That's right. I've been working on turning a photographer-artist into an
audio engineer (and he's been working on turning me into a better
photographer). It has been mutually beneficial and I've been impressed
with what he has been able to accomplish. He has actually become a
reasonable maintenance engineer for the APR-5000!
Part of the trick is learning what to do and what not to do and
empowering yourself with a can-do attitude.
While I may have been born with a love of music/audio, I wasn't born an
audio engineer. It took asking a lot of questions and, quite frankly,
after I had bought the equipment I wanted, I did not have any additional
funds -- nor access to really competent maintenance people -- so in high
school I got a Sams PhotoFact and took apart my Wollensak, fixed what
was broken and put it back together and it kept working. Later on, I
troubleshot a ReVox A77 and then loads of other things.
There was a lot to learn, but with careful mentors, I was able to do it.
Not to be too commercial here, but I do offer audio archiving seminars
and have given two as well as spoken at many archivist and audio group
meetings and given a few college course guest lectures. I also probably
have enough clues on my website for someone to figure out what I think
works better than other items so you don't have to pay me to consult for
you to set up your studio, though a few questions via email might help
in setting up a studio. I'm far more interested in what tape playback
equipment you choose then what wire you connect it with or even what A-D
converter you use (within reason).
On 2012-10-29 1:42 PM, Craig Breaden wrote:
> given a caring steward, effective digitization can happen with good results in institutions that do not have audio engineers on staff
Richard L. Hess email: [log in to unmask]
Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
Quality tape transfers -- even from hard-to-play tapes.