I’ve found there’s a lot of confusion surrounding analog tape recording.
This page is dedicated to demystifying the process and hopefully clearing up some common misconceptions.
Part 1 is general information about tape/analog recording.
Part 2 is more in depth information about our specific equipment and process.
by Joe Boldizar
PART 1:
Is analog tape recording going to give me a “vintage” or “lo-fi” sound?
The short answer is no…but, depending on the type of equipment and tape, it certainly can. A lot of people assume all tape is going to impart a vintage/lo-fi/garage quality to a recording. But that sound is really only achieved by using either very old machines (late 1940’s - 1960’s) or lower quality, “consumer” grade tape and recorders (ie: 4-8 track 1/8” cassette, 4-16 track 1/4” tape, etc…). This equipment has natural roll-offs of high and low end, along with a decent amount of hiss/noise and crunchy distortion that helps to give it that cool “lo-fi” quality. It’s great when that’s what you’re going for. However, professional grade equipment such as 16 or 24 track (2”) and 2 track (1/4” & 1/2”) recorders from the early-mid 70’s and on are just about as “Hi-Fi” as any digital recording. A properly maintained and calibrated professional grade machine using good quality tape will sound just as crisp and full range as any high quality AD converter. The added benefits of course are tape compression/saturation, that “warmth” of added harmonic content, and a tiny bit of that classic inherent tape noise. These are the characteristics most software companies are attempting to emulate with tape plug-ins.Is full analog tape recording better than digital recording?
Neither is better than the other, they’re just different. Both have their strengths and drawbacks. Which approach being a better fit for a project depends on a number of factors. Yes, there are definitely great sonic benefits to recording to tape with high quality analog equipment; but these benefits do come at the cost of time and limitations. Full analog tape recording is a far more delicate and time consuming process. It’s linear, meaning you have to wait to get from A to B, unlike a computer that instantly goes wherever you want. Most people are accustomed to the nearly endless control and options of modern digital recording, but these options are far reduced when recording fully analog. For instance, you might lose the ability to edit anything to perfection, add countless tracks, and record endlessly. Some may find that fact freeing and beneficial to their project. For others it could be majorly prohibitive. Depending on the needs and goals of the project, one is going to be a much better choice over the other. At the end of the day, good music is good music regardless of how it’s recorded.Do I have to record either “fully analog” or “fully digital”?
There are several ways to use analog tape in the recording process. It doesn’t have to just be an “all analog” or “all digital” recording. One of the most common methods is tracking initially live to tape (typically drums, bass, rhythm guitars, scratch vocals, etc…) then printing those tracks from the tape machine into a DAW for additional overdubbing, editing, and mixing in the computer. This method combines the sound and feel of analog tape recording with the convenience and speed of digital editing/overdubbing/mixing. This would be considered a “hybrid” analog recording which uses both analog tape and computers. Another common method is taking tracks that were initially recorded digitally, printing them to tape, then bringing those printed tracks back into the computer for additional editing/mixing. This method would be the quickest way to involve tape in the process to provide some of the sonic benefits without the added time of tracking analog.What’s involved in the “fully analog” recording process, and how does it differ from digital recording?
The phrase “fully analog” refers to the process of recording/overdubbing/editing and mixing without the use of a computer. This uses the tape machine, console and outboard analog equipment for recording, routing, editing, processing and mixing. This is by far the most delicate and time consuming method, however it is also the most “pure.” This is how records were made up until the mid/late 90’s. There are no computers to deal with, screens to stare at, or analog to digital conversions occurring. It’s just the sound of tape, tubes and transformers. All decisions are made using your ears instead of your eyes
People often assume analog tape recording means one full take with everyone playing perfectly, no punches, edits or overdubs, and minimal mixing. But that isn’t the case at all. There are still plenty of techniques we use in modern digital recording that are possible when recording fully analog. For instance, overdubbing is essentially the same. But it’s important to be thoughtful here and remember there are a limited number of tracks. Analog “punching” is also the same concept as digital punching. Except now the process involves recording over a previous take (deleting what was previously recorded) instead of in addition. This means that you have to make sure the punch in/out points are correct and what you’re playing is as good or better than what you’re recording over, because there’s no going back to a previous take. This involves both the engineer and the performer working together to get it right. It’s certainly daunting at first but does get easier after a few tries. This method is far more exciting that the ultra-safe, zero stakes of digital punching. Editing tape means physically cutting and splicing tape together to either fix, edit, or connect multiple performances together for the best takes. And just like everything else in analog tape recording, it requires patience, planning, and a steady hand. As far as mixing, there aren’t any plugins or digital processing. The console and analog hardware are used to route signals, EQ ,compress, gate, balance, and add effects. This again is similar in concept to digital, but allows you to get your hands on physical faders and knobs to make real time mix decisions.Do you back up the analog tapes and mixes digitally?
