is different from the input--in the frequency response. I used to record a CD onto a new tape, once the calibration was finished. The studio owner and I would listen to the input--straight from The CD player--and then switch to the playback head. The usual response was "That sounds better!" The tape has a 'fuller' sound or 'warmer' or something. And recording on slow speed actually increases the bass response. I think the roll-off is down to almost 20Hz. High speed starts rolling off just below 40Hz and is -3dB at 30Hz. So for low end, the slow speed is great. And the high end is still above 19KHz. Not too bad. The main difference between the hi and lo speeds is the noise floor. Hi speed has less noise. But I couldn't really hear it, though I could see it on an oscilloscope.
Anyway it is nice to see one of my old friends again, doing that which it was designed to do; making music.
Aloha.
If you didn't ever wake up hearing 1k tones, you never worked in a real studio as a second...LOL!
Thank you DAW. I don't miss these machines a bit. The hours I spent keeping them running in top form, the time spent planning its use, the complications of the editing process, the expense in dollars and time, all of it. All that time and energy that could have gone into creating that I'll never get back. No sir, I don't miss them at all.
I've worked with these back in the day -- and I learned from this...thank you. My dream machine is a Studer 24-track.
I have A80 mk2 for a month now and it's really great. I'm looking for user manual for it.
I had NO idea there was SO much tech involved with analog. Brilliant video....you are a terrific host.
Brilliant... I was an Engineer in a Philly studio in the late 70's and early 80's and I miss these big elephants..We had Studer 24 tracks and Harrison and Spectra Sonics boards.
Congratulations on your purchase. I used these machines for many years. You will love the sounds that come from tape.
I did loads of sessions on the MCI JH-16 and it sounded great and you could punch in and out fast at 30 ips speed. I did the maintenance on it as well. Notice the big ceramic shaft capstan that it has! This brings back some nice memories.
I too have. JH24 tape 2” and 1/4”, very cool machines I hope you get many years of fun with yours!!!!
I would love to see a follow up video of how the tape machine is patched to your mixer, converters, etc. Almost like a tutorial on how to integrate a tape machine into your home studio.
This brought back some great memories of working in a studio in the late 80's. We had a sweet deal where we had full run of the studio from 10pm - 10am when it wasn't booked. Luckily the most maintenance that I had to do was clean the heads & normalize the board lol.
Bias is a high frequency signal that is mixed with the audio signal going to the record head when you are recording (also to the erase head). Its purpose is to excite the magnetic particles on the tape so that they more readily accept the magnetic audio signal. The frequency is calibrated so that one wavelength fits inside the head gap at the selected tape speed. This gives a net magnetic signal of zero so there is no residual magnetism left on the tape by the bias. The real fun in calibrating this machine is the electronics that control the supply and take-up reel motors and the capstan motor. You don't have to mess with it as often, but they're a real pain when you do.
What a fantastic piece of vintage equipment. Reminds me of my early studio days in the 90's. Thanks for this vid!!!
Hi WSS, thx for the vid, can't wait to hear something from your tape machine
I had no idea about how in-depth calibration was for a machine like this. Thanks for showing us round.
If I ever had a romanticized notion to use tape, you just squashed it! 🤣tape maintenance is a full time gig!
Great machine! About the "tails out vs. print through", here's the explanation: print through is active outwards (from reel center to reel periphery). So tails out storage makes the print through affect the tape AFTER the main sound, like a small echo, which can be musical. The other way around, the print through sounds like a "pre-echo", being BEFORE the actual sound. And that really stands out as "un-natural" and is more noticeable.
So it's not that the print through levels are any different, it's that they sound awkward "heads out".
~somewhere on the river, DG is chillin with his wife and laughing about how they used a mic stand for the tape, and how everyone in the studio needed every finger on the board to mix.
So cool to see you into this!
I used to work in a studio as session pianist. We had an Otari MTR90. These old machines are a work of art. Gotta love the warmth of analog.
Wow - that takes me back.
I spent 7 years in the late 80s and early 90s with machines like that, including an older Ampex 16 track and a Studer 24 track, and I honestly can't even remember the other two - except that I know I never worked with a Sony.
