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WBUF Test
- Thread starter Yeziknoradio
- Start date
B
Bob1370
Guest
Turntables!
QRK, Russco, Gates Transcription (frequently used as a pizza lazy susan in production rooms), Rec-O-Cut, RCA or Technics?
Cart Machines:
Jim Pastrick asks,
"Triple deck ITC, Spotmaster, Tapecaster (with or without manual clutch) or Otari?"
Give me the ITCs any day of the week. Indestructible.
"Fidelipac Gold Carts or Scotchcarts?"
Whew, I guess Fidelipacs, but none of 'em were as durable as the machines that played them.
"Microphones:
Neuman, AKG, Sony, Shure (SM7,58), EV (RE20), Sennheiser?"
If cost is no object, Neumanns. We had 'em at WBEN. (Do they still use 'em in the Amherst studios like we did on Elmwood?)
If we're living in the real world, Shures. We recently dumped Sennheisers and immediately improved the station sound.
"reel to reels:
Ampex 440C (the tank... still the best production reel to reel I ever worked with), Revox-Studer, Otari and the ever faitful (going way back) Magnecord and Crown decks."
I'll nominate multitrack Scullys. Easy to use, never seemed to need much maintenance.
"Don't forget your EditAll."
Or the razor blades. ;-)
Digital recording and editing, and boards that are really computer interfaces (like today's Wheatstones) are fine. But I'll admit I miss the programming the old stuff produced. Can't make a cause-and-effect equation work but maybe some 1980s thinking wouldn't be inappropriate now even if executed on 2009 gear.
QRK, Russco, Gates Transcription (frequently used as a pizza lazy susan in production rooms), Rec-O-Cut, RCA or Technics?
Cart Machines:
Jim Pastrick asks,
"Triple deck ITC, Spotmaster, Tapecaster (with or without manual clutch) or Otari?"
Give me the ITCs any day of the week. Indestructible.
"Fidelipac Gold Carts or Scotchcarts?"
Whew, I guess Fidelipacs, but none of 'em were as durable as the machines that played them.
"Microphones:
Neuman, AKG, Sony, Shure (SM7,58), EV (RE20), Sennheiser?"
If cost is no object, Neumanns. We had 'em at WBEN. (Do they still use 'em in the Amherst studios like we did on Elmwood?)
If we're living in the real world, Shures. We recently dumped Sennheisers and immediately improved the station sound.
"reel to reels:
Ampex 440C (the tank... still the best production reel to reel I ever worked with), Revox-Studer, Otari and the ever faitful (going way back) Magnecord and Crown decks."
I'll nominate multitrack Scullys. Easy to use, never seemed to need much maintenance.
"Don't forget your EditAll."
Or the razor blades. ;-)
Digital recording and editing, and boards that are really computer interfaces (like today's Wheatstones) are fine. But I'll admit I miss the programming the old stuff produced. Can't make a cause-and-effect equation work but maybe some 1980s thinking wouldn't be inappropriate now even if executed on 2009 gear.
how about headphones, sennheisers with the yellow foam pads great sound, loud for us deaf guys.but lots of feed back, akg were alright but never loud enough for me. and how about mics the shure with reverb. i still love the sound from old wcfl and wls air checks. most of the revox's i worked with were in automations the triple deck itc always had motor problems which affected all your carts but the single ones were great. and if you had the old clutch tapecasters chances are you had a 1950 or 60 mcmartin board and does wheatstone still make consols in syracuse
Re: WBUF test
Nope. At time of original posting, it was infinity.
Regent is actually innocent. (odd enough!)
yugoidar said:
Nope. At time of original posting, it was infinity.
Regent is actually innocent. (odd enough!)
RCA cart machines? WKBW at four of 'em at 1430 Main. They were the RT-7Cs, factory converted from RT-7B. The original version, dating to the early 1960s, had a disc you punched under the cart slot to release the cartridge. The factory mod replaced the front panel producing an expanse of white painted aluminum where the release button used to be. With the update you released the cart by tapping the right corner of the cart upwards, an improvement doubtless inspired by the popularity of the far-more-common ATC decks of the same period.
Then there were the ATC (Automatic Tape Control) and Gates badge-engineered version, the Criterion. Collins also had a badge-engineered ATC including a weird single machine with two separate record decks and amps called the TwinTape in the late 60s. You could record two carts at once from a single source or dub right to left or left to right. Cheaper and crankier, you generally saw Spotmasters and Tapecasters in smaller-market stations, with their characteristic 1950s Viking/Telex transports requiring manual enable of the pinch roller. Head alignment on the 'Masters was done with a ViseGrip used to bend the head bracket for best high-frequency response.
