Hi Ken
I didn't address the recording side since it wasn't the issue. As a
recording engineer for a bit less than two decades (I'm only 40) I am a
huge fan of analog although I use digital everyday. I love the machines,
their sound the different state of mind that musicians have because of
the pace analog forces (rewind time is not 2 microseconds), etc. When
aligned properly they are great tools and I love them.
Shai
On 9/26/2010 3:29 AM, Ken Fritz wrote:
> Hi all,
>
> If you're in the business, and you record great music, or you're
> just a poser that wished he had the opportunity to record great
> music it all comes down to the gear.
>
> Granted, a pig won't know how to make great BBQ, but he has the
> makings. How the pig is cooked is more important then the truck that
> got him to the roast. I'm still trying to make great BBQ.
>
> Shai, I too have four ATR machines. They are all from Mike Spitz at
> ATR Services. I bought them when the economy was going great and
> thank the Lord I'm only 4 hours away from ATR Services. Recording
> or playing, back you always want the best you can afford.
>
> I just turned 68 and hope I can find venues to use the ATRs for
> more than just playback. FWIW The Tape Project and copies of master
> tapes, yeah right , keep me happy.
>
> Ken
>
>
>
>
> On Sep 25, 2010, at 5:31 PM, Ted Kendall wrote:
>
>> Ever seen the aftermath of an ATR self-immolation? 'Tain't pretty...
>>
>>
>> ----- Original Message ----- From: "Shai Drori" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Saturday, September 25, 2010 9:26 PM
>> Subject: Re: [ARSCLIST] Tape Project playback.
>>
>>
>>> As an owner of 4 ATR100 and four Studers and several teacs and one
>>> Otari I must disagree with you. The ATR is an amazing playback
>>> machine, very reliable, hardly ever breaksdown and parts are
>>> available everywhere if you know where to look. The 350 and 440 have
>>> okay transports but GREAT sound. The rest are just the rest. And the
>>> STuder a-80 are againd with custom transport parts that can be
>>> trouble if you don't know the signs of when they are about to snuff it.
>>> Shai
>>>
>>> On 9/23/2010 2:09 AM, David Dintenfass wrote:
>>>> You don't want an Ampex ATR-100 series machine for tape playback.
>>>> These are
>>>> incredibly complex machines with digital transport logic that
>>>> cannot be
>>>> understood by anyone without highly specialized training. They are
>>>> cult
>>>> machines that are vastly overpriced in my view. Parts are $$$ and
>>>> scarce as
>>>> they were not made in huge quantities like the older Ampex
>>>> professional
>>>> machines. On the other hand, if you don't mind spending $1000s
>>>> having a
>>>> professional rebuild the machine, they are fine.
>>>>
>>>> Also avoid the MR-70. The was a nuvistor-based machine derived
>>>> from the
>>>> Ampex 300 studio machine. Heavy, complex, and produced in limited
>>>> quantities. Another cult machine with zero parts availability and
>>>> crazed
>>>> cult status.
>>>>
>>>> The older Ampex 350 series (350, 351, AG-350) and AG-440 machines
>>>> have their
>>>> problems too but any good technician can repair these. And parts are
>>>> plentiful if you know where to look. And they run forever with
>>>> reasonable
>>>> attention to routine maintenance. Oil only the top bearing in the
>>>> capstan
>>>> motor. Do not oil the reel motors.
>>>>
>>>> Avoid the Ampex 400 (made between 1949 and 1952). This was a
>>>> two-motor
>>>> transport with many flaws. Also avoid the Ampex 354 and PR-10
>>>> models which
>>>> have electronics that are often heat-damaged from poor ventilation
>>>> and have
>>>> way too many parts crammed into a small chassis. Also avoid the
>>>> 600 series
>>>> and any Ampex consumer machines as they are far too complex
>>>> mechanically and
>>>> not robust enough for archive use.
>>>>
>>>> Usual disclaimers.
>>>>
>>>> Dave Dintenfass
>>>> Full-Track Productions
>>>> Seattle, Wash.
>>>>
>>>> -dave
>
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