Yes absolutely! Whether recording digitally or analog, backing up tapes/sessions to multiple locations is imperative. Tapes can get damaged or portions can get accidentally erased, digital files can get deleted or hard drives get lost, stolen or break. Having multiple backups in different locations prevents the potential loss of countless hours of work, time and money spent recording. I’ve heard many horror stories of entire finished records that have taken months if not years of time to record mix and master being lost due to not having proper backups. Hopefully the backups are never needed, and speaking from experience, they rarely are. However if they are needed, it is important that they exist and can be easily accessed as to not loose valuable time.Does recording to tape cost more than digital recording?
Besides the cost of the actual tape, the only real additional cost is time. As mentioned above, recording fully analog is a much longer process. Something that might take a few minutes digitally could end up being a few hours if it’s a complicated enough procedure. Tape is relatively expensive but it can be used over and over again, especially for hybrid recording methods. Ideally, one tape might last a few albums. Eventually the tape will wear out and need to be replaced, but modern ATR master tape is quite robust, reliable, and long lasting. More on the type and brand of tape we use below in Part 2 below.What are the overall major benefits to recording fully analog?
Besides the beautiful sound of analog tape, the ultimate benefit is the process. I’ve made a lot of records over the years “in the box” (aka: using a computer) and although I loved the endless options found in modern DAWs, I ultimately felt trapped by indecision. The fact that I could do just about anything began to feel like a hindrance instead of an advantage. Too often the artist and myself would carry the old lingering thought, “should we still add/change/edit/fix that part?” Even after the record was finished! I also found myself consistently making decisions based on what I was looking at rather than what I was hearing. After hours and hours of staring at a screen, I would find myself losing perspective. “Am I really hearing that mistake or am I just seeing it? Are these even mistakes or just a human playing?” And on and on... It can really drain creative excitement out of the recording process. Analog recording pushes the artist to play their absolute best, to make each take count! The limiting aspect of tape can be truly cathartic. In the past the technology to edit performances to perfection simply wasn’t possible. Accepting and embracing human error in playing is what gives records a truly natural feel. That’s how all our favorite records were made up till fairly recently.What are the overall drawbacks of recording fully analog?
As previously mentioned, the overall drawbacks are the format limitations and time requirements. If you know that your project will require stacks of tracks (or at least more than analog tape can provide), complicated/detailed editing of individual tracks, and of course, modern processing (melodyne/autotune/sample replacement/amp modeling, ect…) than recording fully analog would definitely not be the way to go. In fact, not only would the process be grueling but the music would likely end up suffering in the end as well. Most recordings these days rely on modern processing in some capacity, and there are lots of talented people making albums using these tools that sound great. Don’t fall for the myth that digital recording is sonically inferior or ruins performances, that is simply not true. It certainly can sound bad if used incorrectly, but anyone with some talent and experience can make a great sounding record digitally. Also its important to remember that analog tape and equipment can be implemented in a digital recording several ways to gain the sonic benefits with only minimal added time and non of the loss of digital control (such as the hybrid method). In the end it’s up to the artist/band to decide if and/or how to use analog tape in the recording process, depending on the project it may be an amazingly rewarding experience or a giant headache. Always remember, a good song is a good song regardless of how it’s recorded.
PART 2:
What type of tape machines do you use?
We have two main tape machines: Our primary multi-track machine is a 1979 MCI JH16, which is a 16 track recorder that uses 2” tape. It has transformers on every channel and is the most tape per track you can get for a high end 2” multi-track machine, which makes this a more rare and sought-after version over the 24 track models. Our mixdown machine is a 1980 MCI JH110 which is a 2 track recorder that uses 1/4” tape. This is what we uses to print the final mix down to in the fully analog process, which is then sent out to mastering. Both of these are most definitely “Hi-Fi” and along with Ampex, Studer and 3M, were the industry standard tape machines used from the 60’s - 90’s. Either of these machines can be used to print tracks or mixes from the computer (hybrid process) and can also be used for rich and warm tape delay effects. Our other machine is a 1985 Tascam 388 which is an 8 track recorder/mixer that uses 1/4” tape. This machine would be more on the “lo-fi” side of things though can still sound pretty full if used correctly. Although these machines are considered lower quality “consumer” grade equipment by comparison, they combined a mixing board and a tape recorder together which revolutionized home recording in the 80s by allowing people multi-track capabilities using one affordable machine. This, like the other machines, can be used to print tracks and mixes as well as be used as a tape delay for a cool “lo-fi” effect.Are these Mara Machines?
