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Author Topic: Recreating Mike Millard Analog Recording Set-Up: AKG 451E CK-1 > Nakamichi 550  (Read 14779 times)

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Offline rocksuitcase

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Great short video.
music IS love

When you get confused, listen to the music play!

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Offline jb63

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That was a great thread!

After reading all of of it through and watching/reading all the links, it seems like it makes sense that the whole ordeal, needs to have 2 identical rigs to cover overlapping the battery swap and tape flips necessary. You could probably do this with 2 tapers, hat-mounting, and each of them running a Nak 250 instead of its older brother. Definitely need a pass to get the gear in, but the whole thing could be done stealth pretty thoroughly that way.

Anyway, this is a totally cool way to spend some time!
this is definitely not normal

Offline JEMS

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That was a great thread!

After reading all of of it through and watching/reading all the links, it seems like it makes sense that the whole ordeal, needs to have 2 identical rigs to cover overlapping the battery swap and tape flips necessary. You could probably do this with 2 tapers, hat-mounting, and each of them running a Nak 250 instead of its older brother. Definitely need a pass to get the gear in, but the whole thing could be done stealth pretty thoroughly that way.

Anyway, this is a totally cool way to spend some time!

You are on the right path. I realized I would ultimately need two tape decks to cover this right. On stands, you could split the signal to feed both and starting one ten minutes later you'd have full coverage.

It raises a point I often make about why more bands didn't record there shows in the '70s and why trucks were needed. If you wanted to record multi-track, you needed not one but two decks rolling to avoid missing anything. It was a massive undertaking.

Offline jb63

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Ha! I’m pretty sure in your life of stealth taping you’ve worked harder than most bands ever had at recording themselves!
« Last Edit: November 25, 2019, 04:15:16 PM by jb63 »
this is definitely not normal

ThePiedPiper

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This is one of my favorite topics on here!  JEMS is a wonderful source of amazing transfers and have done so much for the whole "community" by helping so many people get these tapes out of the attic and properly archived. I love the idea of recreating Mr. Millard's setup! Does anyone recall what setup Mr.Peach (famous Japan taper from the same period) used?

Offline Chrisedge

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Juicy Sonic Magic: The Mike Millard Method
https://www.youtube.com/watch?v=H9glHolSpco
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Offline Popmarter

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Saw it, so inspiring!
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Offline Gutbucket

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Cool video, glad to hear this all came to fruition.
 
If the Nak 550 was a 3-head deck one could patch the separate playback head out to a digital recorder, essentially making the transfer in real-time while capturing the "tape sound".

Flight of fancy- I once had a bunch of RadioShack endless loop cassettes of various length (30 seconds up to at least 5 min, maybe 10 or 20 as I recall).  One could re-string one of the longer ones with the prefered tape of choice, do the "real-time transfer" patch out thing and never have to flip!  Would probably want to change the tape regularly, perhaps even each set, since it would be overwritten a number of times each show. Fun to think about.
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Offline EmRR

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Cool video, glad to hear this all came to fruition.
 
If the Nak 550 was a 3-head deck one could patch the separate playback head out to a digital recorder, essentially making the transfer in real-time while capturing the "tape sound".

Flight of fancy- I once had a bunch of RadioShack endless loop cassettes of various length (30 seconds up to at least 5 min, maybe 10 or 20 as I recall).  One could re-string one of the longer ones with the prefered tape of choice, do the "real-time transfer" patch out thing and never have to flip!  Would probably want to change the tape regularly, perhaps even each set, since it would be overwritten a number of times each show. Fun to think about.

I would think quality would drop off noticeably from running endless loop cassettes, you'd at least want the longest one you could get to minimize the pass count and use a fresh one each show.  I could be wrong! 

I've played with real time playback head digital captures using 1/4" machines in the studio, and while you get some tape sound, you don't get 'playback' tape sound.  The sound most people think of being 'tape sound' on a pro machine comes from a transfer a day or two later, once there's some loss of retention in the treble and it smooths out. 

Very cool thread. 
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Offline Papaphunk

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Juicy Sonic Magic: The Mike Millard Method
https://www.youtube.com/watch?v=H9glHolSpco

Very Cool, thank you for sharing. Love to read up on the history of our hobby as I only got involved about 5 years ago in the SD Card Age.
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Offline OldNeumanntapr

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I used to have a friend who was the house sound man for the SLO Blues Society in San Luis Obispo, and would let me plug in to the board. He had a Nakamichi 550. They are really large! Even bigger than my Sony TC-153SD.

Offline rocksuitcase

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I used to have a friend who was the house sound man for the SLO Blues Society in San Luis Obispo, and would let me plug in to the board. He had a Nakamichi 550. They are really large! Even bigger than my Sony TC-153SD.
You ought to try sneaking one into a show! It was quite an ordeal. And I was only the helper (distracting security) a few times. not the actual sneaker inner carrying the deck under a coat.    >:D
music IS love

When you get confused, listen to the music play!

Mics:         AKG460|CK61|CK1|CK3|CK8|Beyer M 201E|DPA 4060 SK
Recorders:Marantz PMD661 OADE Concert mod; Tascam DR680 MKI

Offline daspyknows

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I used to have a friend who was the house sound man for the SLO Blues Society in San Luis Obispo, and would let me plug in to the board. He had a Nakamichi 550. They are really large! Even bigger than my Sony TC-153SD.
You ought to try sneaking one into a show! It was quite an ordeal. And I was only the helper (distracting security) a few times. not the actual sneaker inner carrying the deck under a coat.    >:D

Same level of difficulty as sneaking in a PCM F-1/SL2000 rig.  Luckily just pat downs then.  Anyone whining about how difficult it is to get an Sony A10, CA9200 CA-14 rig should just carry a Nak 550 around for a day.

Offline OldNeumanntapr

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I used to have a friend who was the house sound man for the SLO Blues Society in San Luis Obispo, and would let me plug in to the board. He had a Nakamichi 550. They are really large! Even bigger than my Sony TC-153SD.
You ought to try sneaking one into a show! It was quite an ordeal. And I was only the helper (distracting security) a few times. not the actual sneaker inner carrying the deck under a coat.    >:D

That's an impressive feat to get away with considering the size of the deck. I had a friend who was able to smuggle his TCD-D10 into a Dylan show past three security checks and he thought That was something, but, while the D10 is the size of a college text book, it pales in comparison to the size of a 550!

I wish I would have tried to bring my Sony 153 into the 12/5/87 Pink Floyd show in Oakland. Once we got up to the doors there was NO pat down at all! I've never seen a recording of that show.

Offline OldNeumanntapr

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Does Anyone know if Mike Millard recorded any of the Pink Floyd Wall shows at the LA Sports Arena in Feb of '80? I know he recorded the 1975 shows at the LA Sports Arena but I have never seen anything of his from the 1980 run.

 

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