One final ride for the 388

[jmann]

I have a Tascam 388 that I barely use, so I'm getting ready to find it a new home. (I feel guilty that it doesn't get enough love.)

HOWEVER, before I let it go, some friends of mine want to record a single on it. (Well, maybe I suggested it.)

For the 388 lovers, I have two big questions:
1. What's your favorite way to track a three-piece band live on that machine? I'm definitely thinking I should find some sound that we all like and commit on the way in, particularly with the drums. Right now, I'm thinking of micing:

1. Kick
2. Snare (top)
3. Mono OH
4. Heart/crotch mic
5. Bass cab
6. Guitar cab (ribbon)
7. Guitar cab (dynamic)
8. Vocal

Would it be crazy to put more mics on the drums and mix them in stereo to two inputs? I don't want to overcomplicate things, especially when stripping it down and being a little more low-fi about it is kinda the point.

2. I have a couple reels of Quantegy 457. They are years old, though they are still shrink-wrapped. Would you give it a shot on those or try to buy new tape?

[jmann]

BTW, that's two mics on one guitar cab, which is maybe dumb on an 8 track. I am thinking of putting a Royer and a 421 together on it, since I've never tried that.

[KuruPrionz]

I don't know what sort of space you are working in, that makes it a bit difficult to answer. A larger space, gobos, etc., could change the question and the answer.

Can you use the null on the Royer to keep the kick out of it? 421 is a great guitar amp mic, maybe just call it good. On the other hand, if you have the track you can always not use it for mix down if it doesn't help.

On the other other hand, I'd rather add a DI to the bass than double mic the guitar amp. That provides one track of bass with zero bleed.

I'd probably transfer the tracks to my DAW for mix down, then I would have more control over adding HPF to non-kick mics and aligning phase if needed to keep the low end in the kick.

Only one way to find out with the tape. Open one reel, put it on the 388, fast forward all the way through and rewind. Assuming it isn't stuck together or flaking, record a few feet with something on each track and see if they sound OK. I would guess they are fine but confirm that so you can just get in and record. You may need to fine tune your calibration anyway.

[markjazzbassist]

i would definately buy new tape, RTM LPR35. I would also condense the drums to 2 tracks stereo and leave more channels for other instruments. or just record the drums mono and have yet another channel. it's an 8 track, 2 tracks absolute max for drums. mono overhead and kick works fine for stuff i did with the 388 but i get i'm more simplistic than most.

have fun, and enjoy the WINDFALL when you sell that thing. i used to flip those and seeing them go for 2k-4k now on reverb makes me wish i had held onto some of them.

[kslight]

My favorite 388 sessions had only 2 or 3 or 4 mics on drums. I agree that a bass di might be more useful than a second guitar amp mic, or I’d leave that track open for the wild card in the moment stuff.

New tape would be ideal IMHO. I use LPR35. It would be a bummer to pull out some NOS only for it to gum up your machine.

I’m in the same boat, I have two 388s that I barely use anymore, calibrated together and fixed up, heads relapped…. Who wants to make me an offer I can’t refuse in KC?

[kslight]

i would definately buy new tape, RTM LPR35. I would also condense the drums to 2 tracks stereo and leave more channels for other instruments. or just record the drums mono and have yet another channel. it's an 8 track, 2 tracks absolute max for drums. mono overhead and kick works fine for stuff i did with the 388 but i get i'm more simplistic than most.

have fun, and enjoy the WINDFALL when you sell that thing. i used to flip those and seeing them go for 2k-4k now on reverb makes me wish i had held onto some of them.

Same, I’ve owned 4 of them total. Sold 2 of them a few years ago, got a great price for them even then - with zero effort at all had people ready to buy.

[jmann]

Helpful, thanks! If it's set up for 457, will I need to re-calibrate for LPR35? (Showing my tape ignorance here, I know.)

[A.David.MacKinnon]

Are you in the room with the band or is there a control room? For mono drums I'd go 1) kick 2) snr, heart and OH submixed. Easily done with a control room. More trial and error without.

[jmann]

Ah, my kingdom for a control room!

I’ll likely be on phones in the same room. (I’m really bad at judging the sound of mics that way so I always have to record and play sections back to see how it sounds.)

There’s a chance I can use a decent size house that is not rented, in which case I’m thinking I’ll try to snake everything into a different room and have some approximation of a control room. But it wouldn’t be isolated.

Anybody think I need to use/buy an alignment tape before this project? (Would be my first time doing that…)

[kslight]

Ah, my kingdom for a control room!

I’ll likely be on phones in the same room. (I’m really bad at judging the sound of mics that way so I always have to record and play sections back to see how it sounds.)

There’s a chance I can use a decent size house that is not rented, in which case I’m thinking I’ll try to snake everything into a different room and have some approximation of a control room. But it wouldn’t be isolated.

Anybody think I need to use/buy an alignment tape before this project? (Would be my first time doing that…)

Need…probably not…I’ve used various 388s for years before calibrating. If you wanted perfect fidelity you wouldn’t use the 388 right? IIRC at the time I bought mine the MRL tape was something like $150 also, and if you’re planning to sell the machine anyway..

[Nick Sevilla]

Kick
Snare (top)
Mono OH
Heart/crotch mic
Bass cab
Guitar cab (ribbon)
Guitar cab (dynamic)
Vocal

I'd do:

1. Kick.
2. Snare.
3. Mono OH.
4. Vocal
5. Guitar (mix both mics in a console group)
6. Free track
7. Free track.
8. Bass cab.