Turntables? Gates had the famous 16" transcription CB-100, and the mid-60s replacement called the CB-77, which had an update consisting of an illuminated red plastic ON/OFF rocker switch. It had a mercury capsule mounted in a spring-clip on the underside of the rocker. Occasionally the mercury switch would drop off and land, "clunk," in the bottom of the turntable pedestal, after which you couldn't turn off the turntable motor. So you'd have to open the pedestal and retrieve the mercury capsule dangling from its wires. Picking up the mercury capsule without first unplugging the turntable from its 117VAC outlet was generally a mistake you only made once.
But how about some of the more obscure gear from the golden age of format radio? Anyone cue something up with a ParaFlux transcription arm? Maybe on a Presto Pirouette turntable? Ever had the pleasure of airing a spot-and-a-half simultaneously on a Gates SpotTape 101? Or wrestled with the Worst Cart Equipment Ever Made, Gates' proprietary Quincy-made Cartritapes, versions I or II? Weirdly Gates sold the Cartritapes and the Criterion ATC-sourced machines side-by-side in their catalogs - why anybody would buy the junky horrible Gates unit instead of the similarly-priced real cart machine is anybody's guess.
And in your mic collections - I didn't see anyone mention the undeniable kings of studio mics, the RCA 77, 77D and 44BX (all of which also resided at 1430 Main in the late 60s.) Aftermarket tip: both Nady and Apex make Chinese copies of the 77 which are excellent ribbon mics, with I would guess about 90% of the quality of the originals, available online for under $200. Using one of the 77-clones with a nice processor like the Symetrix or the dBx will give you a great-sounding home voice-work studio sound.
Then there were the ATC (Automatic Tape Control) and Gates badge-engineered version, the Criterion. Collins also had a badge-engineered ATC including a weird single machine with two separate record decks and amps called the TwinTape in the late 60s. You could record two carts at once from a single source or dub right to left or left to right. Cheaper and crankier, you generally saw Spotmasters and Tapecasters in smaller-market stations, with their characteristic 1950s Viking/Telex transports requiring manual enable of the pinch roller. Head alignment on the 'Masters was done with a ViseGrip used to bend the head bracket for best high-frequency response.
Turntables? Gates had the famous 16" transcription CB-100, and the mid-60s replacement called the CB-77, which had an update consisting of an illuminated red plastic ON/OFF rocker switch. It had a mercury capsule mounted in a spring-clip on the underside of the rocker. Occasionally the mercury switch would drop off and land, "clunk," in the bottom of the turntable pedestal, after which you couldn't turn off the turntable motor. So you'd have to open the pedestal and retrieve the mercury capsule dangling from its wires. Picking up the mercury capsule without first unplugging the turntable from its 117VAC outlet was generally a mistake you only made once.
But how about some of the more obscure gear from the golden age of format radio? Anyone cue something up with a ParaFlux transcription arm? Maybe on a Presto Pirouette turntable? Ever had the pleasure of airing a spot-and-a-half simultaneously on a Gates SpotTape 101? Or wrestled with the Worst Cart Equipment Ever Made, Gates' proprietary Quincy-made Cartritapes, versions I or II? Weirdly Gates sold the Cartritapes and the Criterion ATC-sourced machines side-by-side in their catalogs - why anybody would buy the junky horrible Gates unit instead of the similarly-priced real cart machine is anybody's guess.
And in your mic collections - I didn't see anyone mention the undeniable kings of studio mics, the RCA 77, 77D and 44BX (all of which also resided at 1430 Main in the late 60s.) Aftermarket tip: both Nady and Apex make Chinese copies of the 77 which are excellent ribbon mics, with I would guess about 90% of the quality of the originals, available online for under $200. Using one of the 77-clones with a nice processor like the Symetrix or the dBx will give you a great-sounding home voice-work studio sound.
