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"overload the tape a little bit" no no, my friend... overload the tape ALOT a bit.... the red is your best friend with tape.
I'm just getting back into using tape machines after a 40-year hiatus and plan to do hybrid mixing with my DAW. I very much appreciate this information, thank you!
Great, have fun recording and mixing!
the drum track improves a lot thru the tape process, great video!
Thank you for making this video. I'm a few steps behind you and will be incorporating a Reel in my studio soon. This was very helpful.
Very nice video! Tape is like compression, different settings for different uses. No point in writing "you should do this or you should do that.." The point here is that you process your sound through a true sonic weapon, no matter if dolby or not, hiss or not, because if you use it correctly, your music can reach stellar proportions. You showed a very good example of equing after the process, to boost the affected frequencies (due to your tape settings). Peace.
I just bought myself a tape recorder (an Akai one as well!) and I’m definitely going to be revisiting this video plenty of times to set it up with my DAW 😅
With a 3 head machine while recording you can switch from source to play and instantly hear your recording, if your bias is optimized for your type/brand of tape there will be no/very little difference in quality of sound especially at 7.5 ips. Suggest you get a service manual and set up your record and bias levels to suit your tape, you will find a big improvement in performance.
there are people who have worked with these decks all there lives lived it ,than there are rich guys who buy one off ebay and think there special show offs ,this guys cool my hero
Very cool video! Thank you for sharing Zed!
thanks, no problem!
Wow, great vid! I noticed the tape added more depth to the low freq of the mix. The kick for example sounds way better on the tape recorder. Thanks!
+Kay-B Thanks! Yes right, the tape has a little more bottom end.
Back in early eighties I put my eyes on this exact model but couldn't get it . It was hard to get anything in USSR those days... Anyway instead of this Akai 360DB I finally got ReVox A77 I never regretted .
3:40 Note: The NAB-adapters have to be mounted in the right manner on the AKAI 630D. There are two ways to mount them. One method is for plastic reels. The other is for aluminum reels. For plastic reels, you align the white lines of the NAB-adapter with the black dot located on the built-in reel retainers. This allows these NAB-adapters to sink into the built-in reel retainer to the maximum possible depth. However, for aluminum reels, you want the NAB-adapters to move away from the built-in reel retainers a tad. To do this, you do NOT align the white lines of the NAB-adapters with the black dots located on each of the built-in reel retainers. So, what tends to look like the proper mounting method, is actually for plastic reels only. By not mounting it properly, the tape may end up constantly or occasionally rubbing up against one side of each of the aluminum reels.
Very helpful video by the way, thank you.
Will you make another video like this, comparing high tape saturation to the original? Thanks for sharing.
Thank you, cheers . 😀👍👍👍
Super helpful thank you!
the tape sounded beautiful
Hi! Thanks for sharing. I tried the same but l lost the stereo image, I think because I forgot to pan the left and right channels to full left and full right after recording again into the DAW, right?
Putting the NAB adapter outside of a plastic reel is really weird. You could have just pulled out and used the build in device unless it was defective ?
Great Tutorial , Thank you
With tape you often EQ "to tape". My boss at the studio says that dudes would crank the highs going in, then pull them back during mixing, thereby getting as much high end as possible, and reducing the noise that created in the mix stage.
Yes, I also heard that from the guys that worked back in the tape days. They also recorded quite hot to get the best signal to noise ratio.
@@ZedMartyProduction Its found in alot of 80's music, Very hot 2-3K .Many producers involved in the re issues purposely have gone back , and reversed that boost going to the new digital Master.
Hello. I have a silly question. i Recently got a reel to reel and I need help figuring out if it works haha. Everything looks great and seems to operate ok but i can't get signal into it. Im not sure if its my interface outputs or the line ins of the machine. Im just confused.
How can i connect it to my interface scarlet 2i4? I got an akai tape recorder
Thanks, great vid.
Hey, nice video! It would be great to see the exact routing and cable connections between the tape machine, the sound board and the Converters!
+Axel Bezzi Thanks! It's actually pretty simple. Console Main Mix Out -> Tape Inputs -> Tape Outputs -> Converter Inputs.
Hi! Does your Akai control the speed precisely? I mean is the timing of reampped track strictly equal to the original? I've bought the same machine and teh problem is that the speed of reamped track is a bit slower
Hi! Mine was also not 100% speed stable, but it was pretty close. I guess that is quite normal on semi-pro 1/4“ machines.
