Author Topic: My Stuff  (Read 5124 times)

Offline Larry

Re: My Stuff
« Reply #15 on: February 06, 2017, 10:01:13 AM »
For those who think reel-to-reel is only 'vintage', this is going to be available soon, new off the production line:
Estimated price Ä25,000



Revox / Horch House are still promising their new R2R out this year too, cheaper at an estimated $5000, but it's a playback-only machine for now.

Neither of these is "overpriced", relatively. Studers and Otaris and the like cost much the same in their time.

Beautiful equipment all - but is it REALLY called Ballfinger.......?  :BWAHAHAH:

Offline King_Julian_S

Re: My Stuff
« Reply #16 on: February 06, 2017, 12:28:56 PM »
Tx Adie ... will monitor my PM's
Non audiophile music lover...

Offline chrisc

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Re: My Stuff
« Reply #17 on: February 11, 2017, 10:49:26 AM »
The Ballfinger is still aimed at the small pro & consumer market and represents good industrial design, rather than something exotic and new.  It is a 7-1/2 and 15 i/s machine.  Noise floor is 70db which is 1 db better than a Revox A700.

As usual with Revox, their claimed specs are very conservative

Specs are:

Processor-controlled and directly driven 3-motor drive with 1/4 "bandwidth and 2 channels.
Winding motors: 2 brushless DC disk rotor motors with field-oriented sinus commutation. Electric brakes controlled by tape tension sensors

Capstan motor: 1 brushless DC disc rotor motor with field-oriented sinus commutation. Speed ​​control by means of high-frequency PLL (phase locked loop), theoretical acceleration time at 19 cm / s: 0.08 s

3 stepping motors for mechanical brake and head block

Pressure roller driven via servo drive

Operating hours counter optional

Tape drive   
Groove ball bearing left and right of the head block, one belt bucket roller left and right, damping element with deflection roller left and right outside. Head block driven for variable band head contact during playback and recording.

Belt speeds
 
9.5 cm / sec, 19 cm / sec, and 38 cm / sec.   Tolerance of nominal speed: 0.04%

Variable speed: +/- 10% at all speeds

Variable speed for editing: - 90 cm / s to + 90 cm / s

Pitch variations   <0.04% at 19 cm / sec
Hatching   <0.08%
Wrap size   Up to a maximum of 30 cm open winding, fastening by means of screw terminals
Winding time
 
2 speeds adjustable: 5 m / s, 10 m / s
Small speed for archival reel with increased counter-pull at 2.5 m / s

Audio electronics

One main board for recording and playback, All amplifiers as well as erase oscillator on separate plug-in cards.
Headphone amplifier can be controlled and remote controlled via motor potentiometer

Sound heads   3 sound heads: erase head, recording head and playback head in 2-channel with 2 mm separating track. Full track extinguishing head optional

Equations
9.5 cm / s: NAB 90 -3180 μ s, CCIR 90-3180 μ s
19 cm / s: NAB 50 -3180 μ sec, CCIR 70 μ sec
38 cm / sec: NAB 90 -3180 μ sec, CCIR 35 μ sec

Frequency response (measured with Pyral SM 911)

9.5 cm / s: 30 Hz - 16000 Hz +/- 2 dB
19 cm / s: 30 Hz - 20000 Hz +/- 2 dB
38 cm / s: 30 Hz - 22000 Hz +/- 2 dB

VU meter   35 mm x 60 mm according to the ASA standard
Distortion factor (measured by band)   At 0 VU <0.3%
Noise distance   > 70 dB at 19 cm / s
Crosstalk   > 43 dB at 1000 Hz
Extinguishing   > 75 dB at 1000 Hz, 19 cm / s

Inputs symmetrical to XLR or switchable to unbalanced RCA, calibrated switchable to uncalibrated +6 dB via setting controller
One large controller for input sensitivity per channel + one master with tandempotentiometer 2-channel

Outputs symmetrical to XLR via spindle dimmer -10 dB to + 25 dB adjustable + unbalanced to RCA, calibrated switchable to uncalibrated +12 dB via setting controller
Additionally an unbalanced output on RCA with level control via motor potentiometer with infrared remote control