Every few hours you had to clean the heads with isopropyl alcohol and special swabs that didn't leave dust. Typically we'd do that at the beginning of each session, at every break, and after the session. There were also conditioning fluids for the rubber parts that contacted the tape. There was always a big decision on 15 or 30 ips, everyone seemed to have a different reason for their preferences. Of course, tape was never a question, everyone I knew used Ampex 456.
All of the studios I ever worked in had weekly calibration, often on Sundays when the artists were usually too hung over to want to be in the studio.
It was not unusual to run the tape over the heads hundreds or thousands of times if you were doing any sort of overdubs, or had a performer that wasn't all that good and had to retake many times. Studio lore says that Bohemian Rhapsody had the tape over the heads so many times that you could see through it.
Oddly enough, I'm sitting here with a system that cost a tiny fraction of that machine but is orders of magnitude more capable... and yet, there's still something about the solidity of those big analog machines.
MCI multi tracks were popular in Australia. At point they manufactured a "layback" machine that enabled audio studios to record audio onto 1" C format video tape, saving the need to buy an expensive C format video recorder (Sony sold lots of those, but they were expensive). SMPTE time code was used for syncing. Sony bought out MCI so that they could kill the layback machine.
Thank you! Bob Dylan just released a remixed & remastered original 24-channel analog tapes recording of Budokan 1978. Your video added the background/context I needed to appreciate the recording and editing involved. Excellent job and very clear explanation. Thanks!
Ow I remember doing 24Track edits for a producer, lots of edits from 1 song to the other, after it was done he said "ow lets go back to the originals". Shit luckily I had put arrows on the tapepieces I took out for the direction of the tape, and I had numbered them, so I could actually put it back together. Edit block, a razor and splicing tape, white marker to do edits.
Another thing was spot-erasing, we used this to erase ticks etc. Cue up te tape and mark on the back of the tape the beginning with a white mark and the ending. Then there was a setting on the machine (Lyrec) to put the machine into record but without the pinchroller pressingthe tape to the capstan. Now you could move the tape by hand back and forth betwee your two markers over the erasehead. Thank god for harddisk recording/editing!
Frank Koppelmans At MCI, we referred to the spot erase mode as “puck off” - not energizing the pinch roller solenoid.
Very manual process; Nothing automatic about it... It did work tho.
The only thing I miss from tape editing are the grease pencils. Unraveling them was oddly satisfying.
Trev Mingus I guess I do too. They remain in the bottom of my pen tray decades after last using them.
Tape neck ties was a thing while doing tape block editing. That’s actual cut , copy , and paste in the real world for those who don’t know about this. You know I miss the grease pencil and splice block myself sometimes.....
Don't forget to discuss the differences between inside and outside tracks.
I like think of bias as the lubricant for getting audio onto the tape.
I totally understand. I'm all for the gear passion too. I almost bought one three years ago. Found and bought the rack mountable Tascam MS-16 1 inch. But I think of this 2 inch machine a lot. I have a friend selling one locally. It's tempting...
Thank you for going into alot of detail about this old 24-track; really eye opening. There's some UA-cam videos on this subject where not a single word is spoken, the presenter is mute, so the video is basically useless. You clarified a number of things, thanx. Get ahold of an old Tascam 24-track and do a tutorial!
Such a sweet machine. I am at the 16.51 minute mark and just before you got there I was looking at all the VU meters thinking, to align the heads I imagine you will have to be watching the levels on each as you play a test tone. Now I'll turn the video back on and listen to how you did the alignment. Frankly I'd love to hear one first hand. The closest I came was an EE friend restored a 4 track professional reel to reel and played a variation of a master tape recorded at 15 inch per second and I was blown away by how good it sounded.
You could simplify the description by just saying that it's like the 4 channel tape recorders we used to use, but it has six times as many tracks, amplifiers, and a wider tape. My favourite reel-to-reel over the years, for home use, was the Teac Studio 8. It was basically an 8-channel Portastudio using open reel tape. I still have two of them.
