The resultant multi-track recording can be mixed and re-mixed until the desired sound is achieved.ĭue to the ever-increasing demand for transferring multi-track tapes to discrete digital. When played back, the individual sounds are reproduced simultaneously from the tape, giving perfectly synchronised audio. guitars, bass, drums, keyboards, lead / backing vocals etc.) onto discrete tracks on the tape as it moves past the recording head. The principle behind analogue tape-based multi-tracking, is the simultaneous recording of separate sounds (e.g. SSS is caused by moisture-initiated breakdown of the binder holding the iron oxide particles to the base tape, Due to the unpredictable nature of the problem, we always bake studio tapes prior to transfer without exception. Baking quarter inch tapes at an accurately controlled 55 degrees C for 8 – 10 hours (12 – 18 hours for half- and one inch tapes), drives out the moisture in a slow and controlled way, allowing us to retrieve and transfer the recorded content to digital.Īt Audio Restored, we use a Carbolite type 201 laboratory oven (with over-temperature safety cut-out) to ‘bake’ tapes suffering with SSS.īe advised – never attempt to play any tapes exhibiting SSS – it may well destroy the tape and its recorded content. Some ‘pro’ tapes (manufactured by Scotch/3M) can also be afflicted, including 206/207, 226/227, 808, and 986 as well as audiophile tapes such as “Classic” and “Master-XS” The most common offenders are Ampex 406/407, 456/457, 499, and the ‘Grand Master’ consumer/audiophile back-coated tapes. This process can go on indefinitely, running through each of the four programs in sequence, until the world ends, or your batteries wear out, or the tape breaks.Many studio tapes that we receive for transfer are affected to some degree by Sticky Shed, a noticeable ‘squealing’ sound as the tape is played, often accompanied by excessive wow and flutter and the shedding of sticky iron oxide particles on the record / playback heads and pinch roller. The playback head, shifted to it’s new position, begins to play the next program in the sequence. This is the loud “click’ or “clunk” sound you hear between 8-track programs. This coil causes the playback head to shift along the width of the tape. When the tape reaches the end of a program, the metal sensing strip connects with a solenoid coil in the player. Here’s where the real 8-track magic happens. The tape head plays two tracks at a time–stereo! A metal sensing strip connects the ends of the strip of tape, forming the loop. The tape itself is divided along its length into 8 channels or tracks (hence the name “8-track”). The tape, pinched between the roller and the capstan (which is spun by the player’s motor), is thus moved across the head. The pinch roller, which is inside the cartridge, presses against the capstan, which is part of the player. A pressure pad helps to bring the tape into proper contact with the head. It pulls out from the center and follows a path which brings it across the front edge of the cartridge where it makes contact with the playback head. The tape is wound around a hub in the middle of the cartridge. The 8-track cartridge contains a length of 1/4 inch tape which runs in a continuous loop at 3 and 3/4 inches per second (ips).
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