Recorder Deck
Reel to Reel - The Heart of Analog Audio Recording
What kind of mental picture comes to mind when you think about "reel to reel"? Some of us conjure up the video projectors with the great spools of film rolling between the reels - others think about the reel to reel recorders that were commonly used in classrooms. It really depends on the era and how willing you are to show your age.
The History of the Reel to Reel - Over 60 Years Young
Prior to reel to reel tape decks people were using recorders with spools of wire. Wire recorders were first invented in 1898 and became popular in the consumer market during the 1940s. However with the invention of the open reel tape deck and its release to the public in 1948 the wire recorder declined into obscurity.
Why the Switch
The audio fidelity between wire and tape was comparable but open reel tape gained favor quickly not only due to the quality of the analog sound but also in how easy it was to edit the tape. To edit a wire recording the wire had to be cut and then joined by tying the two ends together in a knot. While this worked, it wasn't ideal - splicing magnetic tape was much easier and resulted in a higher quality edit.
With magnetic tape on an open reel, the audio could be quickly edited on the fly by making a simple cut, then rejoining the tape with a thin adhesive called a "splice." Because most commercial reel to reel recording devices came with a splicing block, a skilled individual could rapidly edit audio in a very precise fashion.
The Birth of Something New
The reel to reel as we know it today has roots in Germany during the World War II era where it was then known as a Magnetophon. The technology was captured during the war period by the U.S. Army Signal Corps under the eye of American audio engineer Jack Mullin. Seeing potential in the design, he worked to improve it and develop a commercial use for the machines in the US.
In 1947 he pitched the recorder to MGM studios where he caught the attention of Bing Crosby. Impressed with the design and also with the potential of the product, Crosby invested in the production of the device through a company known as Ampex. Crosby then went on to be the first American to master commercial recordings on tape - including pre-recordings of his radio programs. The continued research and production by Mullins and Ampex led to the development of commercial stereo and multi-track audio reel to reel recorders.
Reel to Reel Audio - For the Love of Quality
Audiophiles and industry manufacturers quickly realized that the performance of a recording was directly affected by both the speed at which a recording was handled and the width of the tape itself. People embraced the quality of the reel to reel tape system but with all the components of reel to reel there was a potential for variances that could directly affect quality.
- Tape formulation (backing and thickness)
- The design of the reel to reel recorder
- Machine speed stability
- Head gap size & quality
- Head design and quality of technology
- Alignment
- Tape tension regulation
- Track width
Each of these can affect quality and signal-to-noise ratios. Because of the variances, especially with the type of tape, its make-up, and width, a recording studio or commercial operation would often set their machines up and align them to handle a specific brand of tape. Unless a change was necessary, they stuck to that brand and model. This helped to eliminate a number of variances that negatively impacted sound quality.
The Difference in Reel to Reel Tape Speeds
As mentioned, the faster the speed of the recording, the better the quality. The downside to this method is that it uses a lot more tape. A slower speed would in turn use less tape but there is a higher signal-to-noise ratio that reduces the sound quality. Slower speeds were far more common when the quality of sound was less important:
15/16ths of an inch per second (in/s) or 2.38 cm/s
Common for lengthy recordings or logging. This could include long lectures or radio addresses where a station needs to "log" its entire output.
1 7/8 in/s or 4.76 cm/s
The speed would lend itself well to extremely long speeches that need some measure of improvement over the quality of the above. This was considered to be the slowest domestic speed that most found to be acceptable.
3¾ in/s or 9.52 cm/s
This was typically the most common domestic speed when it came to recording and playback because it offered a fair amount of quality in terms of speech and general recording purposes where reel to reel is concerned.
7½ in/s or 19.05 cm/s
While this is considered to be the highest domestic speed for the best quality in general recordings, it was the lowest acceptable speed for professional recordings such as dubs or commercial announcements.
15 in/s or 38.1 cm/s
The most common speed for professional reel to reel recording. This speed was typical of music recording as well as most commercial radio programming.
30 in/s or 76.2 cm/s
When the most quality was in demand for a specific recording, this was the chosen speed. While it used a great deal of tape it provided much more professional sound necessary for clear recordings of such pieces as classical music.
The Power of Reel to Reel
While digital recording adds a lot of convenience to the modern recording process, there's a reason why analog & reel to reel technology still exists today. Audio enthusiasts recognize now the same thing they saw then - analog audio in a reel to reel setup has a very rich, robust and melodic sound that many believe can't be achieved with digital technology. To some, with a trained ear, they would tell you that digital technology offers substandard sampling when compared to analog.
The reel to reel tape recorder was made available to consumers for use in their homes for a period of approximately 25 years (from the mid 50's through the 70's) before it was pushed aside by the convenience of the cassette tape. Prerecorded music reels were still sold into the '80s but were much harder to come by. Still, those audiophiles with a love for sound as well as those in the professional recording industry recognize the power of reel to reel recording and the commercial use of this system.
This is why many artists continue to record both in digital and analog formats, using reel to reel commercial tape recorders in studios even today.
About the Author
Audible Forensics is not only a forensic audio company but in addition we are experts with audio transfer and digitization services. We can transfer your microcassettes, standard cassettes, 8-tracks, minidiscs, and reel to reel to CD or a digital file format. We also offer transcription services if needed.
Why can't DVD's copied from VHS using duel-deck GoVideo VR3845 be viewed on other DVD players?
