#Tapedeck multimedia professional#

We’ll go through the controls on the UI for the A-6100 and omit that for the other three machines. Two tape speeds, 7-1/2 and 15 ips, were available. This was not a multi-track unit intended for studio recording use – stereo was all you got. It had dual heads, two-channel and four-channel, that allowed it to record/play stereo in one direction only with tracks half the width of the tape, or record/play stereo running the tape in either direction by flipping the reel over using quarter-width tracks. Let’s start with the TEAC A-6100 MKII, a recorder designed for mastering purposes that was introduced in 1973. But with this being IKM, frequent promotions can be expected. The list price of the bundle is $200 USD and $100 USD for single items. The authorization is via an online IKM service and requires no dongle. They are available in formats compatible with all mainstream 64-bit DAWs. These plug-ins are offered as a bundle or individually.

#Tapedeck multimedia professional#

What makes this new collection more interesting to me than the earlier quartet is that these units, two of them in particular, became essential early components in extending recording facilities to producers who couldn’t afford professional studio time.Īs you’ll see, the new collection has similarities to the first one, but I think most home studio producers will find this collection to be a more compelling addition to one’s effects collection.

Now IKM is back with another four tape units, all of them made by TEAC or its subsidiary company TASCAM.

Yet at that pre-digital time, tape was the only game in town for recording music. Four studio-quality tape units constituted that suite, all machines that were out of reach to budget producers at that time due to their cost.

About two and a half years ago, IK Multimedia made its first foray into high-end tape simulation territory with the Tape Machine Collection which was added to the T-Racks lineup (read the SoundBytes Magazine review of that here).