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0.25" REEL TAPE
0.25" reel tape. Quarter-inch formats and two-channel erase heads. Click on the images to open a larger view in a new window. For details on the track width of the centre track timecode, please see the drawing on my Synchronization page. Note: Audio tape is generally A wind (oxide facing the hub of the reel).REELS AND HUBS
Reels and Hubs. Tape was/is available on many sizes and types of reels. 2-, 3-, and 4-inch reels for 1/4-inch tape with “cine” 3-spline center spindles was commonly used on inexpensive home recorders. Very finely machined aluminum reels with 0.150 tape wereused
EQUALIZATION
MRL has, to the best of my knowledge, made ALL of the Calibration Tapes for these Tascam 1/2 inch 8 T machines. At first we OEMed them for Tascam,and used their part numbers YTT1144 for half-inch, and YTT1244 for onen inch. Later they sold the identical MRL part 31J229, which is 1/2 in, 15 in/s, IEC, 250 nWb/m, and yet later they justreferred
-TRACK CONFIGURATIONS A copy of the Nortronics drawing showing track configurations. The denser multitrack formats are not represented in the above. 8T 1/2″ & 16T 1″ have track widths of about 30 mils. The super dense Tascam and Fostex formats that put 8T on 1/4″ tape and 16T on 1/2″ tape have a track width of about 17 mils. John Chester recently asked the ACETATE TAPE RE-HYDRATION Friedrich Engel, the retired BASF historian, gave me a present in a phone conversation (yes, to Germany, his English was far better than my German). You can re-hydrate acetate tapes. The procedure I used, based on discussions with Engel, was to place the tape in a 100% humidity atmosphere for about 24 hours. The subject tape was a 1935Carbonyl
MAGNETIC TAPE SPLICING The “MTA” or minimum track angle blocks for multi-track tapes were based on the speed of the tape and how much of a scatter was acceptable between the tracks as the splice rolled through. Perhaps one of the hardest Edi-Tall blocks to find is the 0.150-inch one for cassette splicing and its use is really important for thatapplication.
TAPE RECORDER BIAS FREQUENCIES Other later machines used different bias and erase frequencies. We can see with a few exceptions, the top bias frequencies were commonly limited to 250 kHz for audio, with the Sony APR series and the Ampex ATR series in the 400 kHz region. For cassettes, a practical maximum appears to be about 150 kHz. Much higher frequencies (up to at least 8 NAKAMICHI BX300 / BX300E SERVICE MANUAL For more Hi-Fi rnänuats and set-up information p'ease visitwww.ñfiengine. com
TAPE SPEED, TRACK WIDTH, FREQUENCY RESPONSE, AND DYNAMIC There are complex interactions between tape speed, track width, frequency response, and dynamic range. This article is an attempt to summarize the major influences. DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
0.25" REEL TAPE
0.25" reel tape. Quarter-inch formats and two-channel erase heads. Click on the images to open a larger view in a new window. For details on the track width of the centre track timecode, please see the drawing on my Synchronization page. Note: Audio tape is generally A wind (oxide facing the hub of the reel).REELS AND HUBS
Reels and Hubs. Tape was/is available on many sizes and types of reels. 2-, 3-, and 4-inch reels for 1/4-inch tape with “cine” 3-spline center spindles was commonly used on inexpensive home recorders. Very finely machined aluminum reels with 0.150 tape wereused
EQUALIZATION
MRL has, to the best of my knowledge, made ALL of the Calibration Tapes for these Tascam 1/2 inch 8 T machines. At first we OEMed them for Tascam,and used their part numbers YTT1144 for half-inch, and YTT1244 for onen inch. Later they sold the identical MRL part 31J229, which is 1/2 in, 15 in/s, IEC, 250 nWb/m, and yet later they justreferred
-TRACK CONFIGURATIONS A copy of the Nortronics drawing showing track configurations. The denser multitrack formats are not represented in the above. 8T 1/2″ & 16T 1″ have track widths of about 30 mils. The super dense Tascam and Fostex formats that put 8T on 1/4″ tape and 16T on 1/2″ tape have a track width of about 17 mils. John Chester recently asked the ACETATE TAPE RE-HYDRATION Friedrich Engel, the retired BASF historian, gave me a present in a phone conversation (yes, to Germany, his English was far better than my German). You can re-hydrate acetate tapes. The procedure I used, based on discussions with Engel, was to place the tape in a 100% humidity atmosphere for about 24 hours. The subject tape was a 1935Carbonyl
MAGNETIC TAPE SPLICING The “MTA” or minimum track angle blocks for multi-track tapes were based on the speed of the tape and how much of a scatter was acceptable between the tracks as the splice rolled through. Perhaps one of the hardest Edi-Tall blocks to find is the 0.150-inch one for cassette splicing and its use is really important for thatapplication.
