You can do bounces on it as long as it's not to an adjacent track, correct?

Yeah, and you can bounce to adjacent tracks if you're careful and observe a few limitations -- don't go hotter than unity gain, maybe you have to invert the polarity to avoid feedback, expect a loss of sound quality if you use the sync head, that sort of thing.

If you're doing a full reduction using the repro head, then the sky is the limit.

Thanks! I must admit that pretty much everything you said about bouncing to adjacent tracks sailed over my head, but I doubt that would be necessary anyway. What is a full reduction?

Daffodil Column wrote:Thanks! I must admit that pretty much everything you said about bouncing to adjacent tracks sailed over my head, but I doubt that would be necessary anyway. What is a full reduction?

i guess it means "reducing" or "bouncing" ALL of the tracks.
(and you have no choice if you want to use the repro head)
interesting, now that i'm thinking about it, just realised that.

Daffodil Column wrote:Thanks! I must admit that pretty much everything you said about bouncing to adjacent tracks sailed over my head, but I doubt that would be necessary anyway. What is a full reduction?Full reduction means bouncing all of the recorded tracks to one or two empty tracks. You would have to bounce all previously recorded tracks if you are wanting to use the repro head for bouncing, as there is a slight delay due to the fact that your record head is recording to the tape a couple of inches behind where the repro head is playing the source material from. It's a good idea to plan ahead for this sort of thing before you start your session. If you start by record all of the tracks that you're going to bounce first, then you can bounce them and record everything else in sync mode.

It should be noted that the sync playback electronics on the JH-16 have the bandwidth of a shitty cassette deck. There is no eq calibration, just level.