OMG this brings back memories. Back when I was a studio rat and DAT was the
rage, I just couldn't stand the sound of it. We worked analog up to
mastering (24tk with Dolby SR). Even the EE was not what I sent to the
stupid DAT deck. So, I always nagged the clients to run 1/4" at 15 or 30
IPS master as well. Some listened to me, most didn't. Now I get a note from
time to time from those who did listen to me with a big thank you for
saving them from the DAT. BTW, my favorite 1/4" at the time were the PEM468
or the 911. So I"m not an AMPEX fan.
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On Tue, May 2, 2017 at 11:27 PM, Dave Radlauer <[log in to unmask]> wrote:
> On topic DAT:
> I've transferred 32 Khz DAT both digital and analog output. Seems little
> difference, and it's usually compromised audio to begin with.
> And another dirty little secret about DATs is that at the time, most folks
> just didn't observe proper insertion and removal discipline . . . AT tape
> ends ONLY. Bits of dust, creases, moisture and fingerprints that were
> deposited on the tape surface were because this discipline was not observed
> and the source of most dropouts, IMHO.
> Plus it wouldn't reproduce a low frequency square wave worth a squat I'm
> I think DAT is a horrible archival medium requiring highest priority
> capture. But I've found it to be amazingly robust in practice with tapes
> that were properly handled.
> It's a crying shame so many albums were mastered to DAT -- without even
> outboard converters. Lou Judson and I saw that done at a shop where we
> worked and are both guilty!
> Client DATs of 180 minute duration are most vulnerable. I never recorded
> to lengths greater than 120 minutes.
> Dave Radlauer
> cell and text# 510-717-5240