TAPE RECORDER BIAS FREQUENCIES Other later machines used different bias and erase frequencies. We can see with a few exceptions, the top bias frequencies were commonly limited to 250 kHz for audio, with the Sony APR series and the Ampex ATR series in the 400 kHz region. For cassettes, a practical maximum appears to be about 150 kHz. Much higher frequencies (up to at least 8 NAKAMICHI BX300 / BX300E SERVICE MANUAL For more Hi-Fi rnänuats and set-up information p'ease visitwww.ñfiengine. com
TAPE SPEED, TRACK WIDTH, FREQUENCY RESPONSE, AND DYNAMIC There are complex interactions between tape speed, track width, frequency response, and dynamic range. This article is an attempt to summarize the major influences. DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
RICHARD L. HESS
This is the home page for Mary Beth and Richard Hess and their sons Michael and Robert. This page contains folk music official pages for Marie-Lynn Hammond, Priscilla Herdman, Stringband, and Nancy White. There's more folk music information, Church music information, broadcast and audio engineering, links, and more here!SONY APR-5000
Unlike Ampex, Otari, and Studer machines which use an external reference of 9,600 Hz; the Sony machines use an external reference of 19,200 Hz. We found that the APR-5000s did not run reliably below 1.88 in/s — and that is achievable with a -50% varispeed already. It didn’t matter what the base speed was. The APR-16 (cousin of theAPR-24
-DEGRADING TAPES
While 175 has been reported squealing, I do not recall any reports of that malady on 201, 202, and 203. I do recall some instances of 290 squealing, and that didn’t surprise me as it was 3M’s first triple-play tape. 3M 200, introduced in 1957, was their first double play tape, and the one reel of that I’ve had since the early 60s seems to have held up well. STUDER A80 – RICHARD L HESS—AUDIO TAPE RESTORATION TIPS Studer A80RC mod for either tension sensor stop. The Studer A80RC as designed stops only when both tension sensors lose tension. When using fragile archival tapes, especially at slower speeds, this creates some difficulties as the tape end weaves through the head block. Here is a modification which makes the A80RC operate like an A810, stopping DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
NAB MAGNETIC TAPE RECORDING AND REPRODUCING … Magnetic Track Dimensions 1.08 It shall be standard that the recorded magnetic track for full track recordings be 0.238 inches +0.010 -0.004 inches in width. 1.09 It shall be standard that the recorded tracks for two track monophonic or stereophonic recordings be 0.082 k0.002 inches in width with a center-to-center spacing of 0.156 k0.004inches.
ROUND-PIN POWER CORDS FOR OLDER EQUIPMENT USING PH-163 The round-pin power cords used on older Hewlett-Packard and Dolby equipment uses a connector called the PH-163. I think I have enough tolast me.
