Message Board

Those articles are informative, although troublesome. I'd always read that it was okay to run unbalanced lines up to 20 feet, this says no more than 3 meters! This article also seems to suggest that in the one important set of unbalanced to balanced connections that I'll be running: Unbalanced +10 ...

There should be no loss of gain going from an unbalanced source to a balanced input. Oh, I think I understand now. You lose gain when unbalancing a balanced signal, but you don't lose gain when sending an unbalanced source to a balanced input. Do I have that right? All y'all espousing the virtues o...

You don't need to see millivolts. Tascam MS16 balanced inputs and ouputs are +4dBu (1.23 VAC RMS) operating level. The US1641 inst/line inputs (9-10) are +4dBu operating level in the line setting The US1641 line inputs (11-14) are selectable to a +4dBu operating level. The manual claims 16dB headroo...

Question 1 - Do it. The extra gain reduces potential noise pick up through the line between devices.
Question 2 - See above answer. There should be no loss of gain going from an unbalanced source to a balanced input.

Do you have any software with metering? eg. ProTools. If you know what level your A-D converter is set up for you could use that.
Otherwise find a used Fluke 8060A

You'll need only a RMS ACV meter you trust, preferably with a dBu scale and an audio frequency oscillator.
Azimuth is best checked by summing all 16 channels to mono.

Studer manuals here
ftp://ftp.studer.ch/Public/Products/

It should work if you've got proper degaussing technique and do both sides of a reel.

Chris is correct. Noise reduction or not, the machine should be calibrated with a IEC eq tape with an operating level of 250 nW/m (which is +3 over 185 nW/m not +6). If you wish to print hotter to tape you could either slam levels (with the potential electronic, rather than tape based distortion) or...

1kΩ audio taper pot - resistive element wired between hi & lo out of the API. wiper wired to hi in of the Delta 1010, side of the resistive element wired to the lo out of the API continued to the lo in of the Delta.

Hi Ratz, Spirit M8 direct out - 1/4" TS, tip hot, sleeve neutral & shield - XLRM, pin 3 hot, pin 2 neutral, pin 1 shield - Otari 5050 in. Otari 5050 out - XLRF, pin 3 hot, pin 2 neutral, pin 1 shield - 1/4" TRS, tip hot, sleeve neutral and shield - Spirit M8 line in. You can not use the same mixer c...

gevermil wrote:Got the same question except for kick drum .
D12 ive heard on all my favorite recordings , can the re20 achieve the same results ?

Not the same as a D12 for sure but you've heard an RE20 on many of your "favorite" recordings.

Mark, Otari made many variants of the 5050 1/4" 2 track, 1/4" 4 track, 1/2" 4 track and 1/2" 8 track. The 1/4" 4 track MX5050BQII is the same size as your 2 track. http://reel2reeltexas.com/vinOtariMX5BQII.jpg Tascam 44 1/4" 4 track, http://www.angelfire.com/electronic2/vintagetx/Teac-Tascam44.html ...

Seems to me you're looking to put on a hair shirt. No one used 1/4" 4 track for any professional recordings during the '70's. Most early 70's stuff was 1" 8 track. By 1974, most professional studios were using 2" 16 track. Consoles of the time weren't small. A 12 input 4 bus console would be at leas...

A RE20 is a no brainer for a bass cabinet. Though your technique of relying on the mic for low end oomph may not be the most optimal use of it. Like Mr. Bennett says, it excels in articulation. Capturing the "voice" of your amp. When I use the combo of DI & RE20 it's the DI that gets me the fundamen...