At first I thought this was a joke but I had to remember that most people watching this video have no clue what a tape machine is other than using a plugin... which is NOTHING like tracking to real tape. Man, the memories, the razor blades, the accidents...lol ... splicing tape was an art. If you really want to hear what tape can do, track using REAL instruments like trumpets, saxophones, drums guitars and basses... oh the saturation... especially on a nice horn section.
Great Video!! I agree, 2 inch tape sounds amazing especially for drums & guitars. I have an Mci JH-24 it’s in great condition the more I calibrated it the easier it got, and it’s really no big deal. You can see & hear it in action on my youtube video.
Thanks for introduction into this machine! Until now I knew it only from discussion with my father long, long, long time ago. I also remember the problem with heads azimuth and all adjusting stuff. In that time it was quite usual, any tape system had to be calibrated, even "Compact Casette" in HiFi deck at home. Really nice piece of hardware, have fun on it.
Wow. A real blast from the pat. I remember getting to the studio an hour and a half before a session to do the alignment, clean the heads, calibrate etc. and still just barely get ready for the start of the session. I wonder where you can even get the tape these days. You can't argue that they had a great sound.
So pleased you're a geek with retro gear 👍
Congratulations! One of my dreams too! Can't wait to do it too one day!
when you start to understand the "tuning" of the machine its starts to be fun
Very nice job, I was very impressed how well you quickly explained about the relationship of frequency to tape speed. As a 55 year old guy those machines were the high tech way of their time to record the bands I grew up with. It is cool old technology but it is very clear why digital takes over.
That’s an impressive piece of engineering, what a beast. I’d imagine it beeing quite maintaince intensitve. This machine commends commitment and dedication. It’s like a cat, you give it food and shelter, it gives back love to it’s owner. Always nice to see electromechanical devices in an age that’s increasingly silicon chip based when it comes to recording media/storage.
Excellent presentation, thank you !
That's Fantastic.. That's the same machine I use to run at Pantheon Studios. Loved that Machine.. Oi! The Joys of alignment and setting them up for 0; +3, +6 db Playback. Some other Crazy engineers would set it up for +12 db.. I didn't much like that.
Bias is a higher frequency applied to the recording head to energise the dipole molecules on the tape so they can rotate and align properly with the audio signal.
I've been doing a mixture of live shows, broadcasts, and studio sessions on and off for the last 20 year. And I can honestly say I've never used a tape/reel to reel. I started with Hard disk recoding, and wave form editing back in the mid 90's . Did use a neve console once, those were amazing.
The Studer A827 was perhaps one of the best 24 track machines produced. Was 1989, when they were still making them. I seem to recall that they made a small batch of them in the mid-90's but, I don't see any info on that, anymore. They are one of the most sought after and still command a high price for one in good working order. You can still get parts for them, as well, to some degree. Other than the Otari MTR series, there are few that compare. Nobody was making 24 track tape machines by the mid-90's, as everything was going digital, by then...
They probably was state of the art analog machine, but using Sony DASH or even Alesis 8 track Adat tape and other hardrive digital recorder change the game forever, having a DAT and a 4 track analog tape was already good enough to producer something with a sampler and a midi sequencer in the mid 90's today technologie IS unlimited but they produce crappy music, thats a problem, good music still exist but was more rare in 2K Era.
That's a beautiful big-bastard boatanchor of a tape machine - looks like it should have racks of vacuum-tube controls.
I began recording in 1993 on analog machines starting with my first Tascam 424 PortaStudio and later upgraded to the eight track Tascam 488mkII. There was a good deal of project studios in my hometown (Las Vegas NV) so as I gained experience & friends in the industry I got to work on Tascam & Fostex 8 track reel to reels and eventually a few 16 track machines.
Soon ADAT's and then DAW's took hold and there were few if any analog machines ready to record bands, demos, jingles, etc. because the convenience and quality just made digital so much more attractive. I went back to college to finish my music degree and there was an MCI JH24 at the studio of recording tech program I went to.
We got to record some stuff on it basically learning hybrid techniques (recording drums on tape and dumping the tracks into a DAW, etc) over the course of a week and it was incredible. Great sound. BUT!...the maintenance and constant babying of the machine you'd have to do was just insane. I remember the pain in the ass of cleaning heads & demagnetizing ¼" 8 track machines in the past but a 2" 24 track machines upkeep was just crippling.