No they are both all original (pre-sony) MCI tape machines. They are considered to be some of the best machines made by the company and were manufactured during arguably their most desirable era. They are regularly used and maintained by us and Jeff Chestek using mostly NOS parts and high quality components. But that’s not to take away from the quality of a Mara Machine. Chris Mara is doing an amazing job fully rebuilding and restoring old MCI machines and making them available to a whole new generation. Think of them almost as a reissue. If you’re considering getting a professional tape machine for your studio it is worth looking into Mara. They come fully rebuilt in mint condition with tech support and access to spare parts if needed. It’s a great way to get into high end tape without all the risk.What brand of analog tape do you use?
We exclusively use ATR mastertape from ATR Magnetics on our machines. ATR Magnetics is (luckily enough for us) located in York PA, which is only a few hours away from our location in Philadelphia. ATR is one of the last tape manufacturers left in the world and provide tape to most studios across the US and overseas. They make excellent tape that is not only of the highest quality but also lasts the longest. If you’re in the area I highly recommend a tour of the facility. Like analog recording, tape manufacturing is a nearly lost art, so its great that there are still people out there passionate about making high quality tape and related products. You can purchase tape directly from ATR (recommended) or from other national dealers such as Vintage King or Full Compass. Also, it’s important to discuss the needs of the project with us before purchasing tape to make sure you’re getting the correct type/amount.Can I bring in used tape to use for my session?
As long as it is ATR Mastertape and it is in good condition (not overly old or worn out) then yes. Old worn out tape will often “shed” which means the binder will begin to peel off of the tape creating a gummy residue and dusty shreds will be left behind on and around the tape heads. This is not only bad for the heads and motors of the tape machine but also will lead to frequency loss and can actually cause the machine to record and playback poorly. Also, if the tape was previously used on a 24 track machine there may be some “ghosting” on certain tracks, meaning faint noise from previous recordings. This is due to the fact that the 24 track heads are lined up differently that the 16 track heads, because of this, our 16 track can sometimes not fully erase what was previously on the tape. It is good practice to ask whoever you’re getting the reel of tape from to erase the tape both forwards and then again flipped upside down. We will do the same at our studio and hopefully that will fully erase the tapes. But be aware there are no guarantees that this process will work perfectly.Besides the tape machines, what other analog equipment do you use?
Even when just recording to pro tools we try and utilize our analog equipment as much as possible. It’s great gear that has been carefully selected, maintenanced and cared for. Our console is a 1979 Neve 8128 that has been regularly serviced and improved by both us and the guru of these boards, Louis Benedetti (81series.com) to be a quite reliable console (for a vintage Neve of course). We also have a full selection of outboard gear and effects that make staying fully analog and still achieving a full, punchy mix possible. For a full and detailed list of our gear, check out our equipment page.If I begin the project fully analog but decide to change the plan after starting and move to digital, is that an issue?
Not at all, if at literally any point in the process you decide it would be better to work in the computer then we would simply transfer the tracks to pro tools and continue on the project. The tracks can either move to tape, or from tape at just about any point if needed. I’ve worked on projects where everything was recorded to tape except the vocals which were recorded in pro tools (to work on comps and edits), then printed it to the tape machine and continued the project on tape without issue. You should never feel trapped by your decision to work either way. Like I said above, there are several ways to implement tape into the process, even if you’re not tracking directly to it.What happens if there is an issue with the tape machine while I’m recording?
Most of the equipment used to record fully analog is between 40-50 years old, some is even older than that, which is ancient in terms of technology. We are meticulous about maintaining our equipment to the highest standards and pour a lot into parts and service. However, these machines are vintage, have lots of moving parts and are becoming more and more rare over time. It’s important to keep in mind that just like with any equipment, analog or digital, tech issues can occur. We have a good selection of spare replacement parts for both machines on site and a great tech (Jeff Chestek) to help keep things running. Most often if an issue occurs we can quickly repair or just work around it and continue recording. In the rare case we cannot, we would discuss the issue and make the necessary arrangements to keep the project moving. And of course, just as with digital recording, the artist would not be charged for any time lost due to a tech issue.