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Made right here 3m m79 manual in the U. These machines recorded many worldwide 3m m79 manual hits provided with their glorious sound. Selling the 3m m79 manual last of my restored MIncom 3M Pro-recorders. The 3m m79 manual M is a killer sounding recorder. My friend Phil Punch from Electric Ave studios here in Sydney is the only guy i know that has a recorder that has the 3m m79 manual balls of the 3m. I m not a pro studio operator but have recorded some great music on the M in various houses i have lived in over the year s here in Sydney. The M Sawed-Off can fire a wide variety of mm rounds. Here at we carry a huge selection of compatible grenade shells for your liking. This smaller version of the M is ideal for quick deployed, intense cover fire. Increase your fire-power and dominate the opposition today with the King Arms M Sawed-Off Grenade Launcher Inspired by customers, 3M creates innovative products and solutions for the challenging opportunities your business faces. Find 3M products you use most at Grainger. Mar 24, Welcome to the 3M M ALIVE Blog Here is where we interact. This site is an extension of the 3m website and created for you to ask question, watch tech videos M4v format and to subscribe to the 3m m Itunes podcast. Original Metal 3M M style, black, reversing idler for 2 Tape Machines. This is NOS, has light scuffing from being stored but is fully functional and correct. Top cover included but no bearings are included in this sale. Find great deals on eBay for 3m tape machine and 3m case sealer. Shop with confidence. The 3M M Tape Machine is a versatile, multichannel, compact magnetic tape recorder for producing superior quality master recording tapes.We designed the Adjustable Tape Dispenser M to dispense our Pouch Tape and adjust it for each job by setting to the desired tape length. The high, flat platform helps prevent the tape from curling, allows easy dispensing and smooth operation. I found a guy in Utah that sells puck rollers for 3M s.http://hstechno.com/userfiles/3pk-nt007-manual.xml
They are each and have worked very well on our M79. I am reviving an M to use as a digital transfer machine, and although I can certainly get it to Play, I would like to know just how all functions were intended to be used. 3M Mincom Selectake I Manual. 3M Mincom Selectake II Manual. Details about 3M Mincom Service Bulletin Collection for M Tape Machines. 3M M SPARE PARTS MANUALS FOR OR 24-TRACK MACHINE SAuction includes everything pictured. Some of these parts, mostly the smaller ones, are brand new. We have included extra-large photos so Re: WTB manual for 3M M tape machine Post by Family Hoof Tue Sep 28, am I d make the same offer but i don t have time right now. If you still have trouble in the future maybe i can copy some pages or look stuff up. Manuals and User Guides for 3M Series. We have 3M Series manual available for free PDF download Instruction Manual 3m Series Instruction Manual pages 3M s Mincom division introduced several models of magnetic tape recorders for instrumentation use and for studio sound recording. An example of the latter is the model M recorder, which still has a following today. 3M Mincom was also involved in designing and manufacturing video production equipment for the television and video post-production industries in the s and s, with such. I am looking to upgrade the integrated circuits on a 3M M track. Currently there are LM741s. Recording Equipment Manuals. 3M M Tape Machine Instruction Manual 3M Selectake II Tape Time Locator Instruction Manual AMPEX. AMPEX Model Conversion Manual Up for sale is a rare 3M M track recorder with and track heads, a spare machine worth of parts, a rebuilt capstan motor, new belt, rebuilt power supply, the original 3M remote and the rare working Sound and Vision Autolocator. Apparently this M came from Motown, as Motown Engin. Professional 3M M Track 2 Studio Recorder Made in the U. With innovated iso loop drive system. All 3M Products 3M Products. Find a Product.http://www.dasita.com/files/3pk-nt007-manual.xml
Adjustable Tape Dispenser M797 3M United States. Wele to the 3M M79 ALIVE Blog 3M M79 ALIVE. 3M M79 16 Track Professional Recorder 1830117662. 3M M79 PROFESSIONAL Multitrack 16 Track Recorder 5 000 00. 3M User Manuals Download ManualsLib. 3M Min 2 Reversing Idler for 3M M79 Tape Machine. Find me Moderating at Tape Op That's only been twice in almost 2 years. I consider that pretty good for a 30 year old machine. It will happen even less now that we've really gotten to know the machine. The transport is tricky but after the first time I spent a day of tweaking I know how to whip it into shape quickly. Get the machine and make sure you have spare parts ready to go in case something goes wrong.You can't call me a Studer snob when my next choice is an Otari which has much less snob value than your MCI. I've done side by side A-B's. recording the signal siumultaneously to an MCI and an A800.There are just a LOT of MCI's out there (because they were cheaper!) so now people have learned to love them. You do NOT want to own one. Too much trouble. Need mods just to work properly. 