AZIMUTH: HOWS AND WHYS The point of proper azimuth is very narrow. Often, the best performance will be within +/- 5 degrees adjustment of the azimuth setting screw. Make sure you’re listening to the highs as you do this. If the cymbals stop, go back to where the cymbals are. If TAPE PROJECT AUDIO TAPE DIGITISATION WORKFLOW The Training for Audiovisual Preservation in Europe (TAPE) Project has just published an excellent Audio Tape Digitisation Workflow document here.It is authored by Juha Henriksson of the Finnish Jazz & Pop Archive and Nadja Wallaszkovits of Phonogrammarchiv, Austrian Academyof
NOISE REDUCTION
A variety of noise reduction processing was used This processing was a double-ended system where the record processor boosted certain frequencies and portions of the dynamic range while the playback processor provided a complementary reduction of the signal. These systems are generally referred to as companders for compressor-expander. Two different manufacturers of compandersachieved high
0.25" REEL TAPE
0.25" reel tape. Quarter-inch formats and two-channel erase heads. Click on the images to open a larger view in a new window. For details on the track width of the centre track timecode, please see the drawing on my Synchronization page. Note: Audio tape is generally A wind (oxide facing the hub of the reel).REELS AND HUBS
Reels and Hubs. Tape was/is available on many sizes and types of reels. 2-, 3-, and 4-inch reels for 1/4-inch tape with “cine” 3-spline center spindles was commonly used on inexpensive home recorders. Very finely machined aluminum reels with 0.150 tape wereused
EQUALIZATION
MRL has, to the best of my knowledge, made ALL of the Calibration Tapes for these Tascam 1/2 inch 8 T machines. At first we OEMed them for Tascam,and used their part numbers YTT1144 for half-inch, and YTT1244 for onen inch. Later they sold the identical MRL part 31J229, which is 1/2 in, 15 in/s, IEC, 250 nWb/m, and yet later they justreferred
-TRACK CONFIGURATIONS A copy of the Nortronics drawing showing track configurations. The denser multitrack formats are not represented in the above. 8T 1/2″ & 16T 1″ have track widths of about 30 mils. The super dense Tascam and Fostex formats that put 8T on 1/4″ tape and 16T on 1/2″ tape have a track width of about 17 mils. John Chester recently asked the ACETATE TAPE RE-HYDRATION Friedrich Engel, the retired BASF historian, gave me a present in a phone conversation (yes, to Germany, his English was far better than my German). You can re-hydrate acetate tapes. The procedure I used, based on discussions with Engel, was to place the tape in a 100% humidity atmosphere for about 24 hours. The subject tape was a 1935Carbonyl
MAGNETIC TAPE SPLICING The “MTA” or minimum track angle blocks for multi-track tapes were based on the speed of the tape and how much of a scatter was acceptable between the tracks as the splice rolled through. Perhaps one of the hardest Edi-Tall blocks to find is the 0.150-inch one for cassette splicing and its use is really important for thatapplication.
TAPE RECORDER BIAS FREQUENCIES Other later machines used different bias and erase frequencies. We can see with a few exceptions, the top bias frequencies were commonly limited to 250 kHz for audio, with the Sony APR series and the Ampex ATR series in the 400 kHz region. For cassettes, a practical maximum appears to be about 150 kHz. Much higher frequencies (up to at least 8 NAKAMICHI BX300 / BX300E SERVICE MANUAL For more Hi-Fi rnänuats and set-up information p'ease visitwww.ñfiengine. com
TAPE SPEED, TRACK WIDTH, FREQUENCY RESPONSE, AND DYNAMIC There are complex interactions between tape speed, track width, frequency response, and dynamic range. This article is an attempt to summarize the major influences. DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
0.25" REEL TAPE
0.25" reel tape. Quarter-inch formats and two-channel erase heads. Click on the images to open a larger view in a new window. For details on the track width of the centre track timecode, please see the drawing on my Synchronization page. Note: Audio tape is generally A wind (oxide facing the hub of the reel).REELS AND HUBS
Reels and Hubs. Tape was/is available on many sizes and types of reels. 2-, 3-, and 4-inch reels for 1/4-inch tape with “cine” 3-spline center spindles was commonly used on inexpensive home recorders. Very finely machined aluminum reels with 0.150 tape wereused
EQUALIZATION
MRL has, to the best of my knowledge, made ALL of the Calibration Tapes for these Tascam 1/2 inch 8 T machines. At first we OEMed them for Tascam,and used their part numbers YTT1144 for half-inch, and YTT1244 for onen inch. Later they sold the identical MRL part 31J229, which is 1/2 in, 15 in/s, IEC, 250 nWb/m, and yet later they justreferred
-TRACK CONFIGURATIONS A copy of the Nortronics drawing showing track configurations. The denser multitrack formats are not represented in the above. 8T 1/2″ & 16T 1″ have track widths of about 30 mils. The super dense Tascam and Fostex formats that put 8T on 1/4″ tape and 16T on 1/2″ tape have a track width of about 17 mils. John Chester recently asked the ACETATE TAPE RE-HYDRATION Friedrich Engel, the retired BASF historian, gave me a present in a phone conversation (yes, to Germany, his English was far better than my German). You can re-hydrate acetate tapes. The procedure I used, based on discussions with Engel, was to place the tape in a 100% humidity atmosphere for about 24 hours. The subject tape was a 1935Carbonyl
MAGNETIC TAPE SPLICING The “MTA” or minimum track angle blocks for multi-track tapes were based on the speed of the tape and how much of a scatter was acceptable between the tracks as the splice rolled through. Perhaps one of the hardest Edi-Tall blocks to find is the 0.150-inch one for cassette splicing and its use is really important for thatapplication.