Analog of course has "THAT sound", but it's inconvenience and expense just becomes too much to deal with when you've got infinite tracks, zero physical maintenance and fairly good analog emulation plugins in a laptop in your backpack.
But these behemoths will always have a special place in the hearts of us who were around them awhile. Because when they worked, the sound was incredible.
Tails out is a good practice. My studio has a 1972 Teac 3300s 2 Track Mastering deck @ 7.5 & 15 IPS. A great audio tool. Best success with your tape machine !!
I remember playing on an album which was recorded with an Ampex, 16-track on 2-inch tape. I forget what the tape speed was. It had a good sound.
I played on two albums which were recorded on an MCI 24-track, Scotch 250 2-inch tape, running at 30-ips (72 cm/sec). In the hands of a good engineer, there is something special about the "sound" of 2-in tape running at 30 ips.
At 30-ips, the oxide on the Scotch 250 used to shed like crazy. About once per day, the engineer would go to the tape machine and use his t-shirt to wipe off the oxide on all the heads.
that's why those kind of tapes used to not last much time, because of that speed
Beautiful machine! Congrats on your acquisition! I have to admit I'm a little jealous.
I only have an Otari MX5050 2-track. It's a fun toy.
I hope you get a lot of enjoyment from your "new" machine! Be well...
I learned on an Otari Mtr 90 and Studer A820 with a 64 input SSL g series console. Back in ‘89 that was the shizzle
Nice!
Pretty cool man! I just bought a TEAC A-2300SX as my first tape machine just to print final mixes to. Nothing like that beast. Ran my first mix through it last night and it sounds killer. I’ve been on ProTools since 6.1, so while I have a ton of analog gear on my console inserts, digital had already taken the cake when I started out. I’ve always been so intrigued by tape. I know Foo Fighters still prints to tape. Some of the best records ever made were to tape. Digital is so much faster for editing, and I’m not about to try to splice tape during a session. Ha ha! What a nightmare! Have fun brother! 🤘🎛️🤘
absolutely amazing! thank you!
Great video mate! And yes I prefer a plugin, but I'm just a semi pro and time, space and money are crucial. But again, that doesn't mean, that I wouldn't like to work with tape anytime again.
NEVER justify JOY! Fuck the critics... You're great.
I enjoyed this video. I come from the analog tape days and there is a lot more to it, like calibrating that you touched on, but you need that calibration tape or some test tones. The fun part was when a tape had no test tones printed on it.
Can't wait for the shoot out between reel and plug-in. Calibrating that machine seems like a nightmare but it must sound like a dream!
It's like homeopathy for audio.
@@SebBrosig is it Seb?! Analog dynamics and depth are better, if you can't hear it, well that is the hard reality: if you can't you can't.
MCI or Sony MCI machine like this is a a fantastic bit of kit. Done more than a bit of work on them and for the most part they can be fixed. Finicky at times but fantastic none the less. They also can be loaded with a 16 Track head for and even better signal to noise ratio. I heard tell that Ampex even made a custom 8 track head for one of these 2" decks for a lucky owner. Yes that is around a 1/4" track width, let that sink in. IF the head report is good on this machine then the guy is lucky indeed!
My goodness, us oldies couldn’t wait to dump these machines. Why torture yourself 😀. Logic Pro young man.
Today we use em to make lofi(ish) stuff. i love to use tape machine emulators haha. Saw couple in person but i never saw them work in person
He's got REAPER, which, as far as efficiency and workflow is concerned, makes Logic Pro seem like one of those machines.
X S I’m going to buy Reaper just for curiosity. The fastest software is the one you’re familiar with.
@@Rialas Thats correct
X S I’ve spent hours (many so far) and I’m finding Reaper totally frustrating. Anything I try to achieve ends up with me hitting a brick wall. This software is truly for people that like to tweak, and yet the simple stuff is impossible to find easily without trying loads of different skins. I’m hating it so far.