Great band by the way, just checked some of your videos!
A little speed varies is inherent, but if it is running very slow, try looking up a video of how to clean and lube your capstan, and your pinch roller arm. Your motors might need some lube as well.
Thank you !!!
thanks for the video.
any suggestion for me to figure out the connection between my reel machine and interface?
because my tape machine only has rca in/out but the interface only has xlr and some say that cables like rca to xlr or the opposite might degrade the sound quality?
Thanks !
Awesome content.. in wondering how you have that routed to your console. I have the mx9000 which is a similar console just wondering if you can explain your routing. Are you using the 2 track in and outs?
Pretty slick
KICK sounds HUGE on tape
Very good!! Thank you!,,
The roller to left of the head block isn’t called pinch roller. To the right of the block is the pinch roller (large, black roller) & below it is the capstan shaft. I think I’m right😳
Nice machine! Something is wrong, though. When you were calibrating the input level, it appeared that the meters were moving a bit on what should be a steady tone. Unless something else was present in the signal, that shouldn’t happen. Maybe pots/switches need cleaning? Also, it doesn’t seem that Dolby NR was working properly. You may have to check bias adjustments, as tape formulation is much different now than when that machine was made. Also possible but less likely unless someone was messing with it, if the alignment of the playback head is just a tad different from the alignment of the record head, it will greatly affect Dolby NR performance.
Hi there ! i'm wondering what cable do you use via the aux (rear back of your tape) any link you might have ?
Is it better to record each trap separately or together
I have a question how would I have my reel to reel track uneffected my my effects on the mastering chain
I have a mint Akai270dss reel to reel deck that I love it's has amazing sound thank you
If I just wanted to use this tape machine as en efx and add color. Can't I just use it to pass audio through without actually recording anything on the tape back in the my daw ?
Sure you can do that, but you won‘t get much color because you just pass the signals through the electronics. There are no transformers or tubes in that machine.
You could skip a step and just feed the DAW out to the deck, monitor tape and record that track to the DAW at the same time (mute it so you don't get feedback). It will be delayed but you can just nudge left it after it's done.
When you would have pushed the tape deck to the red zone, you would have had more saturation (which is the nice equivalent of the digital clipping). Analog saturation is liked, because of its "warmth" and "richness". You can run this recorded track along with the original one on a different mixer fader and make a dry/wet ratio you like, to profit both.
I was wondering about that. If you could play both mixes together ( digital mixdown & tape mixdown ) in phase with each other. By recording mix from the repro head. You could low pass the tape mix & high pass the digital mix & blend together to keep the nice lows from tape & crisp highs from digital. Need a 3 head mastering deck though. Which I have. Fostex E2. I shall experiment !!
@@byronwade1204 Nice!!! Show us the results please!
I have AkAi 40000D how can I hook it up to 6i6 interface thanks
Yo what did u use to record the music on the tape
The tape kick drum has a lot more weight, i like it
*I used this to replace my old reel that is getting harder and harder to crank after being used **allabout.wiki/01fs** in one of the harshest environments for reels I've ever fished in. The Battle II has held up far better and longer, and the sealed bearings make a big difference. I think I've caught close to 50 fish with it already, and the drag has always been smooth. Great for fluorocarbon line!*
question off point: what should the signal max level be from the analog mixer to the digital interface pre amp? I understand that the gain knob on my mackie CR1604 will control that output but should it be simply -18db max signal to the interface for a standard dynamic mic?
+mark well it depends ob the mixer's output but overall don't go above 0 dBVU on the mixer and -9 to -6 dBFS in the DAW.
Супер аппарат👍
I started to wonder why you kept saying tape hats then I realised you actually meant tape heads !😂
Hi Zed,
Can you tell me please how I can make the TEST TON TRACK ?
I am new in LPX
THANKS
Create a new track, go to the plugin section on the channel and search under Utilities for the Oscillator plugin. The 1kHz Sinus tone is the standard setting I believe.
Hi there! A great video. I have a question. Is the Dolby NR really that needed to reduce the noise - resp. is the difference big? I was thinking about buying GX 625, which doesnt have Dolby NR, but I want to combine recording R2R with PC. Thanks
+Milan Kucera Thanks! It may not be necessary but it's good to have. Dense mixes that can be recorded loud enough to tape won't be a problem but quiet and soft mixes with few instruments will get quite hissy.