TAPE RECORDER BIAS FREQUENCIES Other later machines used different bias and erase frequencies. We can see with a few exceptions, the top bias frequencies were commonly limited to 250 kHz for audio, with the Sony APR series and the Ampex ATR series in the 400 kHz region. For cassettes, a practical maximum appears to be about 150 kHz. Much higher frequencies (up to at least 8 NAKAMICHI BX300 / BX300E SERVICE MANUAL For more Hi-Fi rnänuats and set-up information p'ease visitwww.ñfiengine. com
TAPE SPEED, TRACK WIDTH, FREQUENCY RESPONSE, AND DYNAMIC There are complex interactions between tape speed, track width, frequency response, and dynamic range. This article is an attempt to summarize the major influences. DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
RICHARD L. HESS
This is the home page for Mary Beth and Richard Hess and their sons Michael and Robert. This page contains folk music official pages for Marie-Lynn Hammond, Priscilla Herdman, Stringband, and Nancy White. There's more folk music information, Church music information, broadcast and audio engineering, links, and more here!SONY APR-5000
Unlike Ampex, Otari, and Studer machines which use an external reference of 9,600 Hz; the Sony machines use an external reference of 19,200 Hz. We found that the APR-5000s did not run reliably below 1.88 in/s — and that is achievable with a -50% varispeed already. It didn’t matter what the base speed was. The APR-16 (cousin of theAPR-24
-DEGRADING TAPES
While 175 has been reported squealing, I do not recall any reports of that malady on 201, 202, and 203. I do recall some instances of 290 squealing, and that didn’t surprise me as it was 3M’s first triple-play tape. 3M 200, introduced in 1957, was their first double play tape, and the one reel of that I’ve had since the early 60s seems to have held up well. STUDER A80 – RICHARD L HESS—AUDIO TAPE RESTORATION TIPS Studer A80RC mod for either tension sensor stop. The Studer A80RC as designed stops only when both tension sensors lose tension. When using fragile archival tapes, especially at slower speeds, this creates some difficulties as the tape end weaves through the head block. Here is a modification which makes the A80RC operate like an A810, stopping DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
NAB MAGNETIC TAPE RECORDING AND REPRODUCING … Magnetic Track Dimensions 1.08 It shall be standard that the recorded magnetic track for full track recordings be 0.238 inches +0.010 -0.004 inches in width. 1.09 It shall be standard that the recorded tracks for two track monophonic or stereophonic recordings be 0.082 k0.002 inches in width with a center-to-center spacing of 0.156 k0.004inches.
ROUND-PIN POWER CORDS FOR OLDER EQUIPMENT USING PH-163 The round-pin power cords used on older Hewlett-Packard and Dolby equipment uses a connector called the PH-163. I think I have enough tolast me.
AZIMUTH: HOWS AND WHYS The point of proper azimuth is very narrow. Often, the best performance will be within +/- 5 degrees adjustment of the azimuth setting screw. Make sure you’re listening to the highs as you do this. If the cymbals stop, go back to where the cymbals are. If TAPE PROJECT AUDIO TAPE DIGITISATION WORKFLOW The Training for Audiovisual Preservation in Europe (TAPE) Project has just published an excellent Audio Tape Digitisation Workflow document here.It is authored by Juha Henriksson of the Finnish Jazz & Pop Archive and Nadja Wallaszkovits of Phonogrammarchiv, Austrian Academyof
NOISE REDUCTION
A variety of noise reduction processing was used This processing was a double-ended system where the record processor boosted certain frequencies and portions of the dynamic range while the playback processor provided a complementary reduction of the signal. These systems are generally referred to as companders for compressor-expander. Two different manufacturers of compandersachieved high
RICHARD L. HESS
This is the home page for Mary Beth and Richard Hess and their sons Michael and Robert. This page contains folk music official pages for Marie-Lynn Hammond, Priscilla Herdman, Stringband, and Nancy White. There's more folk music information, Church music information, broadcast and audio engineering, links, and more here!0.25" REEL TAPE
Quarter-inch formats and two-channel erase heads. Click on the images to open a larger view in a new window. For details on the track width of the centre track timecode, please see the drawing on my Synchronization page.. Note: Audio tape is generally A wind (oxide facing the hub of the reel).REELS AND HUBS