3M M79 - musical, beautiful and clear. MCI - punchy, almost like a little brother to the Ampex, but not in the same league as the two above. MCI construction is detailed and thoughtful (VERY easy to service), crappy connectors all throughout. Studer - there are so many versions. All sound good, built and designed very well, the oldest ones sound great, but punch badly and are tougher with parts and service. The newer ones are good but not quite as full and clear as the Ampex and 3M. Otari - not that good-sounding, all the ones I've heard. Used to be my main machine, VERY good with tape. Easy enough to fix. Stephens - rare, great sound, amazing design. Rough sailing if you want it fixed. Scully - punchy like the old Ampex, but not as clean, tough on tape, some bits are very hard to service.I cannot say enough nice things about the service he has provided thus far.http://www.drupalitalia.org/node/67144
His rates are very reasonable and he is great about answering emails. His work is top notch and thorough and he really knows these machines. I highly recommend his services! Can anyone help? Thanks! Barry I'd be happy to drop it by the Kinkos if you pick up the tab and shipping.Find me Moderating at Tape Op I got my 3M M79 manual from them. They included everything - the M79 operators manual, the service manual, the factory service manual and the Selectake manual These were all really good quality copies and they had these humongus schematics that folded out. They did a good job for me. I will see if I can locate their eamil or web site and post it later. Bob EDIT: of course I found the link as soon as I finished the reply above. The web site for GRS is Speak to Joe or Ted I appreciate your help. I have now been contacted by a couple of people who can help. I think it's going to be OK! Barry I was wondering if your manuals include parts blow-up views. Thanks PS: Keep Ted Jolly ( www.grssystems.com ) in your thoughts and prayers. He is recovering from a severe back injury. Anyway, you asked about the manuals having blow-ups. The one I got from GRS has the schematic blow-ups and there are anumber of parts and assembly blow-ups too. I just checked out the GRS web site and they have the manuals and descriptions listed there now. grssystems.com Wow, no I didn't know about Ted being injured. He was the one tech that really got my M79 working right. He spent a couple of days at our studio and sorted out the machine so it ran better than new. Better sound and was much more reliable. He knows these machines inside and out. Sorry to hear he got hurt. Do you know what happen to him? Bob His studio and company was Elixir Audio in Athens, GA I've been after them for nearly 18 months to get me some help, but they went over to install a console and got stuck with washed out mountain roads etc. Months and months of delays. Sounds like a huge project, with big issues to tackle.http://d-frax.com/images/3m-ls1050-laminator-manual.pdf
They have a ton of unclear voicemail boxes on their phone line - no clear way to know how to reach them that way for an update. But no replies to my many queries since they contacted me from Thailand. Learn more My understanding is that parts are somewhat scarce and they can require a lot of maintenance to keep running. My question relates to whether it's worth spending the money on a tech to bring it back to performance level or sell it off as parts. As a 16 track machine, would the M79 offer anything sonically over a 24 track Studer A800. Is it worth the trouble or will it just be a headache. I have a tech locally that can fix and maintain it. Anyone with any experience?My understanding is that parts are somewhat scarce and they can require a lot of maintenance to keep running. Anyone with any experience? Just to be clear about that before hand so you don't think I am pimping with my reply below. Okay now that that is out of the way. Not sure I would go far enough to say they are the best but there are up there in my book. If you know someone local that will work on it and you have parts then I say it is a no brainier, get it going. The only thing holding me back from getting mine up and running is there are no techs around here to do the work, I would have to pay for travel time etc.A lot of people hate them with a passion, and other praise their sound and incredible low end. The point of actaully getting the machine to it's best is I think what deters most people from hearing their best. It's going to cost some money just because they are a little different from the normal tape machine and the parts are becoming harder and harder to find. With that being said, to the owner of the 16 track, where do you live?They require more of an expert that say an MCI. They're wonderful machines sonically and can be modded to sound even better. My 24-track has been done over nicely, but she's still a quirky beast.
