There were 12 pence in a shilling, 20 shillings in a pound and as Pano has pointed out 21 shillings in a guinea. (gn)
I remember as a pre and early teen drooling over all of the cool valve (tube) amplifiers in the back of every new copy of Practical Wireless I purchased at the local news stand. (yeah not here in the U.S., and yes, my family's mostly British. We lived overseas, but not in the U.K.)
The guinea was a 21 shilling gold coin made from gold mined in Guinea. It had long since passed out of use, but the term continued to be used until the change over.
I have to admit while practical I missed the charm of the old currency - it marked the beginning of major changes in the UK leading up to joining the EU (then the Common Market/EEC).
I remember as a pre and early teen drooling over all of the cool valve (tube) amplifiers in the back of every new copy of Practical Wireless I purchased at the local news stand. (yeah not here in the U.S., and yes, my family's mostly British. We lived overseas, but not in the U.K.)
The guinea was a 21 shilling gold coin made from gold mined in Guinea. It had long since passed out of use, but the term continued to be used until the change over.
I have to admit while practical I missed the charm of the old currency - it marked the beginning of major changes in the UK leading up to joining the EU (then the Common Market/EEC).
Mine is a special master machine, all tubes, yes, but no speaker. different butterfly heads as well. and gn = ginnies (Guiness), as we still can hear - go bush - Down Under.
No idea, almost everything I am interested in on tape would probably predate 2000.
I hate to say it, outside of classical music and jazz there probably is not a lot of contemporary music that would justify the cost of production on tape. Some audiophile vinyl recordings are still produced by studios that use tape.
I'm not too worried about it, if I can find a few dozen tapes over the next few years that I like I will be content.
One of my friends has suggested I set up an analog recording studio at some point, something I haven't really considered viable - maybe in retirement. Location recording for practical reasons is almost all digital now, even my diehard friends have largely stopped lugging R2R recorders to venues to record. I do have access to good mics (ORTF and Blumlein) as well as mic pre's and digital (and analog) recording hardware - I have not taken advantage of that so far due to lack of time, energy and enthusiasm.
I hate to say it, outside of classical music and jazz there probably is not a lot of contemporary music that would justify the cost of production on tape. Some audiophile vinyl recordings are still produced by studios that use tape.
I'm not too worried about it, if I can find a few dozen tapes over the next few years that I like I will be content.
One of my friends has suggested I set up an analog recording studio at some point, something I haven't really considered viable - maybe in retirement. Location recording for practical reasons is almost all digital now, even my diehard friends have largely stopped lugging R2R recorders to venues to record. I do have access to good mics (ORTF and Blumlein) as well as mic pre's and digital (and analog) recording hardware - I have not taken advantage of that so far due to lack of time, energy and enthusiasm.
I had a "Studer ReVox" G36 MKIII which had the monitor amplifier, and internal speaker, all of which I removed.
I found my MX-55-T-D sounded better in pretty much all circumstances, the euphonic tube electronics in the G36 get tiring unless you like that sort of soft sound. Romance in sound is overrated.
I found my MX-55-T-D sounded better in pretty much all circumstances, the euphonic tube electronics in the G36 get tiring unless you like that sort of soft sound. Romance in sound is overrated.
Hello,
Sounds very interesting. May I ask which head you´re using and how did you install it?
In my G36 I´m using a B77 playhead with an extern tube playamplifier. Sounds much better than the original one.
Best regards,
Martin
Sounds very interesting. May I ask which head you´re using and how did you install it?
In my G36 I´m using a B77 playhead with an extern tube playamplifier. Sounds much better than the original one.
Best regards,
Martin
Hi! Fascinating top, let me add a couple cents.
I own two 5050BII in the studio (years of production - 84 and 86).
Regarding the replacement of op-amp - I also do not think that this will provide any noticeable benefit here.
Perhaps I will re-opamp only 2043 in the repro amp, I still think about it ))
All trimmers that are used for the needed speed and EQ (I work on 15ips, IEC), osc and levels, I immediately replaced with Murata PV36 series cermet potentiometers. In one of the machines, I mounted the trim pots closer to the edge of the main board and made access to them by means of a removable lower plastic grill (I had to tinker with it).