Tape was/is available on many sizes and types of reels. 2-, 3-, and 4-inch reels for 1/4-inch tape with “cine” 3-spline center spindles was commonly used on inexpensive home recorders. Very finely machined aluminum reels with 0.150 tape were used in the Nagra SN-type “spy” recorder and are quite rare. NAKAMICHI BX300 / BX300E SERVICE MANUALNAKAMICHI BTSP30 MANUALNAKAMICHI BX 300 FOR SALENAKAMICHI BX 300 REPAIRNAKAMICHI BX 100 REVIEWNAKAMICHI BX 300 BELT REPLACEMENTNAKAMICHI BX 300 CASSETTE DECKREPAIR
For more Hi-Fi rnänuats and set-up information p'ease visitwww.ñfiengine. com
-TRACK CONFIGURATIONS One of the keys to successful analog tape transfer is matching the reproduce head to the recorded track layout. The closer the match, the more optimized the information recovery. ACETATE TAPE RE-HYDRATION John Chester reminded me of an October 2005 post that I made to ARSCLIST that I had not mentioned in depth here. To keep as much information as possible in this one place, I thought I’d re-post it here with minor edits for clarity 13 years later:EQUALIZATION
Equalization—The bulk of the recordings made in the world are NAB (IEC2) equalizations.I say this because the consumer market generally adopted this standard. Most European professional recordings are recorded with IEC1 equalizations, while the North American recordings were recorded with NAB (IEC2) equalizations. DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
MAGNETIC TAPE SPLICING I received an email asking me to discuss tape splicing. Most of my work is now repairing old splices so I try and butt them together as best I can in an Edi-Tall block and use the blue Quantegy splicing tape (which will become harder to find with Quantegy exiting thebusiness).
TAPE SPEED, TRACK WIDTH, FREQUENCY RESPONSE, AND DYNAMICFREQUENCY RESPONSE EQUATIONFREQUENCY RESPONSE EXPLAINEDFREQUENCY RESPONSE FORMULAFREQUENCY RESPONSE SPEAKERSFREQUENCY RESPONSE TESTGOODFREQUENCY RESPONSE
There are complex interactions between tape speed, track width, frequency response, and dynamic range. This article is an attempt to summarize the major influences.RICHARD L. HESS
This is the home page for Mary Beth and Richard Hess and their sons Michael and Robert. This page contains folk music official pages for Marie-Lynn Hammond, Priscilla Herdman, Stringband, and Nancy White. There's more folk music information, Church music information, broadcast and audio engineering, links, and more here!0.25" REEL TAPE
Quarter-inch formats and two-channel erase heads. Click on the images to open a larger view in a new window. For details on the track width of the centre track timecode, please see the drawing on my Synchronization page.. Note: Audio tape is generally A wind (oxide facing the hub of the reel).REELS AND HUBS
Tape was/is available on many sizes and types of reels. 2-, 3-, and 4-inch reels for 1/4-inch tape with “cine” 3-spline center spindles was commonly used on inexpensive home recorders. Very finely machined aluminum reels with 0.150 tape were used in the Nagra SN-type “spy” recorder and are quite rare. NAKAMICHI BX300 / BX300E SERVICE MANUALNAKAMICHI BTSP30 MANUALNAKAMICHI BX 300 FOR SALENAKAMICHI BX 300 REPAIRNAKAMICHI BX 100 REVIEWNAKAMICHI BX 300 BELT REPLACEMENTNAKAMICHI BX 300 CASSETTE DECKREPAIR
For more Hi-Fi rnänuats and set-up information p'ease visitwww.ñfiengine. com
-TRACK CONFIGURATIONS One of the keys to successful analog tape transfer is matching the reproduce head to the recorded track layout. The closer the match, the more optimized the information recovery. ACETATE TAPE RE-HYDRATION John Chester reminded me of an October 2005 post that I made to ARSCLIST that I had not mentioned in depth here. To keep as much information as possible in this one place, I thought I’d re-post it here with minor edits for clarity 13 years later:EQUALIZATION
Equalization—The bulk of the recordings made in the world are NAB (IEC2) equalizations.I say this because the consumer market generally adopted this standard. Most European professional recordings are recorded with IEC1 equalizations, while the North American recordings were recorded with NAB (IEC2) equalizations. DOLBY LABORATORIES INSTRUCTION MANUAL DOLBY … DOLBY LABORATORIES INSTRUCTION MANUAL Dolby Laboratories Incorporated U.S.A.: 100 Potrero Avenue, San Francisco, California, CA 94103-4813Tel: (415)
MAGNETIC TAPE SPLICING I received an email asking me to discuss tape splicing. Most of my work is now repairing old splices so I try and butt them together as best I can in an Edi-Tall block and use the blue Quantegy splicing tape (which will become harder to find with Quantegy exiting thebusiness).