More studio-gear recollections from the dim, distant Mists Of Memory: the grandparents of the ubiquitous ITC Triple Decker were Spotmaster's FIVE*SPOT and TEN*SPOT, very compact multi-deck, single-motor machines which were probably Spotmaster's best products in the 60s. I worked with a FIVE*SPOT at WELM and used to marvel at the very notion of actually having ten (!) cart decks in an air studio, but I never saw a TEN*SPOT in any radio station. Strangely I did see a couple in TV control rooms though. Like most Spotmasters the weak design point was the head mounting; alignment was done by adjusting a simple nut and lockwasher on an L-bracket. It was really a trick getting the head aligned and then tightening the nut without spoiling the adjustment you just made.
Ampex decks common in radio were the 351, the 354 (with the gray plastic buttons) and the 1967 update, the Ampex 440. But the Sherman tank of Ampex stuff was the original 400, with its single OPERATE button and a handle to select Forward, Fast Forward or Rewind. Its intuitive control was GREAT for editing, better/faster than the 300-series machines. In 1973 the tape machine of choice throughout CKLW was still the 400 - they used the original 1940s transports interfaced with aftermarket solid-state record amps, despite the popularity of the 440s.
The other-side-of-the-tracks tape machines were Magnecorders. We all have had experience with the PT-6 and 6J, 1940s designs which would gladden the heart of any product-liability attorney of today, thanks to their lethal rewind motors. Maggie made a parade of boat anchors including the plastic 1021 and a cranky, poor-selling full-sized transport called the 727 which actually accomodated 10.5" reels - quite a revelation for Magnecord. Other second-rung tape machines included Berlant Concertone and an Ampex copy called the Telectro.
Ampex decks common in radio were the 351, the 354 (with the gray plastic buttons) and the 1967 update, the Ampex 440. But the Sherman tank of Ampex stuff was the original 400, with its single OPERATE button and a handle to select Forward, Fast Forward or Rewind. Its intuitive control was GREAT for editing, better/faster than the 300-series machines. In 1973 the tape machine of choice throughout CKLW was still the 400 - they used the original 1940s transports interfaced with aftermarket solid-state record amps, despite the popularity of the 440s.
The other-side-of-the-tracks tape machines were Magnecorders. We all have had experience with the PT-6 and 6J, 1940s designs which would gladden the heart of any product-liability attorney of today, thanks to their lethal rewind motors. Maggie made a parade of boat anchors including the plastic 1021 and a cranky, poor-selling full-sized transport called the 727 which actually accomodated 10.5" reels - quite a revelation for Magnecord. Other second-rung tape machines included Berlant Concertone and an Ampex copy called the Telectro.
I still have a triple ITC deck in my store room. Only hope I never drop it on my foot! That thing sure is heavy! I just had to resuce it from the dumpster, a souvenir from the WBT transmitter site. I used some of the old Spotmaster lever type cart machines and saw Tapecasters that were pretty bad. Used the Gates Criterion that was mentioned.
I remember the Gates turntable with the big 16 inch platter and the big red switch. Never had to rescue the mercury unit though. My favorites were the Russco's with the 45 and 33 lights.
I used quite a few Ampex AG-440's they were very popular. The only place I ever saw a Magnacorder was at WROC 1280. I did see lots of Ampex PR 99's and 601's.
MCI made a logic controlled deck with a jog stick and all that. Did they appear in WNY? I looked under the transport once and it was full of IC chips, rows and rows of them! A funny story, one night I was doing some production and kept hearing what sounded like low frequency noise like someone pounding. It turns out I left the pot up on the MCI and the reels were creeping ever so slowly and I could hear it in the monitor speaker!
Always loved the Gates boards like the Dualux II and the Executive with the big pots. They were a favorite of most of the jocks I knew. The most unusual board was a Green Altec that was used at WQAM in Miami. Rumor was it was converted from tube to solid state. I never saw another one like it ever. There were stations like WFUN Miami where the engineers built their own boards based on an RCA design.
Then there was WKAT on Miami Beach The place was like a museum. They had a control room where the board op sat at a Western Electric board with a 5 KW transmitter in front of him used during the day and a 1KW Western Electric transmitter behind him that was used at night. Both transmitters were very quiet. They must have been water cooled? You could look out a window in the control room down into the performance studio. This arrangement went well into the '70's.
Worst board I ever used was a Ramko board with LED lights in place of the VU meters. It was cheap and I remember the monitor amp went out in it. There were touch switches for audition and program. It looked like a toy, not something you'd use on the air.
In addition to the SM7, Shure also made the SM5. It looked like a big pill, it had a huge foam shield built in. You could work this mic very close and not pop. The big EV mic seems to be the standard now. On TV I have been seeing some Heil mics. Are the radio stations out there using the Heil mics now?