If I lived near my tech in GA I would not have bought an MCI, but out here in the sticks I need simplicity. I might be willing to part with my girl to a serious buyer.What are the mods people speak of?When I first got mine there were issues with the remote about 6 months after I got it. After trying some phone assistance I couldn't get it to work right so I had to send it to GA. Other times there were more typical things, like having all of the motors rebuilt because the machine is around 30 years old, so that was just a case of getting barrings and having the work done. Same with the pinch rollers, go to Athan, but parts have them installed. Those were typical age things. There are a couple of mods flying around, but the Studio Tech1 mods are the most complete. They were developed with Bart Gass, one of the machine's designers. They extend the frequency response, improve signal to noise ratio and increase the slew rate. I'll try to get Doug to come by and offer more information. He also does a fast punch mod, to speed up the punching (duh!). Power supplies are also covered, not just a re-cap but more swapping of parts. 16-Track M79s sound amazing. There's so much surface area on the tape and the great sounding machine are a match made in sonic heaven.When I first got mine there were issues with the remote about 6 months after I got it. There's so much surface area on the tape and the great sounding machine are a match made in sonic heaven. On top of that he has many spare parts around that other people just can't get their hands on. I would talk to him about the machine, he is cool and he is a wealth of info. After talking to him you would know if it is worth building the machine or not. I also agree with Drumsound, a 16 track M79 would probably put a huge smile on your face. Hey Drumsound. Doung mentioned before that he might be interested in my machine for parts or to rebuild but I lost his number, can you PM it to me please. That would be cool, thanks.
Ok, my friend Tony at Oxide Lounge (Drumsound, to most of you) persuaded me to weigh in on this thread although I'm mostly just lurking in the shadows here at GS. The 3M M79's can be some of the most wonderful sounding machines ever made, with a bottom end as rich or more as any, but yet different from both the Ampexes and the Studers. When correct, these are wonderful sounding like no other, but first, I want to reduce most of the romance to rubbish so you can evaluate a prospective acquisition without starry eyes. Beats romancing the bankruptcy court. The audio electronics are not often that problematic, and upgrades have been designed for them that take sonic transparency on these decks to new levels (ask Tony about the sound, as I did these mods to his. There was also a power supply recall early on in production, but I have seen some of the defective ones still out there, so watch out. Again, I want to say that I am IN LOVE with the sound of a correctly running '79. However, the general rule lately has been NEVER as the only deck in a busy commercial studio. For those adventurous souls so far undaunted by my negative ranting, read on, there is a bit of light here. There are a lot of parts still available for these machines, the bearings are readily available, often via local sources, the belts I have had made and have a reasonable supply, Athan is doing a wonderful job making rollers and idlers, most electronic parts are common and easy to find with the exception of Vac-Techs, HTL logic chips, audio switching relays and a few other items. My personal parts inventory may not be as deep as it's legend is large, but I can usually get one of these running. For those of you with technical skills contemplating the purchase of one of these, be very prepared to do a lot of research and spend much time with it, as these machines (especially the transport) can be tweakier than most.