The shield button allows the operator to mark the tape with a wax pencil for certain positions of the tape, chorus, .... so the operator can find the right spot on the tape to use it as a reference or for cutting and taping back togheter the tape. That's probably why both shield and edit buttons are side by side, also the button to jog the reel.
I expect Joe Meek would have loved this modern stuff!
It was the good kind of clickbait. It was humorous to me.
Congratulations!!! You have NO Frigging idea how my soul has ached to own one of these in pristine condition! I would really appreciate guidance on making ownership a reality.
So cool. When I was younger and wanted to be a studio engineer (never happened) that is what I dreamed of using. Hope you use it like it was created to be used. 🤘
A great commitment. Thanks for the tour. I've never used one.
As someone who learned on and is a fan of tape, it is not possible to bore me.
Just discovered JRF still offers multitrack heads, service.
I m glad we use software now( Thumbs-Up)
Beautiful machine hope to see more videos in the future, very interesting! thanks for taking time to make this video!
I've been following your excellent channel for a while. Welcome to the best sounding recording medium ever created by man. Give us a video on your thoughts about what it does to the sound of music.
I agree 2 inch tape sounds amazing especially for drums & guitars. I have an Mci JH-24 it’s in great condition the more I calibrated it the easier it got, and it’s really no big deal. You can see & hear it on my youtube videos.
The speed of the tape means that you get better sound the higher the speed !
Nice machine by the way ;)
Thank you so much for the tour. It's fun to see your passion. I'm even more curious to see how you plan to use it. I still haven't figured out how it's going to that much of an improvement over what the Telefunken was doing for you since you're not actually a recording studio, but I'm sure you've got a million ideas for it. Looking forward to learning about this.
I think the best part about analog recording is the limitations you need to work within. Less can definitely be more. That being said, artists don't make much money selling recorded music these days and the added costs of doing an analog recording is not practical for 99% of them. It's very niche. The listener generally doesn't care what medium the recording was made on. Kudos for living your dream, but don't bankrupt yourself.
I buy all analog vinyl records, it's totally worth it
Wow what a great explanation of how these work!
The Sony machine is actually a MCI machine. MCI (Music Center Incorporated) was a prolific manufacturer of professional analog studio tape machines and recording consoles for many, many years. A large number of recording studios in the US and overseas bought MCI machines, as they were less expensive than their competitors. The 8, 16, and 24 track machines used the same circuit cards, which was an economical advantage for MCI. Their Autolocator, which is seen in this video, was a far more advanced "remote control", and MCI sold them at 500-700 dollars, at a loss, which was a major point in selling their machines over the competition. When Sony wanted to get into the professional analog studio tape machine business in the US, MCI sold their business to Sony.
Nab and iec are the type of equalisation that america or Europa used... so back in the day depending where you were in the world and so thanks to the calibration tape you where using in your part of the world (test tape that was set to one or the other equalisation standard) you where selecting one of the other standard by pressing the button and then calibrating the machine through the test tape.. before in repro and then in record on a blank tape... (obviously you would choose a tape to record on that where more appropriate for the equalisation that was on your test tape)
hoping to help :)
The set up on this machine was usually done by studio technicians fully versed in the intricate workings of the 24 track analogue tape systems. Great video thoroughly enjoyed your walk through took me back many a long year.
I hope you get this machine working. I want to see it used in a recording session when it's finished!
Back then "they" had something called timecode. It was most often used to synchronise audio tapes with film of video editing systems though.
In the 1990s timecode was also used to control tape recorders from software in order to master tapes. It is still present in most editing sofwares.
I'mma just leave this here.
ua-cam.com/video/cepV5f2-MaU/v-deo.html
It was also used to sync multi-tape machines, for when you wanted to record/play 48 or more channels, in a big production situation...
@@jhowe5571 And here I thought it was merely keeping the baby snakes in time.
BTW... FYI... The timecode was called, SMPTE timecode and was recorded on a separate track on the tape, or in video, a separate space of audio on the tape. It was then used to playback into the next machine w/a card that would read the timecode and control the machine. The master machine was the master timeclock, controlling the other machines. The band, Toto first used the synchronizing of three 24 track machines in 1982, for 69 tracks of audio (3 for SMPTE timecode), on their Toto IV album.
