Up until recently the cassette decks were not available balanced i.e. pro level +4db ... basically balanced is a hotter and better signal than a -10db consumer level.

I haven't used 24 track 2" tape since the 90's and wouldn't dream of maintaining a vintage tape machine. I expect reissues in a few years and will reconsider then.

Anyways, the saturation and warmth of 2" tape just sounds better as I see it and 24 tracks means it is more of a mixing workflow.

I had good results with 8 track 1/2 tape back in the day and expect reissues in that format too.

I would use even the best cassette deck as sort of a effect pedal - delay for example. IOW not as a 2 track final mix.

Its easy to find professional mastering using analog compressors (Knif Vari-Mu II) , analog eq (I have an API 5500 and its used a lot in mastering) etc.

http://www.audibleoddities.com...

That's not mentioning plenty of the tracking using analog synths, compressors and eq for tracking ... guessing at least 50% of modern vocals use a hardware analog compressor such as a LA2A but that's my perspective.

The company API makes analog mixers, compressors and EQ that has seen a modern surge into the 500 series lunchbox format. Over 30 brands of analog eq and compressors are available in 500 series, including most of the gear from Neve and Chandler.

They've been trying digital modeling for 35 years and while the ADC has improved it still is like a sex doll vs a real girlfriend. Its close, but if they had 85% bananas some people would prefer the real thing.

The way I see it, the warmth of tape, transformers and transistors is something people will try to program for centuries and will be pretty much at the same place they started in the 80's.

More seriously, analog is forever. If you buy an analog eq, compressor or synth its pretty much the same design as the 60's (LA2A) or Moog Model D reissue (70's) . You do usually get MIDI and lower noise as a plus. The sound is all that matters. Upgrades is for digital, analog not so much.

SMT has actually brought the analog clones and reissues to be cheaper than the software emulation - the Pultec EQ reissue is now cheaper than the software plugins.

I realize lots of people are skeptical of tape, but things like balanced ins / outs and control voltage (pre-midi, Moog and analog equipment uses it still) was not even twinkle in someone's eyes on cassette tape decks when the digital age started.

In short for this example, digital delay doesn't sound as good. It sounds too perfect. Binson tape delays were used by Pink Floyd and Led Zeppelin a lot but cassette decks opens new possibilities. CV can actually control wow and flutter for cool effects. This space case TE-1 deck with all the bells and whistles is around $1000.

https://www.instagram.com/p/Bc...

Eh link didn't work.

https://www.youtube.com/watch?...

Digital audio for musicians cannot emulate anywhere close to the classic Roland Space Echo (RE-201 etc) machines imho, which is why for $1000 you can get a fully balanced +4db professional signal in and out of a refurbished Marantz cassette deck like this.

IOW as an effect its like one of the classic tape machines they stopped making in the early 80's.

Another example is the Binson tape delay machines as seen in Pink Floyd's echoes in the film "Live at Pompei" .

As for fidelity ... well, digital audio for better or worse is the delivery method these days. I'm not making demos on cassettes :-) . However, its common for popular bands with a big budget to record to 2" 24 track tape still ... which arguably has better fidelity ymmv.

Digital audio for musicians cannot emulate anywhere close to the classic Roland Space Echo (RE-201 etc) machines imho, which is why for $1000 you can get a fully balanced +4db professional signal in and out of a refurbished Marantz cassette deck like this.

IOW as an effect its like one of the classic tape machines they stopped making in the early 80's.

https://www.youtube.com/watch?... [youtube.com]

Another example is the Binson tape delay machines as seen in Pink Floyd's echoes in the film "Live at Pompei" .

As for fidelity ... well, digital audio for better or worse is the delivery method these days. I'm not making demos on cassettes :-) . However, its common for popular bands with a big budget to record to 2" 24 track tape still ... which arguably has better fidelity ymmv.

Digital audio for musicians cannot emulate anywhere close to the classic Roland Space echo machines imho, which is why for $1000 you can get a fully balanced +4db professional signal in and out of a refurbished Marantz cassette deck like this.

IOW as an effect its like one of the classic tape machines they stopped making in the early 80's.

https://www.youtube.com/watch?...

Another example is the Binson tape delay machines as seen in Pink Floyd's echoes in the film "Live at Pompei" .

As for fidelity ... well, digital audio for better or worse is the delivery method these days. I'm not making demos on cassettes :-) .

I've been working at home for over a decade. No doubt you will get interrupted ... so I try to work the hours my family are sleeping. Its getting better now that they are on facebook and youtube so much these days.

The huge advantage of telecommuting to me is being able to travel. I just need to time my online time - where ever I am - with my companies timezone. That's rarely 9-5 so it allows me to get things done in local business hours.

Why? Why the fuck should kids be familiar with real guns? I think you grew up in the wrong neighborhood.

I hope some day the only familiarity kids will have with guns will be in visits to a museum, where they will also see steam engines and whalebone corsets.

Wut? Unless that set period is so short it needs building additional facilities, the price for repeated launches will only go down, never up.

Imagine the time period is the same you need for building a 1 GW power plant using any traditional technology. That will be a few years. Meaning you could do a launch every couple of days and complete a thousand launches in the same period. You could do that from a single launchpad.

The reason why they don't do launches day after day right now is because there is no demand for so many launches, but they certainly could adapt the procedures for that.

For a single launch. Ask them about their discount for a thousand.

In the geostationary orbits there are two periods each year, around March and September, when the satellites are eclipsed by the earth. That's why geostationary satellites need batteries, which are among the heaviest parts of a satellite. And, unfortunately for the power generation idea, these eclipses occur at night for a satellite located above the point it's beaming at.

As for the cost, launching 10,000 tons could be done for something like $50 billion or so. We are talking about a thousand launches, so it would pay to build your own rockets, which would bring the price down.

The exact costs of the launchers today is a closely guarded trade secret, but it's certainly less than the price you pay. Certainly, with a private company with development costs amortized over a thousand units, they could bring the launch costs to a less prohibitive level.

Hint: by the time science discovers more about the mechanism of aging, it won't be a 100 year old body anymore.

All of her white blood cells were being produced by just two stem cells. Imagine if they could replicate stem cells indefinitely, her body would become 20 years old forever, not 100.