Joining the Reel World

Mar 1, 2007 12:00 PM, By Eddie Ciletti

The best way to give your digitally recorded tracks an authentic analog tape vibe is by sending them through a reel-to-reel tape machine. For example, you can route a pair of tracks from your digital audio workstation to a stereo tape recorder while simultaneously sending the recorder's output back to your DAW.

Assuming that you are using a 3-head deck, the “analog processed” tracks will be delayed by the distance between the record and playback heads as determined by the tape speed. You can easily compensate for this delay by realigning the processed tracks in your DAW. (With a 2-head machine, you'll have to finish recording to tape, then rewind and play your tracks back into the workstation.)

Unfortunately, open-reel tape recorders are not being commercially produced these days, so you'll have to find one used. I recommend buying from a company that specializes in recorder restoration, rather than making a risky purchase on eBay: you'll pay more up front but be rewarded with a dependable machine.

Because buying a used recorder is a gamble, you'll have to invest some time to prove that the machine is worthy before playing an expensive test tape or a valuable master on it. What follows is a list of steps you can take to assess the operating condition of an open-reel machine and diagnose any problems along the way, as well as an overview of what's involved in setting up and maintaining a trustworthy analog tape recorder.

No Pain, No Gain

When EM's editors asked me to write about analog tape machines, I was in the midst of restoring a mint-condition Fostex G16S, a ½-inch 16-track recorder. You might be wondering, why is it necessary to restore a mint-condition machine? As with any vintage item, time takes its toll on parts, often in very subtle ways. And few other pieces of audio gear are as finicky as vintage analog tape machines.

As you might expect, a 2-track deck will be somewhat easier — and consequently less expensive — to calibrate and maintain than a multitrack machine. It can be a challenge to get all 16 or 24 tracks working equally well at the same time. That's why I recommend buying a used tape deck from a company that specializes in machine restoration. No tape recorder that is 20 years old or more can be counted on to be fully functional all the time, no matter how nice it looks.

Of the original manufacturers that still exist, few can provide support and parts. However, a remarkable amount of support is available on the Web, including third-party vendors that are making parts for the most common machines (see the sidebar “Resources for Analog Recorders”). No matter which track format you choose, the goal is to be able to record with confidence and know that you are getting the best of what analog tape has to offer (unless, of course, you are looking for a “broken” sound).

Expect Obstacles

On a 24-track pro machine that uses 2-inch tape, three tracks take up ¼ inch of space (see Fig. 1). On a semipro, narrow-format machine, you will have four or eight tracks for every ¼ inch of tape. The more tape real estate each track uses, the better the overall audio fidelity.

As an example of the kinds of problems you may find in a used recorder, let's look at a Fostex narrow-format multitrack recorder.

On the upside, a fully functional G16 or G24 has features like looping, built-in synchronization, and noise reduction. The transport is fast and responsive, and the front panel serves as the remote and offers metering. Squeezing up to 24 I/O cards into 19 inches was possible thanks to early surface-mount technology.

The downside is that surface-mount capacitors from that era are particularly prone to failure. So what may have started out as a $450 eBay deal could turn into a $2,000 project — either you're cool with that or you're not. But it's still a deal if you consider the original price of the recorder and the value of this machine in general.

Whether semipro or professional, nearly every multitrack is a similar investment. For instance, a 2-inch head assembly could easily run $2,500 per head, a true reality check if you paid as much for the recorder itself.

When service is required, narrow-format machines like those from Fostex, Otari, and Tascam can be shipped, though not necessarily to the manufacturer (with the exception of Tascam). On the other hand, a professional-grade 2-inch-tape machine by Ampex, Otari, Sony/MCI, or Studer requires that you either have it restored in advance, be willing to crate and ship it both ways to a repair shop, or be able to import a technician. These options depend, obviously, on your location and budget.

Nonetheless, the essential accessories for any tape machine include a service manual, a head demagnetizer, a dedicated set of nonmagnetic tools, and a test tape for playback calibration. A service manual will help you do the simple stuff, whether you're a geek or not. (Some manuals are actually a treasure trove of information.) At minimum, you'll need to know how to remove the head assembly so it can be shipped out for evaluation, restoration, and alignment.

Check Your Heads

Heads — electromagnetic devices that get signal to and from the tape — are the wear item on a tape machine. Like brake drums on your car, heads need to be resurfaced, contoured, and polished (the process is known as lapping) to maintain optimum performance. I can't emphasize enough that heads in good condition can minimize the more finicky aspects of tape head alignment.

To do any work in the head area, you will most likely need a hex key set. The recorder's country of origin will determine whether SAE (the United States) or metric (everywhere else) tools are used. You'll also want #1 and #2 Phillips screwdrivers, preferably in new condition, made from an extradurable alloy. Screws that are tight will require downward pressure so that the driver does not slip out and damage the screw head or the driver tip.

The capstan is the rotating shaft that maintains constant tape speed, and the pinch roller is the rubber tire that presses the tape up against the capstan. Know what a pinch roller costs and where to get one, and have a spare. Reel table clamps (for 10.5-inch reels) are becoming scarce, especially for machines like the Tascam MS-16. When the manufacturer cannot supply what you need, eBay (www.ebay.com) is a good place to search.

	Fill in the form below and click Order Now! to get two years (26 issues) for just $23.97 - the regular price of one year. But HURRY - this offer won't last forever! (U.S. orders only please)
First Name: Last Name: Address: City: State: Zip: Email:
This data will be sent directly to Electronic Musician Magazine  and will not be used for any other purposes.