Thanks. It was actually tracked on a Tascam model 24 straight into the pres and using the board's EQs. I dumped it to tape after the fact.

@@asiergonzalez5260 believe it or not I tracked this on a Tascam Model 24.

@ I do, I do. You did a grate job. Thanks a lot for the answer.I’m thinking about getting a 388, M35 with 38 tape machine or the new 2400. Mostly I want to experience analog. Change my mind, new challenges and have some fun, of course. Can you recommend or do you know any good book to learn about analog recording, tape machines maintenance etc…?

@@asiergonzalez5260 Thanks. More important than anything are the musicians. These guys will sound great no matter how you record them. As far as books, the internet is your treasure chest. I'd look for a book on analog recording from the 1960's-70's. You can also download the manuals to just about anything. I'd start there. Maintenance is another story. This is where a background in electronics and engineering is really valuable. Or expect to pay good money for proper upkeep.

@@gavinjones8543 thanks!

@@jesussevilla5151 thank you!

Thanks for watching/listening!

Thanks for watching/listening.

Some people just don't have the ear. Edit: Everything in it's right place and time. Horses to water, etc.

This is purely the recording process (Part 1). I talk about recording flat so that when you start your mix (Part 2) your starting point is 90% there. For sure the faders will move above and below unity in the mixing process. Especially as more processing and automation happens. For what it’s worth, I do know a few people who “mix flat” too. Once I’m at the mixing stage though, the faders are fair game!

Thanks for watching! Yep, a hypercardioid mic and great placement in the room can do wonders! The band being self balanced is a huge part of this too. They’re not playing super loud.

You rule Maya! 🙏