TAPE SPEED, TRACK WIDTH, FREQUENCY RESPONSE, AND DYNAMICFREQUENCY RESPONSE EQUATIONFREQUENCY RESPONSE EXPLAINEDFREQUENCY RESPONSE FORMULAFREQUENCY RESPONSE SPEAKERSFREQUENCY RESPONSE TESTGOODFREQUENCY RESPONSE
There are complex interactions between tape speed, track width, frequency response, and dynamic range. This article is an attempt to summarize the major influences.RICHARD L. HESS
This is the home page for Mary Beth and Richard Hess and their sons Michael and Robert. This page contains folk music official pages for Marie-Lynn Hammond, Priscilla Herdman, Stringband, and Nancy White. There's more folk music information, Church music information, broadcast and audio engineering, links, and more here! RICHARD L HESS—AUDIO TAPE RESTORATION TIPS & NOTES \”Noise Reduction\” is a potentially confusing topic, partially because it has come to be used to mean two different things. Today, it means removing noise from a recording by means of a single-ended post-production device or plug-in, such as Noise Free Pro by Algorithmix that I use (among other tools).; Historically, the term was used for a double-ended process where the dynamic range of STUDER A80 – RICHARD L HESS—AUDIO TAPE RESTORATION TIPS In a discussion on 2012-01-20 in the New Studer list, Todor Dimitrov posted the differences between the record and repro boards between a 1/4-inch and a 1/2-inch two-track A80RC repro cards.Here are the changed components for the 1/2-inch version. There are five different oscillator versions in the manual, including one for 1/2-inch.SONY APR-5000
Today I worked on a batch of five Sony PR-150 7-inch reels recorded at 3.75 in/s in one direction, two-track mono. One of the five reels showed marked shedding during fast-wind/rewind (to get the original reel as takeup and to check the tape pack). AZIMUTH: HOWS AND WHYS There is a recurring question as to what is the best way to set azimuth for playing a tape. Many people assume that using the test-tape alignment is best. AN OVERVIEW OF OPTIMIZING SIGNAL-TO-NOISE RATIO PRIMARILY An overview of optimizing signal-to-noise ratio primarily in analog audio tape recording Richard L. Hess richard@richardhess.com (647) 479-2800 AES Life Member Aurora, Ontario, Canada presented at the October 2018 AES Convention in New York City A SELECTED HISTORY OF MAGNETIC RECORDING A Selected History of Magnetic Recording - page 2 USA until the introduction of tube amplifiers by the Aus-trian Robert von Lieben. Von Lieben’s patent of De- TAPE RECORDER BIAS FREQUENCIES The discussion of what bias frequencies were used over time keeps recurring. Special thanks to Jay McKnight of Magnetic Reference Lab, Tom Fine, and Brian Roth for input to this list.RICHARD L. HESS
Richard L. Hess — Mary Beth Hess Home Page ROUND-PIN POWER CORDS FOR OLDER EQUIPMENT USING PH-163 The round-pin power cords used on older Hewlett-Packard and Dolby equipment uses a connector called the PH-163. I think I have enough tolast me.
RICHARD L. HESS
Audio Tape Restoration Tape Home | Reference| Project notes
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| Contact
RICHARD'S TECHNICAL BLOG click here Which includes a variety of mostly media preservation notes.Family
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UPDATE
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Christmas Letters
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A few Photos &
Technical Information TV & Audio; Manuals;Flashlights
A discussion of Richard's involvement with music E-mail Richard richard@richardhess.com For detailed contact information, click here. Entire site ©1997-2020 Richard L. Hess - All Rights Reserved; All items used with permission. hosted by hostgator.comDetails
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