ndiamone
600 Club - QQ All-Star
[/QUOTE=ArmyofQuad] I know you talk of your collection of stuff in cold storage in PA, I'd love to hear more things from your collection. [/QUOTE=ArmyofQuad]
My Lenco (Bogen/Manfrotto) 75 turntables I'd never let go. Trying actually to find other headshells for the unique tonearms they have. I want to be able to have different choices for cartridge and stylus for different restoration jobs. I keep them mainly because I don't have $12 grand to get one of the new 12-speed continuously variable pitch turntables in the preservation magazines these days.
My Presto K-8 recording lathe is in there. Whenever I get back home for like vacation or something once I have a trailer, I'll bring it West and open up a dub plate DJ cutting service here in Silicon Valley. Most acetates cut for club use are mono anyway, and since the K-8 has a Grampian cutter head on it (think original Dave Clark Five singles from the 60's with their big fat AM-radio sound) it would give the club-dub chubs a good run for their money.
And my MCI 3-speed mastering deck 7-1/2 15 and 30 with preview and confidence head, originally used to cut master acetates for disc pressing. You need a preview head on a deck like that to drive the auto-depth and auto-groove-spacing (pitch) mechanisms.
Then I still have the charter school's old Teac 3340, that's in there too. I just use it for preview, the sound is too solid state to transfer off of. Unless its to transfer like old 4 track mono National Wired Music 10-inch voice-grade tapes recorded at 3-3/4 for the roller skating rinks in the malls in the olden days which never had any real fidelity in the first place.
And all kinds of other stuff nobody would care about, like an Akai 12-track cartridge recorder that records 12 analog tracks on a tape that almost looks like a Betamax, my old F-1 demodulator that records and plays back PCM digital signals at 14 bit or 16 bit 44.056 (NTSC video) sample rate (same as what's on the PCM digital-sound tracks of a Laserdisc) onto the video track of a Betamax, and what a vast majority of Grateful Dead fans used to record audience-perspective tapes.
And my old Cartmagic player that played it's own format of 4-track cartridge (not Muntz that look like an 8 track with a hole in the bottom) and that ran counterclockwise to boot,
my LaBelle cart player whose media are constructed of the bottom half of an 8 track shell which contained standard radio station commercial cart material (2-track, one for program and one for stop-tone) attached to the top half of an endless-loop 16-MM film cartridge, (essentially a 16MM endless filmstrip enclosed in a case, used in stores and in teaching),
and my Borg Warner System 80 teaching machine, consisting of a 16MM filmstrip in a caddy card along with a 15-RPM program LP which cut the program questions vertically in the LP groove and the slide-change or slide-repeat tones laterally in the groove.
And the list goes on. (doobie doobie doo.)
My Lenco (Bogen/Manfrotto) 75 turntables I'd never let go. Trying actually to find other headshells for the unique tonearms they have. I want to be able to have different choices for cartridge and stylus for different restoration jobs. I keep them mainly because I don't have $12 grand to get one of the new 12-speed continuously variable pitch turntables in the preservation magazines these days.
My Presto K-8 recording lathe is in there. Whenever I get back home for like vacation or something once I have a trailer, I'll bring it West and open up a dub plate DJ cutting service here in Silicon Valley. Most acetates cut for club use are mono anyway, and since the K-8 has a Grampian cutter head on it (think original Dave Clark Five singles from the 60's with their big fat AM-radio sound) it would give the club-dub chubs a good run for their money.
And my MCI 3-speed mastering deck 7-1/2 15 and 30 with preview and confidence head, originally used to cut master acetates for disc pressing. You need a preview head on a deck like that to drive the auto-depth and auto-groove-spacing (pitch) mechanisms.
Then I still have the charter school's old Teac 3340, that's in there too. I just use it for preview, the sound is too solid state to transfer off of. Unless its to transfer like old 4 track mono National Wired Music 10-inch voice-grade tapes recorded at 3-3/4 for the roller skating rinks in the malls in the olden days which never had any real fidelity in the first place.
And all kinds of other stuff nobody would care about, like an Akai 12-track cartridge recorder that records 12 analog tracks on a tape that almost looks like a Betamax, my old F-1 demodulator that records and plays back PCM digital signals at 14 bit or 16 bit 44.056 (NTSC video) sample rate (same as what's on the PCM digital-sound tracks of a Laserdisc) onto the video track of a Betamax, and what a vast majority of Grateful Dead fans used to record audience-perspective tapes.
And my old Cartmagic player that played it's own format of 4-track cartridge (not Muntz that look like an 8 track with a hole in the bottom) and that ran counterclockwise to boot,
my LaBelle cart player whose media are constructed of the bottom half of an 8 track shell which contained standard radio station commercial cart material (2-track, one for program and one for stop-tone) attached to the top half of an endless-loop 16-MM film cartridge, (essentially a 16MM endless filmstrip enclosed in a case, used in stores and in teaching),
and my Borg Warner System 80 teaching machine, consisting of a 16MM filmstrip in a caddy card along with a 15-RPM program LP which cut the program questions vertically in the LP groove and the slide-change or slide-repeat tones laterally in the groove.
And the list goes on. (doobie doobie doo.)
