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 (nobody)...and 71 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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...but also extending to the context of vinyl pressed from things other than tape [and how vinyl pressed from FLAC is probably better than cassette] |
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serious question: are cassettes shit? e.g. noise floor, dynamic range simply aren't enough room for proper quality you'd get out of reel to reel. for , all tracks except for the last were recorded through the tape recorder's built-in mic. ...however, last track is me on my normal setup, recorded to cassette instead of computer. the microphone itself on that little tape recorder ROCKS. i can say this with absolute confidence. it blew me away, actually. however... the mic jack on that tape recorder... SUCKS? i think? it sounds very squashed-down. if that's how recording to a cassette sounds, then truly, i'm done recording tracks to 'em -- yet, the mic recordings sound so much better, that i suspect it's either the MIC jack being shit, or me using it improperly. the tape recorder was clearly designed to be used primarily as a standalone unit, with the input jack being a backup, so the former would make sense. as for the latter: ...it could be my levels ...or an impedance mismatch because i'm using MIC as a line-in next move is clearly to record a track with all my regular gear, through the cassette recorder's microphone. meanwhile, any thoughts are appreciated |
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Tapes were cool a hundred years ago and I guess, what’s old is new again. So Who am I to say? Let them play their retro tape games and do What they do….. I used to have 400 live Pearl Jam tapes and hundred of Nin and others and Many hundred of many other regular bought ones Long story short Wish I still had them all |
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you were asking for vinyl. and, well, the USB interface built into a $400 yamaha mixer is like... good! but for what it is. and that feels wrong i should probably just get the two-channel RME knob or something instead. it's all moot because i don't even have the budget for a packet of crisps right now. a sixteen track is like... the good machines are not cheap, and this is because of wanting to make it more good. then cost of tape stuff, and... well, never thought i had a 303, so i'm thinking about it anyways. think uli behringer might dip a toe in the water with a $75 nagra anytime soon? perhaps stereo tape would still be better over the RME knob, because then i could theoretically get it to vinyl without any computer. more practically, it would probably wind up being fewer leaps, but... still more direct. then... would it be better? would it annoy me too much to be worth it? so, currently: if this were a video game, i need to beat the cassettes level before i move on. it's not a hard level tho |
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for context of "what's there to fix in the direct to cassette recording? or is that it?" album was: record it all to tape. manage to manage this and not erase over anything despite it being a half-broken, cantankerous unit. transfer to computer and do nothing to it, except -- is this some official standard? -- normalize, then drop it -0.1 tape[D] problems i was a weak man and added some EQ to dampen the feedback warble (which was @ 5k, 10k, 20k...) ...then the last track was my normal gear, direct into the mic jack. and see the first sentence of this post |
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the tape. my tape. the one tape i've allotted myself. for a week or so. and how'd i do? i wound up with some tracks on one side; some tracks on another after a close call with a bastardly malfunctioning auto-reverse. before learning to remember which way the spool was going despite this, more or less managed to retain the index in my head [i can tell you what's where on the tape] and there shouldn't be anything floating in the middle. i give myself an A- |
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why would you compress the audio with flac before pressing? you make this shit up and keep repeating them like they're true |
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because it is, by specification, a wav file that has essentially been turned into a .zip file. and you can make it into a wave file and back and it's just smaller to email if you want to be that sort of special bastard: what sort of wav file would you like? DEAIL. pcm_alaw PCM A-law / G.711 A-law D.AI.S pcm_bluray PCM signed 16|20|24-bit big-endian for Blu-ray media DEAI.S pcm_dvd PCM signed 20|24-bit big-endian D.AI.S pcm_f16le PCM 16.8 floating point little-endian D.AI.S pcm_f24le PCM 24.0 floating point little-endian DEAI.S pcm_f32be PCM 32-bit floating point big-endian DEAI.S pcm_f32le PCM 32-bit floating point little-endian DEAI.S pcm_f64be PCM 64-bit floating point big-endian DEAI.S pcm_f64le PCM 64-bit floating point little-endian D.AI.S pcm_lxf PCM signed 20-bit little-endian planar tit. keep it real in here |
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i could try using varispeed fast to blow through more tape, slow it down, transfer to computer, then pitch up an octave. i suspect someone has thought of this before. dunno man i just work here |
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mostly i want to understand the limits of cassettes in a studio sense, and #9 on that album: an impedance mismatch? my levels are wrong? that a jack marked for only official sony "PLUG IN POWER" is simply crap? or is cassette shit? because the mic sounded better... but not that much better i mean, it's charming, but... where's the bass? that's more where i wonder if mismatched impedance led to sub-optimal power transfer from to dick to mermaidman's mum's urethra |
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and she's a good recorder. but she was meant for voice recording and has already seen thousands of hours of use listening to doctors dictating notes. half the mic is clearly broken, to explain the channel lopsidedNESS. because through the mic jack it both channels fine; clearly ain't the tape heds or such |
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you said "pressed from flac" not "flac made into a wav file" no one is going to use flac's because the computer or whatever you're playing it on has to decode it before it's played |
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you'd only use flac for storage reasons not for pressing vinyl |
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it would be kind of snerk to just, oh, cat flac_not_made_into_a_wav.flac > /dev/vinylCtr0a but that's a useless art piece, duder. go make a thread about dub plates -- because if it honks like a goose, and dresses like a goose, it's gotta be The Goose Brandâ„¢ |
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why did you make another thread about tape anyway? why are you talking about vinyl and flac in a thread you're actually talking about recording electronic music on "cassette" using a microphone for some reason? doesn't the cassette recorder have line in? |
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Spotted and pinned down. |
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so why do i want to work with tape? why did i make another thread? why do i do anything? you could waste a lot of time and xltronic extended space with these questions sidestepping that, for ADR, i bounced it a zillion times experimenting with levels, and, well, since starting with musiqpilatikq, so much learned: - what "normal bias" means - clean the heads, that's a good idea - a good tape recorder is not the same thing as a good tape player - how to clean up 20yo exploded batteries in a better tape player - how to EQ and master a normal bias cassette - tape doesn't get anything below 50hz - the whole setup is actually mono, mixer is a jerk on some channels because balanced - ripping to 96k ...and, well, i haven't tried the mic jack again. but it was my levels. and the tape heads. and transferring using a good recorder instead of a good player. and using a normal bias cassette. and... well, sorry, i'm used to mixing down to around 20hz and despite all this the 50hz floor does kind of make my dick sad. this is why i need the good tape, the sixteen trax |
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mermaidman: i'm stubborn, but i do listen. the moment i took 96k seriously was when i read on wikipedia that the old quadraphonic vinyl nitemares used ~30k ultrasonic to control the sync. i thot: alright, that frequency range is justified to me now |
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