Today we worked with it as a Mastering Machine. Incredible Quality beating Studer and MCI by far. Kudelski was a Genius and the T is a technical wonder. Thanks for Posting this competent Demo.
Thanks for the comment, I'm sure you had fun. That is the thing about these machines, they are just so wonderful to use as well as having excellent sound quality.
Thank you for your great introduction to the T. I have a quick comment on the head layout: The heads/units are from left to right: - Erase head - Tape tension sensor - TC head (rec/playback) - Rec head - Playback head The tape tension sensor is a little marvel in itself: A tiny ruby rod is mounted on a spring system, so that if the tape tension increases, the rod is pushed a bit inwards. The right capstan runs at constant speed, and the left capstan runs at almost the same speed, but its speed can be slightly adjusted, controlled by the measurement from the sensor. This ensures that the tape is almost at the same tension.
hi there. Thanks very much for the detailed info on the tape heads, especially the tensioning system. It really adds to the video and helps everyone. Appreciated
There were even more advanced portable recorders from Stellavox. At least much lightweight. But the company was unsuccessful in marketing and these are forgotten.
At 16:50 it is a switching between control protocols this machine can emulate. On other words it can behave as a VCR being controlled by ordinary edit controller of that time.
This reminds me of a large post facility I was in. We made all of our computer interfaces. The editing system was a heavily modified CMX system. No other like it in the world. We had (26) 2" quad video tape machines, 4 film chains (we invented the pan/scan mechanism) several video special effects machines (Ampex ADO, quantelb, Chyron etc) and full control of the audio lab that had a 1/4" Nagra T, 1/2", 1" and 2" AMPEX audio recorders. All of these machines were fully under computer control. The computer would load the interface with its "in-points" minus thier pre-roll times. The devices would hunt for this time. When the hunt was over the device would enter a "ready" status waiting for proper time code to begin its pre-roll. Once the machine was in pre-roll mode it would then have to sync by retarding or advancing capstan speed until it was locked to incoming time code. The device would then be in a "Synced" status so frame accurate edits could be made. After the edit was over the computer would load its next "in-point" time to that device. The device would automatically hunt for the next point and park waiting for the next trigger time code. This way many, many edits could be made in one pass without stopping production . When you observed the 2" quad video tape machines in the pre-roll phase with the capstan speeds being automatically adjusted, the video would break up and would eventually lock when proper tape speed was achieved. Sometimes the quads couldnt make its "sync" status in time and the edit was automatically re-tried 3 times before giving up. So you may havee to increase the pre-roll time if this happened to often. If a reel change was needed, a light would come on that displayed "media change" signalling the operator to change reels of tape. The next time the operator would press the remote button on the device, the "media change" light would go out, and the device would begin its search for the next "in-point" It was a thing of beauty to observe
Thankyou for such a detailed and interesting account of your time in this post production facility. I'm sure it was a busy yet enjoyable place to work. It is sad that these great machines suddenly seemed redundant when digital systems came in such as Dalit. Things of beauty they sure are
@@waheex yes they certainly were. Each 2" machine weighed about 1 ton. The video heads which rotated at 14,400rpm had to ride on air bearing as ball bearing gave instability to the picture. They had many servo systems as well for tracking, tape speed, head penetration etc
Hi I have a nagra E Can you help me know what audio cable can I use to connect it to my stereo system ( receiver with two females RCA in and out ?) Thanks much
hi I don't have the E model but going from this picture, 2 jack plugs to mono output. I don't this this deck is stereo though. images.hifido.co.jp/16/232/23295/f.jpg
hi have a otari mtr 12 my self getting a deck better in the uk would be very hard to find i was lucky find the otari mtr 12 did not pay alot for it the pro decks are 0000 in price now my mx80 was £1100 and need alot of work on it i was lucky pick up decks if you are after decks you got to know the right people is were to start
![Nagra III [Reduktor Szumu] #232](/img/n.gif)
Today we worked with it as a Mastering Machine. Incredible Quality beating Studer and MCI by far. Kudelski was a Genius and the T is a technical wonder. Thanks for Posting this competent Demo.
Thanks for the comment, I'm sure you had fun. That is the thing about these machines, they are just so wonderful to use as well as having excellent sound quality.