I removed most of the electrolytic caps, replacing them with jumpers. Left them at the input of the rec amp for the protection from accidental DC, and at the output - to protect the rec head too. I also left caps around the recording level controls - this usually saves from rustling when the potentiometer starts to wear out.
The caps that were left, I replaced with Nichicon muse BP.
I also removed the Output Level switch.
I did not begin to cannibalize the sel-repro circuit. In this mode, it is very convenient to check and adjust the rec head azimuth during MRL playing.
Another place that may turn out to be sick is the relays RL301, 401 and 501. Over time, from the effects of temperature and humidity, their contacts oxidize, and over time, in working process may appear a floating defects such as failures in recording or erasing and unstable work in the "turn-on" mute circuit. Relays in most of 5050's - non-hermetic, have a lid on the latches. They of course can be carefully disassembled and cleaned contacts with a narrow strip of office paper, but will be better to replace them with new "sealed" relays with suitable specs.
I own two 5050BII in the studio (years of production - 84 and 86).
Regarding the replacement of op-amp - I also do not think that this will provide any noticeable benefit here.
Perhaps I will re-opamp only 2043 in the repro amp, I still think about it ))
All trimmers that are used for the needed speed and EQ (I work on 15ips, IEC), osc and levels, I immediately replaced with Murata PV36 series cermet potentiometers. In one of the machines, I mounted the trim pots closer to the edge of the main board and made access to them by means of a removable lower plastic grill (I had to tinker with it).
I removed most of the electrolytic caps, replacing them with jumpers. Left them at the input of the rec amp for the protection from accidental DC, and at the output - to protect the rec head too. I also left caps around the recording level controls - this usually saves from rustling when the potentiometer starts to wear out.
The caps that were left, I replaced with Nichicon muse BP.
I also removed the Output Level switch.
I did not begin to cannibalize the sel-repro circuit. In this mode, it is very convenient to check and adjust the rec head azimuth during MRL playing.
Another place that may turn out to be sick is the relays RL301, 401 and 501. Over time, from the effects of temperature and humidity, their contacts oxidize, and over time, in working process may appear a floating defects such as failures in recording or erasing and unstable work in the "turn-on" mute circuit. Relays in most of 5050's - non-hermetic, have a lid on the latches. They of course can be carefully disassembled and cleaned contacts with a narrow strip of office paper, but will be better to replace them with new "sealed" relays with suitable specs.
Not specifically relating to Otari tape machines, but......whilst working on my Studer A810, I had need for a pinch roller---old one crumbled away. I had Terry's Rubbers refurbish the bad one; put it on, and......TERRIBLE wow, not subtle at all---like a piece of gum stuck on the roller! Did some research and found that many others (on tapeheads.net) had experienced similar problems with Terry's rollers; although, to be fair, many others had good experiences. Also many complained about Athan rollers going "sticky" after a short time. The best reviews were for rollers from Gianni---https://www.sofh.it/. Have one on order so we shall see. Any one on here have any experience with any of these pinch roller vendors--sofh, Terry, or Athan?
George Athan's pinch rollers are urethane. If you don't use the proper cleaning agents, they will go sticky in short order. They will go sticky in the long term as well, but only after you should have replaced them anyway. Pinch rollers are a consumable on tape decks (except ATRs which have none)
Some of the original Studers had a habit of melting as well, found one that hadn't been looked at in a year with a puddle on the deck plate and no pinch roller!
I have not had a problem with Terry's rollers either, but I only use them on things like Otari's and such. Studers get Athan.
Cheers
Alan
Some of the original Studers had a habit of melting as well, found one that hadn't been looked at in a year with a puddle on the deck plate and no pinch roller!
I have not had a problem with Terry's rollers either, but I only use them on things like Otari's and such. Studers get Athan.
Cheers
Alan
Check out their website, but shipping almost anything to Canada seems to be an expensive nightmare from the U.S.. LOL The reverse is not always true.
It's only required for use on polyurethane pinch rollers, and it's not cheap, but when you are paying $90 and up per pinch roller you tend to follow the manufacturer's advice.
Athan Corporation - Pinch Rollers
It's only required for use on polyurethane pinch rollers, and it's not cheap, but when you are paying $90 and up per pinch roller you tend to follow the manufacturer's advice.
Athan Corporation - Pinch Rollers