I do think these are a value (as are the Ampex's) for the DIY type tech, small studio owner as you can get a lot of machine for reasonable money and a boatload of time. Save yourself the experience of eating gunmetal, forget the romance, and do not buy one if.I've long wanted to do a complete redesign of the transport electronics and mechanisms on these decks and offer it as a retrofit to make them as solid reliable as an Otari MTR.In closing (about time, huh) let me say that these decks were on countless classic rock records we all know and love, and were an integral part of the sound. Somewhere in my mountain of paper I have the discography from the original Rolling Stones Mobile, which was M79's (I know, I worked on 'em), and it will blow your mind. It just takes a brave, adveturous soul to keep running one these days.But if you do get the 3M you will be many cuts above your competition the sonic difference is not a small thing.My service tech reckons they drift a bit from calibration much quicker than other machines straight after setup but they then steady and hold their ground for longer than other machines.Also agree with the dude elsewhere that claims it sounds mechanically like a washing machine is next to you, might be off put if you dont have a seperate machine room for it. It is bearable still if you turn up the monitors a little. Parts are available thank God. He also services 3M machines and knows them very well, he even knew the technical team at Mincom and has service knowledge handed down to him that is not written in the 3M service manual. Get in contact if help is needed.When Doug did mine I was amazed how quiet it had become.But if you do get the 3M you will be many cuts above your competition the sonic difference is not a small thing.My service tech reckons they drift a bit from calibration much quicker than other machines straight after setup but they then steady and hold their ground for longer than other machines.
Also agree with the dude elsewhere that claims it sounds mechanically like a washing machine is next to you, might be off put if you dont have a seperate machine room for it. Get in contact if help is needed. It's so frustrating because its worked beautifully for 5 years and it truly sounds like absolute heaven so I absolutely MUST get it ticking over again.It's so frustrating because its worked beautifully for 5 years and it truly sounds like absolute heaven so I absolutely MUST get it ticking over again.Last I heard he left Athens and was moving to Texas. ThanksLast I heard he left Athens and was moving to Texas. Thanks Athan Corporation - Pinch Rollers Memorials, RIPs and Obituaries Grove Park, Maidenhead, Berkshire SL6 3LW.Hosted by Nimbus Hosting. If you agree to our use of cookies, please continue to use our site.He also suggested I look for an 3M M23 8 track which I've never used before. I trust Dave when it comes to such things but would like to hear other peoples thoughts on this rare beast. Thoughts? Also still looking for an Ampex 350 3 track for the Langevin tube console. I'll be seeing Bob Irwin soon to check out his Presto 3 track recorder. It is in mint condition and was never really used before Mark Wilder got it and then Bob. I know Bob has never recorded with it and I don't think Mark had it long enough to either. So anybody know anything on these Presto machines. How the transport handles tape, how they punch, the electronics. Bob has the original manual and everything for the machine but I'm not sure about parts availability for such a beast. Silvertone Mastering, celebrating 29 years in business. www.silvertonemastering.com “And the beat goes on. I had 3M 2 tracks, 4 tracks, 8 tracks, and 16 tracks (still have a 16)., and really liked using them. They always sound nice and punchy, and the tape handled well most of the time. Autolocator was ancient technology, but so what. Not the gentlest machine to tape but not a threat when properly set up.
Terry, you have the autolocator. Those were optional and yes, they are crude. Matt Marinelli at Coral Sound is a good source for finding anything 3M. Parts would be harder to find than those for an AG440 I just asked Mark Wilder about the Presto and he said he did do a record alignment on it 15 years ago but never used it as a recorder on any projects. He said you can feel free to contact him with any questions. The transport is the daddy of the Scully 280. Parts would be rare. I'll try Matt Marinelli, thanks. Thanks for talking to Mark. I'm trying to work out a deal with Bob for it right now.My wife thinks I'm insane and really wants to know if they'll be anybody interested in recording this way. Bob expressed interest and the group Moe as well and even Dave Amels said he might have to come up and give it a try (I have the B3 all ready and waiting for him). Right now, like many, I'm in survival mode for my business but I still have to dream (I've had way to many dreams die in the last 10 years and really need something to look forward to). In the end I figure I should be able to sell the whole thing off for at least what I'll have into it if it doesn't fly. That said, in my dream world I could see myself getting out of mastering, selling all the computer related gear and just make period recordings live off the floor in the studio to 3 track.Guess I really do need to win that lottery. A great guy -- I doubt you'll ever find a nicer guy -- and very knowledgeable about 3M decks, with a good parts supply. He helped us get a M79 with autolocator and manuals. And we contact him every time we need something. He's prompt to reply and is great help. While I dearly love our M79 24 track, it has been constant upkeep, just like a vintage car can be. The documentation for the machine by 3M is terrible. Not at all what you would have with an Ampex. But the deck sounds good and that's the main thing. The autolocator is indeed primitive but gets the job done.
