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Author Topic: tascam msr-24s (1991?) 24 track reel to reel  (Read 1993 times)

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Online chrisNova777

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tascam msr-24s (1991?) 24 track reel to reel
« on: June 23, 2017, 09:31:21 AM »

Online chrisNova777

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Re: tascam msr-24s
« Reply #1 on: June 23, 2017, 06:04:40 PM »

Online chrisNova777

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Re: tascam msr-24s (1991?) 24 track reel to reel
« Reply #2 on: April 18, 2018, 12:11:16 PM »
https://www.soundonsound.com/reviews/25-products-changed-recording



Quote
Price at launch: £8395

SOS review: January 1990

"Tape recording is a well‑developed science and the limits of the possible are continually being pushed by manufacturers in all price ranges.”
From the moment Fostex launched their A8 open‑reel eight‑track in 1982, battle was joined in the narrow‑gauge multitrack war with arch‑rivals Tascam. Quarter‑inch and then half‑inch eight‑track was superseded by half‑inch 16‑track, and then one‑inch 24‑track, with Fostex's G24 taking on Tascam's MSR24. The Fostex, as always, offered a few more bells and whistles, but the Tascam was the better engineered, in my opinion, and once it offered Dolby S as an alternative to its original Dbx noise reduction in 1991 (Dolby S also featured on the Fostex), it became the better‑sounding machine, too.

The nominal spec offered a 40Hz to 20kHz (±3dB) response at 15ips, with less than 0.8 percent distortion and, with the Dolby S engaged, a 93dB signal‑to‑noise ratio. Adjacent‑channel crosstalk, unsurprisingly, was slightly less stellar, but the MSR24S was nevertheless audibly in the same league as all but the very best two‑inch machines, making uncompromised 24‑track recording no longer solely the province of the professional. Unbalanced audio connection via phonos at ‑10dBV remained as a frustrating reminder of the machine's home‑recording heritage, and a combined record/repro head made lining up a bit of a chore, but the individual channel cards and hefty remote PSU all spoke of a machine that would give service for years to come.

And then came ADAT and Tascam's own DA88 modular digital multitrack, and the market for 'semi‑pro' analogue multitrack practically died overnight. The irony is that the ADAT was actually a step backwards in terms of audio quality. The Dolby S noise reduction allowed recordings made with the MSR24 to embody all that was good about analogue tape — warm in the bass, smooth at the top end, clean in the middle and very forgiving of transients and level anomalies. It exemplifies a technology abandoned just as it achieved its peak. Dave Lockwood