Power supply   240V AC via 3-pin power connector, protection class 1
Power consumption   Maximum 90 watts (winding operation)

Dimensions

480 mm x 520 mm x 200 mm (W x H x D)
Removable wooden side panels for installation in 19 "rack

mass   27.5 Kg
Even duct tape canít fix stupidÖ but it can muffle the sound

Offline Tom

Re: My Stuff
« Reply #18 on: February 14, 2017, 06:24:05 PM »
 :notworthy: :notworthy: :notworthy:
Digital Media Conversions - Preserving Memories

Offline Steerpike

Re: My Stuff
« Reply #19 on: February 15, 2017, 01:01:19 PM »
Steerpike; I have a high quality (Nagra rival) FUBAR Sony  portable RtR here. As MCI later became Sony I always wondered if the Sony heads would work in the MCIs. You are welcome to that machine if you want it.Thank you Flickr person for use of your pictures

The Sony arrived today; thank you so much!

I can immediately tell it does NOT have a broken cam, as is common on this model.
The heads & tape-guides show very little wear, so it seems not to have many hours on it.
Oddly, the head azimuth is quite evidently WAY out... someone has turned the adjustments very far - I can see it quite clearly, without going near a test tape or tool. I wonder if the SABC did this before selling the machines, to make them unusable to casual buyers?

And it has XLR microphone sockets - not standard for a 510-2. I haven't checked if they put in a genuine balanced mic stage.

Using these machines on location would have required mountains of tape reels: 32 minutes per reel at low speed, 16 mins per reel at high speed (45 mins with Long Play tape, at slightly inferior performance).

Offline fdlsys

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Re: My Stuff
« Reply #20 on: March 24, 2017, 08:03:22 PM »
Aaah Agaton... we might as well close this forum now

Hehehe, not yet...

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Offline King_Julian_S

Re: My Stuff
« Reply #21 on: March 25, 2017, 12:25:49 AM »
You promised that in the days when Jozhua was still around 🙈....
But anyway I am too broke for it now ... very nice ...
why is the tape spinning and the meter needle not moving ?  🐍 Magic ?

👍🏿
Non audiophile music lover...

Offline Agaton Sax

Re: My Stuff
« Reply #22 on: April 03, 2017, 06:39:04 AM »
3 Generations of compact Studers .1964 to 1991.
IMG_0191 by jdza, on Flickr

Offline thenoizeguy

Re: My Stuff
« Reply #23 on: April 03, 2017, 02:36:20 PM »
The Sony arrived today; thank you so much!

I can immediately tell it does NOT have a broken cam, as is common on this model.
The heads & tape-guides show very little wear, so it seems not to have many hours on it.
Oddly, the head azimuth is quite evidently WAY out... someone has turned the adjustments very far - I can see it quite clearly, without going near a test tape or tool. I wonder if the SABC did this before selling the machines, to make them unusable to casual buyers?

And it has XLR microphone sockets - not standard for a 510-2. I haven't checked if they put in a genuine balanced mic stage.

Using these machines on location would have required mountains of tape reels: 32 minutes per reel at low speed, 16 mins per reel at high speed (45 mins with Long Play tape, at slightly inferior performance).
Not really.
Back in the day when I used my Nagra 4S for broadcast, we would rehearse everything to death and only shoot what we needed with one or two takes. This was mainly due to the cost of film.
We had to be disciplined then. Rewind tape to master reel, full sound report per reel folded and sealed in the tape box. Box sealed with gaffer tape and all the correct info labelled on the SAUK sticker...no backups in those days.
Expensive cables come in fancy silk lined wooden boxes to make you feel better about spending a fortune on them.

Offline Raj Nair

Re: My Stuff
« Reply #24 on: December 11, 2017, 12:33:20 PM »
awesome man.

Offline Michon

Re: My Stuff
« Reply #25 on: March 18, 2018, 12:39:06 PM »
Beautiful machines and what a collection. I didn't think that there would be anyone in the country that had this amount of tape machines in use.
Agaton, do you cycle between using the different machines in your system or do the larger ones, like the Mark Levinson ML 5, sound and operate so superior compared to the smaller ones that they end up not being used as often if at all?

