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Hi! There's only an 1176 on the kick drum and no compression on anything else. Sometimes we put another 1176 on the snare but in this case we didn't.

Yep, they're from the 60s. Great for toms and acoustic guitars!

There's a bit too much bleed from the live room so we usually just do a couple of test cuts to make sure we like what comes off the tape. But yeah, monitoring off the tape is a big one! The machine probably can handle anything you throw at it but the console( MCI JH-636) is a lot more conservative when it comes to levels so it implodes pretty quickly if you cut too hot. Also the JH-16 has a more archaic erase circuit(and an inline erase head vs the staggered one on later machines) so it doesn't always erase hotter cuts thus we're kinda used to keep our levels pretty conservative. But we definitely want to try that sometime!

@@fluxmagneticstudios4046 Ah I get what you mean, I had the same ''problem'' where my console would start saturating before my tape machine, then i re-calibrated my machine, basicly turned all the input levels way up and the output levels down, in which the machine goes into tape saturation earlier. Hmmm and this problem of the tape not fully erasing with loud levels, that must be fixable? The JH-16 is such a beautiful machine, i'm jalous..it must sound amazing when you'd hit the tape hard. But yeah it already sounds awesome, anyway! Cool studio!!

Thanks! Ludwig Coliseum. is our favorite at the moment, also surprisingly the room mics help a lot with snare sound most of the "depth" comes form there.

We absolutely will! Actually we'll be talking about it over the weekend!

Hi! It's Ludwig Coliseum.

Hi! The micing part is very important and is essentially like having EQ even before pressing the EQ button. Also interesting fact that back in the day the EQs were pretty basic, our console for example has only a 3 band one with a semi parametric mids and the bell is very broad.

Thanks! The 428 is a very nice board!

Those big diameter Ludwig kits sound fantastic. Believe it or not Vistalite is relatively inexpensive comparing to their wooden shell kits.

We made an adapter for the AKG d12 which is just an XLR to TS jack adapter with the "cold" lug shorted to ground. For the MD 421 there are some adapters that you can get from ebay to convert those to XLR. The Toshiba mic had a female XLR retrofitted onto it from before. Hope this helps!

Thanks for the upload! I've actually enjoyed the final dry mix before verb & eq, at least to me was a great example of mic choice&placement + room techniques. Subscribed instantly for the non-BS non-fluff, real-world and honest production, including the errors/trials. Keep it up!

Thank you so much! Actually all the "console feed" parts are that same dry mix except it's not coming from the machine playback, just a pass through. It is awesome, nothing can beat a good room and a well tuned kit. Imagine what you could get at Olympic Studios that had 20 foot ceilings, that's why those records sound so good!

It's the same kit he used live - Ludwig Vistalite. In studio he used the wooden kits mostly. The snare drum is Ludwig Coliseum.

Thank you so much! Glad you enjoyed it!

Thanks!

Thank you for watching!

Thank you!

Sure, if you want your takeup reel to become the supply. You can also open up the reel and flip the pancake upside down, although it would be much harder to open up a 2" tape and then put it back together. There's always more then one way of doing things, that's the beauty of the analog.

I still do it today. Who cares what reel the tape ends up on. The fact that you are fast winding a tape to then store it is destructive to the tape itself. If you must keep your take-up reel, get a take-up reel that you don't care about or keep a few flanges around that you don't care about and run with that. Every time you fast wind a tape, you are eliminating oxide from the tape which is the reason you start to lose high end after a few dozen passes.@@konstantingroove

Yes you are correct about the library wind, when you put the tape away after the session is done.@@thechuckster6838

I'm frustrated because I don't understand it I just got into reel to reel and I want to do the right thing.

Mine are the same. They wind too fast to create a neat pancake. It's pretty annoying.

@@jonvincentmusic Some Otari's had an archival winding option. Still winds but at 1/2 of full spd. No idea why Revox/ Studer never deployed that

@@dubdoodle7191 My Studer A807 has the ability to rewind more slowly and the tape is wound beautifully. :)

For a 1/4 track stereo tape with play on both directions, you are correct since the tape will be played at normal speed back onto the supply reel. For anyone running a single direction tape though such as 1/2 track stereo, this makes a big difference, and nearly every studio runs their tapes this way. By having tails out, your supply goes on the right, rewinding onto the blank take up, allowing you to respool at play speed. This means a cleaner wind with less stress on the edges.

You are incorrect, tails out is a must. Because 99.9% of 1/4" machines do not fast wind tidy, the tape edges are exposed and prone to damage.

Hi, you can do this before the recording. Remember that the tape doesn't have up or down until something is recorded onto it. Technically you can just flip the reel over and rewind it back, the only problem is that the the supply reel will be upside down(you can flip it again then).

Hi correct, but if anything was recorded on the tape while it was "heads out", making it "tails out" will cause it to play backwards. Essentially what happens is the tape gets flipped upside down, and the channels switch places. Pretty sure that undoing the flanges and "flipping the pancake" will yield the same result, be careful though make sure put some hold down tape to secure the end so it doesn't unwind.

How does this prevent from printing through? Hope you can explain it technically to me. I like to learn :-)

Hi, sorry for late reply. Technically it doesn't prevent print through form happening, but what it does is it moves it so it doesn't fall on the beginnings of songs. For example: you've recorded 2 fresh mixes of the same song that has horn swells on the downbeat on 2 different reels. One of the reels is wound heads out and the other is wound tails out. Two weeks later you put both tapes on the machine. The one that is the heads out will have some faint horn swells audible before the beginning of the song where's the other you shouldn't be able to hear anything. Print through isn't really a problem with modern tape formulations, especially the ones that are geared towards archiving, but it's a good practice to follow so if it does happen it wouldn't cause any problems. I hope this helps.

Thanks for the video. Ok, now to play the tape that is tails out, you just reverse the process I imagine?