Every DVD I copied from a VHS tape and mailed to family members, their DVD player indicated the DVD was blank, although I could view them on my GoVideo, prior to mailing them. GoVideo is no longer making the DVD Recorder + VCR. The GoVideo I have is model VR3845. Is it possible that other DVD's are not compatible with anything copied on a GoVideo? This is frustrating as the VHS tape came from 8mm film of 67 years ago, of a Mock Wedding when I was a child, along with my three siblings and cousins. Sure would appreciate knowing what the problem is, as many family members were looking forward to the DVD. I thank those in advance for resolving this problem.
Hello Mike A
The DVD I used were DVD-R. Is that the problem here? When I bought the DVD's at Costco, they didn't tell me there might be a problem burning them. So, how do I change the code you mentioned? Thanks for you reply.
Puddycat
The region code that is put on the DVD when it's burned, may not be the same region code as the DVD's played on. Another possibility is the fact that the DVD players may be older models, and won't play burned DVD's such as DVD-R or DVD+R
www.frooglebuyer.com
www.epalchat.com
Recorder Deck
1985 GE radio/cassette recorder: ultimate cheapness
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Sony TC-WE475 Dual Cassette Player / Recorder $124.99 1 x Headphone 1 x RCA Audio In 1 x RCA Audio Out 110 V AC 2 2 x Cassette 4.75" Height x 17" Width x 11.50" Depth 7.28 lb CD synchro recording with compatible CD players (Control A1) Remote Control Capable with Sony A/V Receivers Dolby® HX Pro® Circuitry Wide-Range Pitch Control Switchable MPX Filter Twin Electronic Counters Fader Switch The TC-WE475 cassette player/ recorder is packed with features that enable a great listening and recording experience. Use the dual auto reverse feature as you listen, and hear the difference that Dolby B and C noise reduction makes as it suppresses high frequency noise. Black Dolby B/C Double Auto Reverse Dual Cassette Deck Full-logic Sony Sony Corporation TC-WE475 TC-WE475 Dual Cassette Player / Recorder TCWE475 www.sony.com |
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JVC SR-HD1500US Blu-ray Disc Player/Recorder $2032.99 11.20 lb 110 V AC 13.82" 17.13" 2.76" 500 GB SR-HD1500US Blu-ray Disc Player/Recorder BNC Male to RCA Female Adapter Infrared Remote Control Unit Audio / Video Cable 2 x "AA" Batteries AC Power Cord Record and author compliant, professional Blu-ray discs without a PC with this all-in-one combo deck. HD recordings from a camcorder can be easily transferred to a high definition disc, or down-converted and recorded onto a standard DVD. Copying unprotected DVD and Blu-ray discs is a simple process with a built-in duplication function. USB 2.0 and i.Link connectors, combined with an SD/SDHC memory card slot provide an interface to most SD and HD digital camcorders. AVCHD BD Video Blu-ray Disc Player/Recorder CD-DA DVD Video Dolby Digital JVC MPEG-2 MPEG-4 SR-HD1500US SR-HD1500US Blu-ray Disc Player/Recorder Secure Digital (SD) Secure Digital High Capacity (SDHC) Thailand Victor Company of Japan, Limited Yes www.jvc.com |
Record Labels
Setting up a record label isn't an easy task. One of the things you have to remember is that there are thousands of people every year who have a huge interest in music, trying to set up there own record label and have little success.
The absolute most important part of a record label, the one thing is can survive without is salable artists. Many people are so caught up in making there label look trendy, with flashy websites, witty banter and fashionable image, that they totally miss the point. Your artists are without doubt the most important thing on your list.
Small independent record labels should do there absolute up most to keep there signings happy. That way when the suits from huge mega corporations like Sony and EMI come along to try and sign your now moderately successful artist for there next album, they will be less likely to risk the move. Dance music record labels are usually slightly different as they don't usually sign there artists to sign contracts for albums. The Dance music industry revolves around singles.
One question you will have to ask yourself early in the process of setting up your label, at least in the time before your first release; is whether or not you should be a digital only label. That is for example, not to sell CD's or Vinyl but only mp3's or m4a's. While this is great for singles, the industry as a whole has found people tend not to buy the full album anymore, cherry picking the songs they've heard or like of the radio.
One for the recent changes within dance music imparticular, is the shift from vinyl to CD. With the massive lurch towards the digital age, dance music has embraced the CD deck. The majority of DJ's I know only use CD's now. They are lighter, less cumbersome and less easy to damage. However the good new to mp3 labels is the fact that is very easy to burn off a CDR full of mp3 and stick it into a Pioneer CDJ. Not many people have a vinyl cutter in the bedroom.
One of the problems with mp3's is they are far easier for people to pirate. However I believe this is not the problem that media will have you think. Some of you reading this article will remember back to when the said the cassette tape would kill the music industry. Yet here we all are still having fun listing to great music.
Unfortunately for many of you, the time maybe too late four you to start your dream carrier. It all depends on your chosen style of music. If you're a pop fan, which I'll assume most of you are not. You will never compete with the likes of EMI, so put the idea out of your head of setting up a pop label. I also think the same should be said about indie. There are plenty of independent labels out there who focus on indie music (that's how the genre got its name) who are a lot more established, and have a good reputation.
Your best bet is to build your label around a niche market, and try to embody the sound. Like what Factory Records did in the 80's in the UK.
So I'm off now to set up my afro-gabba-funktastic-trance-tro label see you on the other side.
About the Author
Johan Nickson is A music industry analyst
http://www.mixfire.co.uk
- From
Mixfire
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