IMG_0152 by jdza, on Flickr

That is quite the collection media.
Are all your reels original tape releases or do you also record music from other sources onto tape in order to use them on your reel to reel machines?
Tidal HiFi > MOTU 828x > Speaker build pending.
                                   > Schiit Lyr > Sennheiser HD600 & HD800.

Offline Agaton Sax

Re: My Stuff
« Reply #26 on: March 18, 2018, 01:11:17 PM »
Beautiful machines and what a collection. I didn't think that there would be anyone in the country that had this amount of tape machines in use.
Agaton, do you cycle between using the different machines in your system or do the larger ones, like the Mark Levinson ML 5, sound and operate so superior compared to the smaller ones that they end up not being used as often if at all?

That is quite the collection media.
Are all your reels original tape releases or do you also record music from other sources onto tape in order to use them on your reel to reel machines?

There was a time when RtR machines were a bit like stray dogs-every morning there is another on your doorstep.Those days have passed now-Thank goodness!

My most frequently used machines are (for 1/2 track 15 ips) the Mark Levinson/Studer and  sometimes Ampex 440 for 70s American recordings (There is something about listening to a tape on type of machine it was originally mixed down to) . The modified  Studer A 80 (7.5 ips) and  Studer A67 (7.5,3.75 ips) for 1/4 track playback  and the A810 should I want to record or dub-something I almost never do. Some of the old commercial releases are incredibly fragile with only a finely adjusted A80 not snapping the tape .

I see no sense in recording CDs or LPs to tape as the cost of blank tape probably exceeds the cost of the source medium. I probably should transfer some of the tapes though.

Offline King_Julian_S

My Stuff
« Reply #27 on: March 18, 2018, 01:43:02 PM »
sad that u actually use all of them so no chance of me snapping up a studio quality studer or something ....
interesting view re recording to tape ...
I got the Akai so I could start recording Mixed tapes from LP ... but only cause some of the LPís are a bit old(not great condition ... ) and I actually donít like running my cart over them too much ...
but since I only have used old reels at hand ,  I have not really taken to the task in a serious way other then testing to see what settings I prefer on record ..

I have nothing on reel that I would want to preserve ... at least nothing that interests me or any pre recorded media ... so I can understand your thinking cause the tapes do age ..
« Last Edit: March 18, 2018, 01:45:58 PM by King_Julian_S »
Non audiophile music lover...

Offline Michon

Re: My Stuff
« Reply #28 on: March 24, 2018, 04:02:21 PM »
There was a time when RtR machines were a bit like stray dogs-every morning there is another on your doorstep.Those days have passed now-Thank goodness!

My most frequently used machines are (for 1/2 track 15 ips) the Mark Levinson/Studer and  sometimes Ampex 440 for 70s American recordings (There is something about listening to a tape on type of machine it was originally mixed down to) . The modified  Studer A 80 (7.5 ips) and  Studer A67 (7.5,3.75 ips) for 1/4 track playback  and the A810 should I want to record or dub-something I almost never do. Some of the old commercial releases are incredibly fragile with only a finely adjusted A80 not snapping the tape .

I see no sense in recording CDs or LPs to tape as the cost of blank tape probably exceeds the cost of the source medium. I probably should transfer some of the tapes though.

I wouldn't mind receiving those kinds of strays on my doorstep.
Thank you for your answers.




... No recording facilities. Record head replaced by additional 1/4 track replay head with doubled up reproduction electronics. Flux Magnetic Extended Response Heads. All technical work by Garth Moore...

... Studer A 810 with heads relapped by JRF magnetics... 

... Studer A67. Fitted with Nortronics pro heads...

The availability of replacements heads is something that I was wondering about upon entering reel to reel territory. I was under the impression that if one needs to replace heads on a machine that they have to be replaced with heads of the exact same kind as were fitted in the factory. However I see that you've had the heads replaced on a few of your machines with third party heads.

Are heads a part that one can replace and upgrade on a tape machine in a manner analogous to which the cart on a turntable can be or do other modifications have to be performed on a machine to accommodate third party replacement heads?