Parts can be hard to come by so I can't imagine using an earlier version than this. Although if J.J. ever decides to part with his 56 I'd take it.The M23 is and can be a nice machine, though it is old and cranky. I would imagine if you wanted one to be completely solid and trustworthy a full strip down and rebuild would be in order. It would be costly but I think you would have a nice sounding machine, but again you have certain parts and operations from that era that you will have to live with- namely a flywheel driven capstan. I don't actively sell many machines as it is not my priority. Not many people have the budget to get one rebuilt correctly and throughly and that often-times is my greatest concern because who do they call when one little thing starts to act up?? ME! I will sell a 3M to someone who knows what they are getting into and I don't mean that in a negative way, I just want to sell a really nice product to someone who really wants a 3M machine or 1176 ect. I've currently been building a 3M M79 2trk for a client who bought a M79 24trk from me. It's been a slow build but my client understands and I'm discovering new methods and approaches to make it the best I can for the price. I will be delivering it personally (the only way I can fully trust it to show up alright) and will be fixing a few channel card problems that have popped up over the two years he has had it. Not too Bad! As far as the niche based recording Larry, I'm not sure. It's a tough one. I have a hard enough time finding bands who can play, let alone bands that can or want to commit to something like that. I find most artists rarely care about the medium in which they record. They want to feel comfortable and make sure what they put down can be played back promptly and accurately. Now I could see a Jazz band being a really great candidate for your approach but it might be a hard sell. I wish you luck in whichever way you go. That's great because so am I. A little background.
Not familiar with the 3M machines though and if I were to get one Dave Amels and Ken McKim would probably be my tech's for it, so I'm not worried too much about that. Everyday maintenance I could handle. As for the niche based recording market I'm thinking of, if the bands that can't play together, I have no interest in recording them anyway. In upstate NY, musicians never stopped playing with one another. I'm really leaning toward the 3 track recording format for these types of players. I know it's the talent and not the gear but the gear does have an influence on the sound (and hence, the players). In doing this type of project it puts recording back into the hands of the talent.Reality is the best musicians still would prefer to play with other musicians while they record.After reading this back. I KNOW I must be high. Just offering my advice. Sorry if you took it a different way. So I hope I didn't insult you with my comments. But yes, you're definitely high. When I tried to get them to perform without headphones I got a reputation as a bit weird and difficult, so I gave in. At 57, I'm a chastened engineer with a bad back. Barry Read more posts (7 remaining) Thoughts? WHATEVER WORKS Shure SM57 WHATEVER WORKS Automation vs compression WHATEVER WORKS California fires WHATEVER WORKS Share Share with: Link: Copy link Back to top Information. OK Join Information. Yes No Choose Display Mode Original Customized Dark DONE. Just needs to be detailed and a proper alignment, I have the owners manual and couple extra cards with the extender-card. If you have any questions please give me a call. Fair 76,797.62 ? RUB Local Pickup Only Listing Ended Make an Offer Watch If you watch the listing, we'll notify you if it becomes available again. This machine was made in 1973 at the 3m plant in Camarillo ca. I have done very little maintenance on this machine, runs just fine, although I just replaced all the indicator lamps and the photo resister on the tape break.