Thank you for your great introduction to the T. I have a quick comment on the head layout:
The heads/units are from left to right:
- Erase head
- Tape tension sensor
- TC head (rec/playback)
- Rec head
- Playback head
The tape tension sensor is a little marvel in itself: A tiny ruby rod is mounted on a spring system, so that if the tape tension increases, the rod is pushed a bit inwards. The right capstan runs at constant speed, and the left capstan runs at almost the same speed, but its speed can be slightly adjusted, controlled by the measurement from the sensor. This ensures that the tape is almost at the same tension.
hi there. Thanks very much for the detailed info on the tape heads, especially the tensioning system. It really adds to the video and helps everyone. Appreciated
Oh, I didn't know it was so easy to open. It's truly a holy grail of tape machines.
hi yes it ever works when the tape deck is opened up at nearly 90 degrees
There were even more advanced portable recorders from Stellavox. At least much lightweight. But the company was unsuccessful in marketing and these are forgotten.
At 16:50 it is a switching between control protocols this machine can emulate. On other words it can behave as a VCR being controlled by ordinary edit controller of that time.
Thanks for adding this, most appreciated
This reminds me of a large post facility I was in. We made all of our computer interfaces. The editing system was a heavily modified CMX system. No other like it in the world.
We had (26) 2" quad video tape machines, 4 film chains (we invented the pan/scan mechanism) several video special effects machines (Ampex ADO, quantelb, Chyron etc) and full control of the audio lab that had a 1/4" Nagra T, 1/2", 1" and 2" AMPEX audio recorders. All of these machines were fully under computer control.
The computer would load the interface with its "in-points" minus thier pre-roll times. The devices would hunt for this time. When the hunt was over the device would enter a "ready" status waiting for proper time code to begin its pre-roll. Once the machine was in pre-roll mode it would then have to sync by retarding or advancing capstan speed until it was locked to incoming time code. The device would then be in a "Synced" status so frame accurate edits could be made. After the edit was over the computer would load its next "in-point" time to that device. The device would automatically hunt for the next point and park waiting for the next trigger time code. This way many, many edits could be made in one pass without stopping production .
When you observed the 2" quad video tape machines in the pre-roll phase with the capstan speeds being automatically adjusted, the video would break up and would eventually lock when proper tape speed was achieved. Sometimes the quads couldnt make its "sync" status in time and the edit was automatically re-tried 3 times before giving up. So you may havee to increase the pre-roll time if this happened to often.
If a reel change was needed, a light would come on that displayed "media change" signalling the operator to change reels of tape. The next time the operator would press the remote button on the device, the "media change" light would go out, and the device would begin its search for the next "in-point"
It was a thing of beauty to observe
Thankyou for such a detailed and interesting account of your time in this post production facility. I'm sure it was a busy yet enjoyable place to work. It is sad that these great machines suddenly seemed redundant when digital systems came in such as Dalit. Things of beauty they sure are
@@waheex yes they certainly were. Each 2" machine weighed about 1 ton. The video heads which rotated at 14,400rpm had to ride on air bearing as ball bearing gave instability to the picture. They had many servo systems as well for tracking, tape speed, head penetration etc
This machine is electronic and mechanical art👍
they are a beauty for sure
Thank you very much
thanks for the watch
Perfect 🤩
thanks very much
That is a beautiful machine.
thanks a lot
Hi
I have a nagra E
Can you help me know what audio cable can I use to connect it to my stereo system ( receiver with two females RCA in and out ?)
Thanks much
hi I don't have the E model but going from this picture, 2 jack plugs to mono output. I don't this this deck is stereo though.
images.hifido.co.jp/16/232/23295/f.jpg
@@waheex thank you it is a mono so I wonder what cables can I use to record on it from my receiver and to listen to it from my receiver
Hi! Maybe do you have a the eprom file bin backup?
no unfortunately not.
@@waheex thanks for your answer!
@@musicalworld5432 They may still be available from NAGRA or if someone was able to read the IC and save a .hex file
hi have a otari mtr 12 my self getting a deck better in the uk would be very hard to find i was lucky find the otari mtr 12 did not pay alot for it
the pro decks are 0000 in price now my mx80 was £1100 and need alot of work on it i was lucky pick up decks if you are after decks you got to know the right
people is were to start
yes the MTR12 is amazing