Why did you have the recording head replaced with an additional playback head on your Studer A80 Reproducer? Does it this give you the option of choosing which one of the two playback heads you wish to use?
Tidal HiFi > MOTU 828x > Speaker build pending.
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Offline Agaton Sax

Re: My Stuff
« Reply #29 on: March 24, 2018, 06:12:47 PM »
I wouldn't mind receiving those kinds of strays on my doorstep.
Thank you for your answers.




The availability of replacements heads is something that I was wondering about upon entering reel to reel territory. I was under the impression that if one needs to replace heads on a machine that they have to be replaced with heads of the exact same kind as were fitted in the factory. However I see that you've had the heads replaced on a few of your machines with third party heads.

Are heads a part that one can replace and upgrade on a tape machine in a manner analogous to which the cart on a turntable can be or do other modifications have to be performed on a machine to accommodate third party replacement heads?


Why did you have the recording head replaced with an additional playback head on your Studer A80 Reproducer? Does it this give you the option of choosing which one of the two playback heads you wish to use?

The Studer head factory burnt down close to the end of the tape recorder program so new heads for Studers would have to be NOS or Bullsh**t Ebay sellers of polished up  junk.

JRF: John French is the industry's go to man for heads. If EMI ,or whoever owns them now, calls you tomorrow that they are letting out the master of Dark Side Of The Moon for a last time before it crumbles to nothing ,you'll pull the Studer A80,A820 or Ampex ATR 102 headblock you are going to use and send it to JRF  for  relapping or replacement heads.  A tape head is basically a coil in a magnetic field that picks up magnetic pulses of various strength from the tape to then be transduced to electrical signal. For this the coils need to be a certain distance from the  a gap in the surrounding metal. As this is a physical contact, this face wears down ,widening the gap and affecting the signal, typically loosing high frequencies. These heads can then be reground (called relapping) to get the geometry back to normal. This can obviously only be done on a slightly worn head. If too far gone replacement is needed.JRF will inspect the head,relap if necessary or sell you a replacement head . Pretty sure there are older guys on this forum who relapped their own heads-TAPE heads I mean.

Through the decades one of the biggest manufacturers of tape heads was Nortronics. They made either OEM or aftermarket heads for just about every machine ever made. Their top of the line Pro heads are as good or better than those the manufacturers themselves used(Yes Schalk,I know Bogen was probably better sounding). Obviously  a replacement head must physically match but it needs to be  an electrical match to the replay electronics too. The inductance (in milli Henry) is the crucial matching  factor here . In the case of my Studer A67 I elected to use offboard  tape head amplifier vacuum tube electronics by Bottlehead. These need a higher inductance head than the standard Studer head,hence the reason for the Nortronics. JRF supplied the correct head as well as adapters to fit the Studer headblock.

Then there is a man called Greg Orton who has been working in the magnetic head industry forever. Flux Magnetics is his company and their heads are extended response mastering heads. He makes mastering heads for Studer and Ampex mastering machines that far surpass anything either company ever fitted to their own machines ( An Ampex Alumnus ,he actually developed the heads used on the groundbreaking ATR 1xx machines). Selling at $1500 per head these are simply the best money can buy.

Tape can be of varying width . Most commonly used is a 1/4 inch width though many masters are 1/2 inch. Most "running" masters used for pressing, transfer etc would be 1/4 inch though.  These would be 1/2 track and  run at 15 inches per second. 1/2 track means the entire 6.75 mm (1/4 of an inch)  wide tape would be split in 2,one for the left and one for the right channels. The prerecorded tape one bought in a record store would be 1/4 track at 7.5(or 3 3/4 ) inches per second speed. That means the width of the tape is split in 4 allowing  one to have 1 side of an album on 2 of the tracks, flip the reel over and have the other side on the other 2 tracks.

You can see that if you play  a 1/4 track on a 1/2 track the 1/2 track head is going to read  both sides of the 1/4 track at the same time (half in reverse) causing an unholy mess. On the other hand if you play a 1/2 track tape on a 1/4 track head,you'll get stereo but not all the flux on the tape. Hence the reason for the replacement of the record head with an alternative 1/4 track replay head. Sometimes a switch is used between these but my Tech abhors switches at such low levels( millivolts ,similar to a phono cartridge) and just installed a whole second set of replay electronics for the second replay head .

Sorry if the above is stating the obvious  but  as a bit of a simpleton I have to describe things on my level.