Thanks Bob Heman 8187008822. Items must be returned in original, as-shipped condition with all original packaging. Finish Black Year 1973 ish. Show More Similar Products Please check the fields highlighted in red.Currency. For a better experience, we recommend using another browser. Learn more Facebook Email or phone Password Forgotten account. Sign Up See more of Allen Sound on Facebook Log In or Create New Account See more of Allen Sound on Facebook Log In Forgotten account.Machine will be aligned for that tape. Cosmetically, very clean. Many DAWs include quite effective tape-emulation plug?ins, and third-party ones are also available. There have also been a few hardware analogue?tape simulators, one of the most impressive to date being Rupert Neve Designs' Portico, which uses inductive circuitry to recreate the complex magnetic non?linearities associated with tape recording. The AnaMod ATS1 is a new and impressive hardware device, which takes an entirely novel, or even radical, approach. Their product range is fairly limited, but already includes compressors based on the Fairchild 670 and 660 vari?mu designs, an equaliser based on the API 500?series EPQ1A, and the ATS1 tape?recorder emulator, reviewed here. Analogue 'computing' of this kind certainly isn't a new technology, but it's not one you find very often in audio equipment, and it is an innovative approach. Being entirely analogue, there is no latency to worry about, and no A?D and D?A conversions either. The pressed?steel case and brushed-aluminium front panel give it a fairly traditional look, enhanced by the vintage dials and control knobs. The internal mains power supply is a fixed?voltage design (230V in the case of the review model, of course) with the protective fuse fitted on the main PCB inside the unit. Mains power is connected via the usual IEC socket, and the two channels of audio via XLRs. Most of the electronics come in the form of normal?sized components and integrated circuits, but the plug?
in cards are all surface mount (see below). A number of small sub?boards connected to the front?panel controls are wired back to the main board, which also has eight memory?type SIMM sockets. These sockets are used to accommodate a selection of up to four each of different tape-recorder and tape-type emulation high?density surface?mount circuit cards (which can be changed by the user). It also had cards for two tape types: Quantegy GP9 (a very high?output tape formulation) and Ampex 456 (the classic reference, to many). All bar the Ampex 351 recorder emulation are supplied as standard with the ATS1, but by the time you read this a card should also be available for an ATR102 recorder, and AnaMod are currently working on one for Scotch 111 tape. However, without taking the lid off I wouldn't have known what options were installed, or which positions they occupied. If a vacant machine- or tape?emulation card is selected, the relevant button flashes, which is a nice touch. Everything else — frequency response, noise and distortion — varies with the selected tape emulation and control settings. For those running their studios from environmentally?friendly wind generators, the ATS1 consumes a measly 25W — although I reckon they could get that down to 5W if they used less meter illumination! Obviously, ganged stereo input and output controls would restrict the flexibility of the machine, so I would have much preferred the compromise of rotary switches so that settings could be matched easily and precisely between channels. Moreover, ganging the input and output controls for each channel would be a better idea so that as input drive is increased, output level would reduce correspondingly, to provide unity gain throughout. These small changes would, for me at least, have made the ATS1 far easier and less frustrating to operate.
The hiss control introduces a very analogue noise floor that I found a very worthwhile feature indeed, and although I found the control range excessive (I rarely set it higher than about 30 percent) it did seem to add a quality that was very pleasant and natural. Time for another tiny gripe, though: the review machine was supplied without a manual. I was able to access the on?line version, but was a little disappointed with its sketchiness. It gives no information at all on the standard machine or tape?type emulations supplied, or even about the original recorders and tape characteristics that it is trying to emulate. The description of the controls is also very shallow. Not a problem for anyone familiar with the mysteries (and calibration) of analogue tape recorders, but for anyone else, the facilities will remain little more than mysterious tone controls! I also started with the bias and EQ controls at their centre, zero, positions, and found I was getting very good, completely believable results with all recorder and tape emulations, working on a variety of commercial stereo recordings and some of my own recordings and works in progress. Of the many software and (fewer) hardware tape?emulation systems I've tried, without doubt this is the closest yet to being a convincing substitute. Pushing the levels hotter and hotter, the bottom end started to fill out and the dynamics became increasingly squashed, before giving way to a lovely organic distortion. Exactly like a tape machine. Wind the bias level back and the high end brightens and smears, introducing edgy sibilance to vocals while simultaneously adding a mid-range fuzz of increasing distortion. But in every other respect it is phenomenally accurate. Stick a 150ms delay on its output and flip the monitoring between direct and processed, and you'd swear blind you were listening off the replay heads of a proper tape machine. That's how convincing it is.