Very nice and interesting video you did once more. Congrats to the nice machine btw. Seems it is in a good condition. Which type of tape do you use and is the machine calibrated to it?
Thanks! I use RMG LPR 35 Standard Bias Tape. Seems to work quite well with it - didn't calibrate it so far.
how does Dolby work ???
Great video just had one question....how do you route the tape deck to your digital mixer?
+Base Note Thanks! It‘s an analog mixer, the tape machine is on the second mixbus output and going back straight into the DAW.
Hey! Thanks for the video! So I'm trying to do the same with an AKAI GX270D. Very simian machine. But Instead of recording it to tape-rewinding-and recording back to the computer, I'm trying to do that all at once. So that the track is recording to the computer while recording to tape. The way I have it now I'm getting feedback, even though I'm not monitoring the tracks I'm recording in my DAW. Any way to fix that ya think? Maybe there's a reason you didn't do it this way? Let me know if you need more details. Thank you!
It should work that way: Connect Monitor speakers to Output 3-4. Master Output 1-2 -> Tape Machine -> return to DAW on Input 1-2.
On the Mixdown track select Input 1-2, Output 3-4 and engage Input Monitoring so you can hear what's coming back.
That snare changes quite a bit
Hi, I really love your hybrid mixing videos. They truly are an inspiration to my studio. When you have time could you please explain your connections for monitoring RCA i/o tape machine to console and vice versa? I have a Teac 3340s to connect. Thank you for your videos. Cheers.
Hi, thanks! Great you like my videos! Ok, so here's the setup: Main Mix Out from console -> RCA Input Tape Machine -> RCA Output Tape Machine -> 2 Inputs of AD Converter -> Stereo DAW Track (with input monitoring on) -> 2-Track console. Hope this helps!
Thank you so much!
Question, would you normally master the track in the DAW then send that to the tape machine? Or master the tape version after?
I recommend mastering as the final stage. Send the tape mix to the DAW and and then do the mastering.
Now when recording back into the daw how do you keep it stereo rather than mono ? Please help!!!
+lukas oravec Take 2 cables from left and right output back to 2 inputs of the audio interface. Then create a stereo track in the DAW with those 2 inputs.
day and night!
1. Does it make a diference to record into the box, then the tapes, then the box? 2. Couldn't I just simply use a tape plug in?, what difference would you notice in these two questions?
It is basically an easier and quicker option to record first in the box and then record the mix to tape and back again. You could also use just tape plugins for that, but I like the sound of this machine quite a bit more. It has more „tape sound“ and saturation than most of the plugins I tested. However, meanwhile I don‘t have it anymore because of workflow and the cost of tape reels. I also have way more outboard equipment now, which gives me enough analog vibe.
what would be the difference doing this on high end cassette deck and professional r2r? Also, I have teac 3340s without NR and it can go 15 ips would that be better?
+ElenaDiakova r2r usually have a better frequency response over the whole bandwith and less noise because they run faster than cassettes. You may also notice less wow and flutter. If the Teac is in good condition give it a try, just make sure to properly clean the tapeheads with pure alcohol.
When you record your reel to reel tapes digitale, where do you store them in 96-24, 48-24 or 48-16 ?
+Marcel Sinke same samplerate as the project, 48/24
how much did you gt it for?
Hey, great video. I'm new to recording with tape. I have a Fostex A8 and an Apogee Symphony interface and can't quite get my head round how to connect it all up. Do you have any suggestions? will i need to buy a separate analog to digital converter?
+Malena Zavala thanks! The Apogee has SUB-D25 and the Fostex RCA connectors right? So I would suggest to get SUB-D to RCA cables and connect them from Output 1-8 of the Apogee to the Inputs 1-8 of the Fostex and Outputs of the Fostex to Inputs of the Apogee.
Ah i see, a lot easier than what i thought. thank you!
Great video, thanks ! I'm new to tape recording and I'm actually getting an Akai GX630DB next month, I have a question that probably sounds stupid but can you record over an already recorded tape or do you have to use a new one for every recording ?
Thanks :-)
+flabaire thanks mate! Yes you can record over an already recorded tape, however you may notice some loss in quality- especially in the higher frequencies. It depends how old the tape is and how often it was already used for recording. For pristine recordings always use a fresh part of the tape!