Yeh that's right I used to use a TR909 rhythm composer and record the sync signal onto the tape, you had to record the signal at one end of the head or it got interfered with by the audio recorded next to it, when you rewound the tape the TR909 would follow and play from the correct position, I also used cubase in this way.
The passive nature of the dancer arm on MCI recorders is a serious weakness, as is the fact it is a fixed guide rather than a rolling one. If there is any flaw in your tape or if the tension is less than ideal, the fixed dancer arm will do some serious damage. Though it is highly polished stainless steel, it is literally scraping on the non-oxide side of the tape at all times, often at very high speed. The much more sophisticated Studer had all rolling tape contact surfaces, and in later models, fully servo-connected dancers on both sides of the headstack which maintained tension to perfection. Precious master tapes were treated much better by the Studer and Ampex recorders.
MCI JH-24 and late JH-16's have an optional roller dancer arm and it's still available. And it is not a fixed arm, the tension of the arm is fixed, to which servo-based active tensioning reacts. In fact MCI only stresses about 140g on the heads, way less than any Ampex ever and only Studer A800 stresses less than that.
This guy is an audio engineer savage. 👀🙏
WOW, THANKS YOUR THE VIDEO , YOUR TAPE MACHINE IS AN MCI .CALLED A JH24, OUT OF FT. LAUDERDALE FLA.BUT SONY MADE A DEAL WITH THEM. IT'S WAS TOP OF THE LINE PRO ONLY BACK THEN ,THE BIGGEST STUDIOS AND THE BEST IN THE BUSINESS . I KNOW BECAUSE I WORKED FOR THEM.
THANKS FOR SHOW.
Jeep Harned. RIP.
Good for you! You must have studied this machine for years. I only remember 16 & 24 track Studer and Otari machines.
Jeez Louise... I remember working with a JH24 at Profile Studios in Vancouver...they had acquired it from Marvin Gaye's estate. Sounded great....but there was that day the solenoids went for shit and spilled an entire roll of tape into the room...good times!
aand of course dont forget to demagnetize your heads, at this tape size and speed, you will start loosing high freq pretty quickly due to head magnetisation.
@Cable Hell Studio you can easily google details, but i'd say less "intuition", more "logic" - more movement in relation with more surface > more friction > more magnetization....
It was high tech in the days.Worked on a few audio/video tape machines in my career.High maintenance to say the least.They last forever if maintained well.
As an old audio geek i can confirm that NAB (formerly NARTB, i believe) and IEC are two different sets of pre- and post-equalisation standards. Interesting video by the way, earned you a new subber. :)
One of the best days of my young life was taking delivery on or first Sony/MCI JH24 MIII AutoLoc3 24tk at our previously 3M 16tk studio.
It we paid $25K in mid 80s. If memory serves, the extension cards for the electronics cost a grand. They allowed you to acess/work at a component level on the rec/play/erase/bias cards outside the draw. Pretty good tour considering that you weren't born into a 2" world. PS; Every US built Tape machine know to man used the most obscure light bulbs on earth. Hell, 3Ms used a mylar fan built around a machined flywheel. Try replacing one of those.
Nice demo vid . Easy to see now why studio time was so expensive.
Awesome I have a Sony APR 24
Could you do a tutorial on how you set up your audio cables on where you got your audio cables or if there's a resource on where to find these input and output cables
I do have some cables and mismatch if that came with the machine is it as simple as soldering a quarter inch Jack to the end of each 8 in output connected to the rear panel of the machines
I can now understand how the beatles did some cool tricks, I know they like to record a song 3-5 times using different pitches then fade back and fourth to make tripping effects but I think they also played with head angles. instead of a slow fad out at the end of the song make to recording if the end of a song with an angled recording head and fad to the off time recorded then out.
Now let the reel get started! Veel plezier met je mci! 👏🏽🍻
Looks like a radioactive T-shirt man! Make one on grey!
I’m in school for engineering and I always wanted to learn tape, but I don’t think I’ll get that opportunity soon.... not many studios have tape machines around Atlanta, Georgia
Thanks for doing this!
