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And don't forget the required razor blades and splicing tape.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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And don't forget the required razor blades and splicing tape. Absolutely. Along with the black wax pencil for marking the spot exactly over the head gap. And the agony of finding out that the splice needed to be just slightly a bit more up or downstream, which could KILL a project at its worst. There was no "Undo" --Mac
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AIIGGHHHH! To own one, you MUST be able to MAINTAIN one. the maintenance was near continuous.
Oh yes....the never ending maintenance. Even being the 'sweet machine' that it is I'd never go back to the analogue world. I used a Tascam 3440S (purchased 1979) for 20 years and added a Fostex Model 8 in the late 80's. I retired them both and sold them back in 1999-2000. The 'maintenance' involved, which I accepted during those decades, was perpetual and (IMO) must be done diligently after each session. I'll stay right here in the digital world 'thank you very much'. BTW....I went from Sonar 5.0 to X2 and users know the GUI angst in getting used to the new paradigm. If I could get through the vertical learning curve and up to snuff anybody can. Carry on...
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I really do miss the sound of a VU pushing into the red though.  My old manager is sending me a studio master we recorded at WHYY in Philly back in '68. It'll be interesting to see if it's still playable (might have to shake & bake it) after 46 years. 
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There's some rather good Impulse Response algos for plugins that can turn in a fairly fine job of turning the digitially recorded track into sounding very much like the saturation magic of the analog tape deck.
Can make that analog tape saturated guit track happen inside the digital DAW, but be forewarned that the same tends to give a sound that many today would find to be "dated" - push those algos too hard and whatever you've played can take on the aspect of the dreaded "Hair Bands". On the other hand, the old Bruce Richardson tape sim algo could work very well on a Frank Zappa-esque solo guit track IMO.
There is a big caveat to all this, though, and it is that while spending time trying to duplicate the sound of an older technology with the stuff of a newer one - we may miss the boat on developing new things that are very likely to become the treasured sounds of a generation that has heard none else.
--Mac
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My old manager is sending me a studio master we recorded at WHYY in Philly back in '68. It'll be interesting to see if it's still playable (might have to shake & bake it) after 46 years. Holy shvtsky...I hope the tape is still in tact and you get to listen without issues after all these years. I have had a couple of aged original work cassettes that squealed horrifically and were not salvageable. Keep us informed. I have a cassette of us (Ambush Band 1976-79) playing live for an hour at the Foothill College radio station KFJC in March of '77. In 2000 I listened to it (they could have done a better job of recording) and immediately got it into the DAW and salvaged it on to a CD....whew. Mac...I have not used a tape sim plug yet and I do have a couple. Guess I should do some listening comparisons for my own knowledge. Carry on....
Last edited by chulaivet1966; 02/17/14 08:15 AM.
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I still have my old 4-track Teac reel-to-reel deck with sound-on-sound and 10 inch reels, and I have aspirations of dumping my tapes to digital at some point. Just a few years ago, I took an album master from 1983 and was able to get that off, no problem. Some of my reels date from the late 1960s, and those may be more of a challenge. The local studio bakes those old ones a bit before making the dump.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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I still have my old 4-track Teac reel-to-reel deck with sound-on-sound and 10 inch reels, and I have aspirations of dumping my tapes to digital at some point. Just a few years ago, I took an album master from 1983 and was able to get that off, no problem. Some of my reels date from the late 1960s, and those may be more of a challenge. The local studio bakes those old ones a bit before making the dump.
Hmmm...you may have the Teac 2340 which IIRC was the 'sound on sound' era and one could record (2) tracks simultaneously. BOLD: Matt...get that done with as of yesterday! My story: Before I could retire BOTH analogue decks I faced the same challenge. I had (24) R/R tapes with all original material dating from 1979. The older stuff was at 7 1/2 and the later material at 15ips. It was hell because I only had the Gina20 DAW interface at the time being 2in - 8out. It was a total time vampire over a couple of months...it was hell. Good luck....
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Or it could have been a Teac 3340 or 3340S. I don't know if it was Matt or someone else but a few days ago someone on the forum mentioned using a 3340.
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BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Got it....I forgot about that series. Teac made some great recording workhorses, without a doubt. I got so much use out of both of mine they'd paid for them selves ten fold. Later....
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... Just a few years ago, I took an album master from 1983 and was able to get that off, no problem. Some of my reels date from the late 1960s, and those may be more of a challenge. ...
1983 .. I am impressed Tapes from the 60's?? Wow, I'd be amazed if they are salvageable. 15-20 years max is about the best I ever got from 1/4". Everything I had on 1/4" from the 80's was shot by about 2006. They just sat for a lot of years. Not like they wore out!
I do not work here, but the benefits are still awesome
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Would RealBand, with some developed mastery, output good enough quality to submit to BroadJam?
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Would RealBand, with some developed mastery, output good enough quality to submit to BroadJam? Hi Joey There should be no reason that the quality would not be adequate. Real Band is essentially a fully functional DAW complete with mixing and effect capabilities. Other DAW's may have different feature sets, but Real Band can certainly cut this task. Regards Trevor
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When using the identical tracks, effects, sound sources and sound card all DAWS will sound exactly the same. As Trevor pointed out the difference in DAWs are the feature sets. Some have better VSTis and VSTi capabilities, some better effects some come with better sound sources and etc.
So the answer to your question is yes RealBand is good enough.
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Thanks guys for the info. I'll keep trying to learn RealBand.
Last edited by Joey the Flute Guy; 04/01/14 10:03 PM.
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Would RealBand, with some developed mastery, output good enough quality to submit to BroadJam? The RealBand program is capable of World Class results in pcm digital multitracked audio. --Mac
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I noticed no one has mentioned Pro Tools in the discussion. I bought a copy about a year or so ago but, got turned off with the copy protection hoops I had to go through and then, the program it's self makes no sense to me and seems too complex at this stage of life. I'm old and there is to much terminology I don't know. Customer service appears to be geared toward the schooled engineer level. I'd like to sell it and move on with RB but, they probably have some prohibition against that?
Thanks for the info Mac. I've learned alot. These forums are essential for guys like me.
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Joey, Avid's policy on selling of ProTools and so forth is detailed, although somewhat cryptically, here: http://avid.force.com/pkb/articles/FAQ/en363631It does not look like they encourage license transfers outside of the iLok environment. I was going to purchase a used M-Audio interface earlier this year, and because of Avid's relative lack of general customer service/technical service, for used products, I steered away from it. I think you will be able to find a buyer. One place to advertise is at the forums at www.kvraudio.com-Scott
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Hi Scott,
Avid says in the Transfer of ownership the following:
Pro Tools software registration (version 9.0 and above) is non-transferable. Avid does not transfer registered ownership of Pro Tools
standalone software to the new owner. Transfer of iLok authorizations by buyers and sellers can be done using the iLok license Manager.
Transfer of iLok licenses are between the individual parties and are in no way associated with Avid. Avid will only register and support
software purchased by the original owner, and only when purchased as new from an Authorized Avid Dealer.
I don't know that it means the software won't work for the new user. It might mean the new owner won't be able to get an upgrade. I'll have to contact them. I remember it to be very irritating, annoying and frustrating jumping through the iLok hoops. I would not have purchased it if I knew I would have to go through this.
Thanks
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Band-in-a-Box® 2026 Mac Special Offers Extended Until May 31st!
Good news- we've extended our Band-in-a-Box® 2026 for Mac® special offers until May 31, 2026!
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With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
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Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
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Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
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- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
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