Alright, thanks for the quick answer :-)
I was wondering about getting tape for my master and send it back to the Daw
Spektor Baal gay
I've tried it. It isn't what you would hope in my experience. I think it's better to track straight to tape, or at least record as many tracks from your DAW to individual tracks on a 4track or 8 track machine, so that the effect becomes cumulative
@@SirKevin27 Thank you for getting back to me and sharing
If I were to want to record one track at a time with only a mixer and a 8 track reel to reel how would I set that up?
+ If it is a mixer with 8 subgroup you can go from those into the 8 track. Subgroup 1 -> Track 1, Subgroup 2 -> Track 2,...
+ If it has direct ouputs on each channel you can use those, eg. Channel 1 direct out -> Track 1, Channel 2 -> Track 2,...
+ If it has none of these, only the Main Mix Output it gets tricky. You'll have to connect the Main Mix into each input of the reel to reel depending which track you want to record. Of course you'll have to pan the signal left or right depending on the track (L=1 R=2, L=3 R=4,...) eg.: Main Mix Out -> Track 1 & 2, Main Mix Out -> Track 3-4,...
+ For monitoring use the 2-Track of the Mixer. Tape Machine Output -> 2-Track Input.
I usually love the sound of tape... but, this time the original digi one, hands down... the tape just made everything muddy/murky/dull, imo.
Hymn
The sound of tape we love is usually mixed on 1/4" two track with a speed of 15 ips- 30 ips
(15 giving more low end while 30 gives a cleaner signal with reduced low end)
What he was running was 1/4" 4 track (Two tracks on side A two tracks on Side B much like a cassette) at a maximum of 7.5 IPS. The reality is these machines were really meant for home audio use, not really meant for bouncing or mixing. They do add character but not in the dynamic range or frequency response that we all love.
Since tape has physical limitations on recording high frequencies, it smoothes the top end, so you can push hard that top while recording and it will give you nice clean highs.
Jessie Slams i
It would sound better on 15 or 30 ips. 7½ as demonstrated in this video was never intended for professional use.
THE TAPE SOUNDS THICK AND PUNCHIER... THE OTHER SOUNDS THIN IN THE DRUMS BUT HIGH END A LITTLE MORE CRISP..BOTH SOUND NICE DEPENDS WHAT YOU WANT.. I KINDA LIKE THE TAPE WITH ADDED HIGH END BOOST
I was wondering if it might even sound better if you would use EQ before recording to tape. So I mean, Add a bit of extra high-end to the signal going to tape. I imagine that this might also give a nice effect on the top-end saturation. Although in the example you did here, there wasn't all that much going on in the high-frequencies. But with the sound of a real drumkit I think it might sound very nice recording it to tape just a bit brighter than the standard digital mix would be.
+MacXpert74 yes, that's a good idea! It was actually quite common back in the tape days to record a little brighter as tape often has a little roll off in the high end.
Yeah, I remember reading about that somewhere. It makes sense that if you already know you're going to lose some high-end, to compensate for that during recording. If you find the time, it might be cool if you could demo that in another video.
why would you put a nab adapter like that on a non nab reel ? damn ... also machine must be calibrate to tape : Bias, levels, HF eq.
The standard trident hub didn't work, but is meanwhile fixed. As I said in the video I normally transfer the tapes to the metal spools which are NAB.
I've noticed no one ever shows the back of a tape machine, where or how do you plug everything into the tape machine? are you just feeding the output of the mixer into the tape machine so does the machine accept xlr connections ?
+argiletonne yes, mixer output to tape machine and back to the audio converter. Connectors on this unit are RCA.
then what baffles me is that you would expect a high quality recording using rca connections? Aren't those connections a bit degraded in terms of modern standards, I would say so. I use to record through the rca connections to a dedicated outboard recorder from my mixer and I never thought the quality was as high as it could be but this was when I had a mixer with no usb and couldn't afford an audio interface to convert the output.
RCA connectors don't degrade the sound and they should actually sound the same as any other analog connectors. The main difference is that the XLR is balanced, the RCA is not. With balanced cables you can run much longer cables without any interference such as increased noise. But as long as you keep the cables short, unbalanced are no problem.
ya I've read something about a 10 - 15ft limit of cable before the interference and added noise starts getting mixed in with the signal.
+argiletonne yes could be, don't know the exact numbers right now.