I remember the Gates turntable with the big 16 inch platter and the big red switch. Never had to rescue the mercury unit though. My favorites were the Russco's with the 45 and 33 lights.
I used quite a few Ampex AG-440's they were very popular. The only place I ever saw a Magnacorder was at WROC 1280. I did see lots of Ampex PR 99's and 601's.
MCI made a logic controlled deck with a jog stick and all that. Did they appear in WNY? I looked under the transport once and it was full of IC chips, rows and rows of them! A funny story, one night I was doing some production and kept hearing what sounded like low frequency noise like someone pounding. It turns out I left the pot up on the MCI and the reels were creeping ever so slowly and I could hear it in the monitor speaker!
Always loved the Gates boards like the Dualux II and the Executive with the big pots. They were a favorite of most of the jocks I knew. The most unusual board was a Green Altec that was used at WQAM in Miami. Rumor was it was converted from tube to solid state. I never saw another one like it ever. There were stations like WFUN Miami where the engineers built their own boards based on an RCA design.
Then there was WKAT on Miami Beach The place was like a museum. They had a control room where the board op sat at a Western Electric board with a 5 KW transmitter in front of him used during the day and a 1KW Western Electric transmitter behind him that was used at night. Both transmitters were very quiet. They must have been water cooled? You could look out a window in the control room down into the performance studio. This arrangement went well into the '70's.
Worst board I ever used was a Ramko board with LED lights in place of the VU meters. It was cheap and I remember the monitor amp went out in it. There were touch switches for audition and program. It looked like a toy, not something you'd use on the air.
In addition to the SM7, Shure also made the SM5. It looked like a big pill, it had a huge foam shield built in. You could work this mic very close and not pop. The big EV mic seems to be the standard now. On TV I have been seeing some Heil mics. Are the radio stations out there using the Heil mics now?
after running gates boards, mcmartins.be boards the best one ive used in which every small market uses are the arakis boards very easy to operate and relyable
That's interesting about the Arakis boards. I have seem them in magazines but never in person. The NPR station where I live has a very nice Logitek.
Being in the same city for some 28 years now and with the consolidation of stations I have run into a funny situation twice now. I have found boards that I have used before, the exact same one, but for a different station. In both cases they were brand new when I first used them, many years before. In both cases I believe they were AudioArts boards. Both were still in decent but not perfect shape.
Being in the same city for some 28 years now and with the consolidation of stations I have run into a funny situation twice now. I have found boards that I have used before, the exact same one, but for a different station. In both cases they were brand new when I first used them, many years before. In both cases I believe they were AudioArts boards. Both were still in decent but not perfect shape.
I went back and read the earlier posts. I didn't realize this thread was so old. I have repeated myself here, sorry about that. I'm getting old!
Does anyone else remember the ITC 750 and 850 reel-to-reel decks?
They were only around for a few years, but the 750 was as sweet a machine for editing as ever was. The playback-only version was popular for a while for automation systems.
They were only around for a few years, but the 750 was as sweet a machine for editing as ever was. The playback-only version was popular for a while for automation systems.
B
Bob1370
Guest
"They were only around for a few years, but the 750 was as sweet a machine for editing as ever was. The playback-only version was popular for a while for automation systems."
IIRC (and my memory fades with advancing decrepitude) they used those ITCs as playback decks in FRED, the automation system at Buffalo's old Rock 102. (For recording or editing duties, though, we used exclusively Scully reel-to-reel decks.)
IIRC (and my memory fades with advancing decrepitude) they used those ITCs as playback decks in FRED, the automation system at Buffalo's old Rock 102. (For recording or editing duties, though, we used exclusively Scully reel-to-reel decks.)
The 750 was a simple, sweet machine because the head assembly was pretty much uncluttered, but I found the heads would too often get out of phase. On the upside, they were easy to adjust and reset using test reels of "pink noise" and a scope--- or if your board had +/- Vu or Peak metering, tuning to maximum dip, L-R. Even though I've worked with MCIs (which had logic problems) and Otari 1 inch 8 track machines, the Ampex 440C remains my favorite reel to reel. It was a workhorse with great electronics, Sel-Sync and over-sized components that took a lickin' and kept on tickin'. Just don't try to slow down a FF or RW 10 inch aluminum reel with your hand. Yowwwwch! Better to let the machine do the work.Paul_Warren said:
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