Totally off-topic but it's so cool to hear that we have the same pronunciation. Typical dutch - English.
Now on-topic....GREAT CONTENT!! I'm also a gear dinosaur ;-)
hey dude, de ''auto'' mode is juist t meest geniale aan dat ding. wat het doet, is vanaf de opname kop afspelen, ''sync mode'', nodig voor over dubben. Punch in met de record knop, monitort de input, punch out met de play knop, en je hoort weer wat er op de tape staat. Wat die ene knop doet is ongeveer het zelfde als al die grijze knoppies aan zetten
Indian composer Ilaiyaraja is the one who fully explored this recording machine
Interesting to watch. I had an album recorded using this in the early 90s. I cant remember if the machine was in the mixing room or not - maybe not due to the noise mentioned
Used to spend 1 hour per day at my studio calibrating the 24 track and the 2 track machines...
I would never go back... Nowadays these DAWs and top converters sound as good
as any of these old tape machines...
No undo on those punches, dropping in was nerve-wracking enough but dropping out was more terrifying when somebody wanted to hold a note for a bit longer.. Going from an Otari MTR-90 to Otari RADAR was such a joy and more so when they brought out the 24-Bit second generation. A great system and no waveforms to distract you from just listening. The convertors were amazing too. The only annoying thing was not having the RTZ tape rewind time to consider the next move..
This is the thing about analogue - commitment! Digital allows lossless editing.
Heh. Cool to hear that. I was the lead software developer for Otari RADAR 1 & RADAR 2. It was an interesting time, and with a bit of luck and some hard work, we were able to recreate “the fastest winding tape deck” to an audience of audio engineers trained on tape decks, and bring them into the digital world.
I'm surprised you didn't show storing and recalling locate positions on the autolocator. I did quite a few sessions on the JH-24. My main machine was a 3M M79, but then the studio got a Studer A-80. Best sounding was the Studer. Fastest punch-in was the 3M. BTW, we also had a Sony/MCI console in Studio C.
Those 3M's were nice! that was the first 2" deck I learned on. Learned to replace parts on the board for the 3M updates, replace the heads, etc! The console we had was a '69 era Quad Eight!
Holy shit, sounds like my path.. Except I started on an Teac 3340 4tk, Otari 1" 8tk, then M56 3M 16tk then JH24. We were going to go Studer but went 48 & bought a second JH24. We had a JH636 and was in the process of buying the Hit Factorys old Neve when the 90s hit. An 8068 if mem serves.
@@michaelstram Was it an M56 or m79? Either way, both used those mylar fan belts to spin the capstan. Only place I knew that had belts, pucks, capstands, lights, ... was some dude in LA who worked at 3M minicom and bought up the remain parts 10yr after production ended. Sans him, parts were a real a show stopper. Good sounding machines. Many live LPs were recorded on M79s do to their small size. In fact I'm pretty sure Beat It was recorded on a pair of M79s.
GDawg2K2 m79 ! 😃 has the huge locator for it too. Came out of a studio in Illinois north of chicago. The quad eight console was a custom built film board with a joystick. If I remember is was 16 x 16x 8 x 4 x 2 or some crazy arrangement like that. Built in 69 I was told.
@@michaelstramoh yeah, the entire front of the deck came out as the remote. People have no idea how many iconic LPs were done on M56s or M79s. Allmans Live at the Fillmore, Boston, the hay day of Power Station was using 3M M79s. No need to mention their client list. Dam, That was the Golden era of recording. From 42nd to 54th street 7th-10th ave was loaded with the most iconic studios & music stores that ever beat. My studio was in Boston but I also did a lot of work in NYC. The Eastern shuttle Bos-NY left hourly. If memory serves, you just walked up to the desk dropped 25 bucks & you were in the city 30min later. It was great.. Then the story seen in the film Sound City began playing out at countless studios across the country. But I digress. Sorry for rambling.. I'm just an old man reliving a 20yr blip on the history of music. Have a good day.. )
Super awesome machine. Usually needs a lot of work’n. Jh110A 1” 8-track is on my list.