Wonderful explanation. Thank you very much!!
One question: when I try this with only one of my tracks it creates a weird left to right phasing when I try to use it as a parallel saturation. Also: will the timing be perfect if I just use the drum tracks from tape and pair it with other tracks in the daw?
Thank you! The phasing you hear is the round trip latency of the converters and the slight fluctuation of tape speed. It is much more convenient to use tape in the recording process or at mixdown. For example you can record drums, print those to tape and back into the DAW. Then record all other tracks.
Thanks for getting back to me! When doing that, I get slightly out of sync with the click - would you warp it then? Or just forget the click.
Still trying to find my way around using this in my digital workflow.
You can automate the click to the drums which can be a little annoying or completely forget it and just use the drums as your click.
Yeah. That would be the way to go I think. How about vocals? Do you sometimes use the tape machine only on the vocal track when mixing? and is it possible to get that OK in sync?
Yes I did that. It‘s actually a little easier than with other tracks because they are quite short in length and you can slice and align them to the original vocals much quicker.
Don't forget to store your tape "tails out" (loaded onto right hand side) to prevent "print through"
Good point, thanks!
Can you explain why this would prevent from printing through? The tape is still wound up. Just wondering and willing to learn.
Should you just ffwd the tape to the end so it is on the right hand reel? Or should it be inside out on the right hand reel? And if you have a auto reverse deck?
Please: 1.) use tapes, that have been recommended and measured for azimuth position of tapeheads, 2.) use CCIR, 3.) do not use DOLBY NR, it is clearly to be heard in deteriorating your original signal (bass+/heights-), regarding the soundsource. It would habe been even more obvious on a piano sonata. 4.) different tape speeds would have been different (and interesting) as well. These recommendations are basics while recording on R2R, I was missing this information
Otherwise your video has a good quality. Well done
Seems like the recorded signal is a little bit weak in the higher frequencies. You should go over the biasing on the deck, and maybe tweak the aziumth head aligment.. ... I have an AKAI 630D and it had the same problem - Lots of base in contrast to treble. I just had to redo the biasing and it sounded great after that.
I've seen some people saying that the Dolby NR is what's cutting out the treble, but I doubt that's the problem :)
yes, I should do that! What Tape do you use on your machine?
Recording The Masters (RTM) SM911. It's sounds great, but quite expensive at 50€.
ah ok, I got the LPR 35 which is the long-play version of the 911. 43€ at the moment at Thomann.
Can you make a video showing how to tweak the bias and the aziumth head alignment?
Take Dolby NR off and the tape would sound brighter.
Yes, that's one option, but the tape hiss gets pretty apparent.
This is an awesome deck, however, I would never track a master tape on a 1/4 track pro-consumer machine. The tracks are thinner, and top speed is 7 1/2. A half track Professional machine that is properly aligned and biased for a chosen tape stock running at 15 or 30 IPS is very clean without Dolby. If you decide to use Dolby, (especially on a 16 or 24 track machine) it encodes far better than at 7 1/2. It's also been argued that some tape hiss is a good thing, because it acts a smoother and adds sparkle to a mix. (which in the real world would be mangled by re-sampling and compression.)
You know... funny that you mention that. The DNR never EVER sounded good to me. It did remove the hiss as LoudBox mentions, but it also removed the high part.
If Dolby takes away high frequencies , then it's not proper adjusted . It's very easy , piece of cake to get it right , without quality loss.. My Technics RS-M65 sounds the same , with or without Dolby B .. The fact that it's a cassettedeck makes no difference . Analog recording is all about right adjustment in every sense .
Akai tape machines always seemed to over-bias my tapes, consequently the playback often sounded duller, and Dolby made it worse. The EQ and bias wasn't user-adjustable on these decks so you were kind of lumbered with it. I always figured the machines must have been EQ'd/biased for tapes we just couldn't buy in the UK.
Very nice! Huge difference. Random question... how much would you charge for passing a mix through the tape machine? Cheers!
Hi, thanks! I don't have the tape machine anymore.
@@ZedMartyProduction Oh my... That's such a shame. Thank you anyway. Cheers.
Do you use 1/4 inch tape or 1/2 inch tape for mix down?
This is a 1/4“ tape machine.
Tape too dull. Use Tandberg TD-20A SE to record. Better than Dolby. What speakers you using? Sound pretty good.
