Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[MicroStudio]

What albums where recorded on this unit.... albums that sold millions or close to, well known albums...etc

I can not find any info on this.

Thanks.

[Rail Jon Rogut]

Lots of albums (until the x850 came out.. which was then surpassed by the 3348.. which was replaced by Pro Tools) but most had Apogee filters installed.  Neil Young had a couple which he used for all his albums in the 80's.

Rail

[thedoc]

The Talking Heads' Stop Making Sense.....3324 and Harrison PP-1 console for the film mix.

[MicroStudio]

Rail Jon Rogut wrote on Sat, 09 December 2006 17:26

Lots of albums (until the x850 came out.. which was then surpassed by the 3348.. which was replaced by Pro Tools) but most had Apogee converters installed.  Neil Young had a couple which he used for all his albums in the 80's. Rail

Thanks. I am trying to learn a little more about these units. So they had Apogee converters in them? What bit/khz did these units record at?

What would you say those Apogee Converters are compared to  todays and maybe even the lower end units that companies make today.

Thanks a lot.

[dcollins]

MicroStudio wrote on Sat, 09 December 2006 16:03

I am trying to learn a little more about these units. So they had Apogee converters in them?

No, they may have been retrofitted with apogee lowpass filters, but the converters were Sony.

Quote:

What bit/khz did these units record at?

44/48 at 16 bits.

Quote:

What would you say those Apogee Converters are compared to todays and maybe even the lower end units that companies make today.

Who is using one today?

DC

[stevieeastend]

MicroStudio wrote on Sun, 10 December 2006 00:03

What would you say those Converters are compared to  todays and maybe even the lower end units that companies make today. Thanks a lot.

I found these converters very good. I would say for sure better than lower end untis of today, and equal to some of today´s good stuff.

cheers
steveeastend

[Ross Hogarth]

i made many records on these in the early/mid 80's
i worked for Giorgio Moroder, the German producer/writer
we received the first 4 of these in the country for the Cat People movie
they did not have Apogee electronics
Apogee electronics did not exist at the time
The CD was not yet sold in stores
digital was a concept not yet grasped by most
Giorgio had 3 studios in one
It had used to be Davlen studios but when he bought it
He chopped it into 3
Then with the ability to "clone" or dupe a digital tape
we could be working on the same song or project in all three studios
the same with multiple hardrives today
Giorgio was always writing songs and trying singers
Danger Zone for Top Gun was probably sung at the same time in three studios
It was like that
we had all three rooms going all the time
the 3324 like said
is a 44.1 16bit recorder
digital half inch tape like the 3348
i never thought they sounded very good
brittle, thin and antiseptic are words i would choose
but
at that moment with him they were invaluable
i do not know how we could have done what we did at the time with the writing and recording sessions for
Metropolis
Cat People
Beverly Hills Cop 1 and 2
Top Gun
Over the Top
Billy Idols first 2 records
and the list goes on
it was the first glimpse of the DAW type factory type production where you have multiple jobs going on at one time

[thedoc]

Now that they don't have a lot of market value, people who need to keep them running (those who have old masters) are buying entire machines just for the head stacks.

No longer supported by the manufacturer......the phrase that we all love.

[wwittman]

Ross Hogarth wrote on Sun, 10 December 2006 12:51

...i never thought they sounded very good brittle, thin and antiseptic are words i would choose...

ditto


and ditto for the 3348 and Mitsubishi 850, both of which seemed only marginally 'better'

[compasspnt]

Terrible, terrible machines.

The one I used at Abbey Road when they first came out was so bad that Sony had to send over one of the main designer/techs from Japan.

After his normal full day's work, he slept next to the machine on the control room floor (we went late), and would awaken to "fix" it when needed (fairly often).

The Mitsubishi machines were much more reliable, and could be made to sound pretty good if you knew how to do it.  And there were retrofitable Apogee converters made for these machines.

But none of the dig multi's are worth anything today.

They are NOT vintage classics.  Never will be.

[Larrchild]

I never thought DASH machines achieved a sufficient "writing speed" with stationary heads and 15-30 ips. So the dropouts were constantly being fixed by error correction as you listened.

Remember all the ever-flashing error lights on the Mitsu? Damn!

[wwittman]

I made a record at AIR Monsterrat in the period when they had one A800 and one Mitsu X850 (or 2 perhaps).

I was trying hard to keep everything 24 track , and analogue, but on one song we were using a lot fo tracks and so we used the 850 as a slave and did most of the guitars on it.

When it came time to mix, the difference was striking.
no matter what, the guitars on that song just did NOT sit in the record correctly.. just thin and gutless in comparison.

Like the difference between seeing it there in front of you, or seeing a colour transparency.
Flimsy.

[Larrchild]

I too, worked in a room with them side by side and had a similar response. The converters in the '850 were 2 audio channels at a time multiplexed at double the sample rate. (14 bit) Which meant, when you punched in, you were re-writing the next track too. Crazy, just crazy.

I think Jimmy Bowen made all of Nashville use 'em. lol

[MicroStudio]

Wow.. thanks everyone for that info.. very interesting.

So want converters today would best match the ones used in these units?

[thedoc]

Are you wanting to aquire one of these 16 bit, unsupported, complicated machines that are hard to find parts for?