ESI nEar classic
Ovo Nema U Srbiji Kako Se Može Kupiti Ovaj lepotan Fantomski
Hi! Nice video, really simple! :)
Just tell me one thing, cause i've got my GX215D now, and gonna use it:
How do you align the track that you bounced back from tape with the original one if you want to mix those two?
You do that manually?
Cheers!
+nemy thanks! Well that's a tricky thing. Most of the time you won't be able to align them as the tape machine doesn't run with the same speed all the time. So the tape track can be shorter or longer than the original. That's why I use it only for final mixdown or at the very beginning for drums & bass.
LoudBox Music Oh, i get it. Well i'm going to try it anyway, to see how much offset i'll get. It would be ideal to use it that way, but if not, then i will track synths and drums through it for sure. Thanks for helping!
LoudBox Music Just wanted to share this with you: I tried to align them close as possible, but there are phasing issues all the time of course, but they are minor for some individual elementa, and tape recording is less in the mix, let'a say as some fx return. Oh, btw, do you remove your reels after every recording and store them in box or not? :)
+nemy htg sometimes, but most of the time I have a tape loaded. I just make sure that the tension arm is loose.
LoudBox Music thanks a lot man! do you fix it with something? because mine is going back when i loose it. :/
I had this EXACT same machine! I got it for free in excellent condition. I let my father in-law borrow it, and the SOB decided to not give it back when I split with my ex. Did you get this from someone in Michigan?
+Raymond Kitchen oh that‘s sad to hear. No, I‘m from Europe, bought it here second hand.
It is an excellent machine. I even had the remote unit for it; the one that plugs into the socket in the back.
You should not be adjusting the levels using source. You should be doing that in tape as depending on tape the final level will be different. You should also have the deck calibrated. Also you should not be using the deck for any production work unless is has 15 and 30IPS. These are consumer tape recorders.
4:30 what? That's a trident reel, you don't need a NAB-adapter :)
I know, I should have mentioned in the video that the standard Trident hub was broken when I made the video. I normally use just metal reels. I actually had footage for that, but I forgot to edit it in :) Maybe I should put a clarification in the info box!
is it possible to do this with an apollo quad replacing the console as the interface?
**and achieve the same analog print?
Yes, connected the tape machine to 2 outputs of the Apollo and route all your tracks to that. As print return create a stereo track with inputs coming from the tape machine and set the output to your monitors. Engage input monitoring of the print track and switch to source monitoring on the tape machine while mixing!
@@ZedMartyProduction Thank you for your response!
Will I have to do any DBU DBFS application/metering since I'm working on Apollo rather than console?
The tape once it was bounced into the DAW sounded dull compared to the originals.
Tape must be stored tail out so you can't hear the print through.
You can actually go between monitor and tape on the tape deck to compare the recording while it's recording.
Yep, I know! I'm so accustomed to 2 head systems, that I often forget about that ;)
Thanks for video. However original sounded better. There is a problem with either your tape machine or settings on it. The sound should not degrade that much.
Tape sounds great! Original was a little bit to harsh-sounding IMO.
hello you never sbowed where you patched the reel to reel to
Right! It‘s on one of the Mix Bus outputs of the console and it goes straight back into the converter.
@@ZedMartyProduction Line In. Not mic in. Probably the thing that confuses people the most.
Nederlander? Dutch?
why should someone record hardish digital unmusical music instead of musical analogue perfect sound on a tape recorder? I don't see the logic.
I don't believe you not have calibrated the heads correctly. The quality can be better on the Akai.
I really can't understand how someone uses a tape machine as a tone colorization method and tries to reduce hiss and the loss of high end... For me that's exactly what makes the tape machine sound so nice.
Well, for me it‘s saturation rather than hiss I’m looking for when using tape. Manufactures actually always tried to reduce or get rid of hiss in their machines.
14:38
I am analog all the way. Hate DAWs in every way. Especially hate the new term "gain staging". Thank you.
recorded tape sounded exactly as a cassette recorded on a bad deck with dolby b , more bass less crispy , so considering your machine has flawlessly performance, dolby nr on reels is absolutely garbage crap..........on the other hand , when u set vu meters on 0dB needles bounce around that value which is NOT NORMAL on SOURCE, they shoud be really steady , u have bad caps, dirty pots or switches.
there is more glue with tape machine!
Yes, right!