A Reel Person
It's Too Funky in Here!!!
The "classic" low-end and midline home stereo cassette decks would typically have bias control and settings internally & factory set,... but for what tape specifically?
Could you assume, as we did in the 80's, that any Japanese mf'd cassette deck would be set up for TDK-SA tape as a standard? (I don't know how or why we assumed this in the 80's, but it was an assumption).
Higher end cassette decks would tend to include bias-fine tuning control on the front, with the majority of them having no other facilities such as internal test tones. Why include this feature as a half-ass component, or rather, how would the layman in practice determine how to set this control without proper test tones?
The cream of the crop high end cassette decks had bias control and test tones, like Tascam 122 master decks (I-think) and Nakamichi's, which some NAKs were really slick and had auto alignment. Swift! However, I've never owned a 122 or Nak.
Further, on older Tascam Portastudios I seem to remember they stated in the manuals they were set up for TDK-SA tape. Newer manuals wouldn't specify brand names. That's by memory & isn't iron clad in my mind ATM. Be that as it may,... is all well and fine.
Here's the gut of my question:
1) If bias control is so important, why is it inaccessible on most cassette decks as an internal adjustment? Or worse, as an adjustment control that's only half-implemented? Was it assumed that it's factory setting would be good to go forever, or the user incur bench time? Was it really that important?
2) Are all the (formerly available) cassette Type II tapes "bias compatible" to such a close degree that they're all basically the same? Is there an average or middle-of-the-road setting that's good for all?
I've read on Tapeheadz reviews of name brand tapes, shootouts, etc., and the users often go on how different tapes need different biases. Of course, this is the NAK-crowd, so some of that is to be expected.
3) For my Tascam Portastudios, typically I'd never adjust or tinker inside (only by necessity!), but if I did, what tape would be the "best" tape to bias to,... then just use the rest as is? I have a great many varieties of Type II cassettes, including Maxell, TDK, Fuji, JVC,.... Ampex,... probably more that I can't remember. Memorex,... Emtec,...
4) Would using different brand name Type II cassettes require you to tinker with the unit nearly endlessly? Is there a strategy involved? I don't know if it's bias is an issue specifically, but most laymen would notice very slight differences in fidelity between different brands of cassettes in a shootout.
I limit the scope of my questions to Type II tapes, as that's more "audiophile" level sound quality & is mostly what I use, myself being a big Portastudio user and casual tapehead for general use. I used to be super-into cassette recording in the 80s & 90s,... less so now with the advent of CDr.
Could anyone offer any wisdom, tips or advice on the subject. Granted, it's light fodder and not a major concern, as my cassette recordings sound generally good.
As a parting shot, as bias is taken as a higher concern in reel-reel recording, why aren't the controls on most machines easily accessible? Most home recording decks would have internal adjustments under the bottom panel, while the high end or studio machines have these controls easily accessible. Then, regardless of what I read it's always emphasized that bias is set to the reel tape used. However, where does this leave the person who has a large variety of tape to use? Bench teck or DIY every time you change batches?
Aaaggghhh. For a non-important issue, this one is really bugging me?
Forget the quick response: "Go-digital"!!!
Could you assume, as we did in the 80's, that any Japanese mf'd cassette deck would be set up for TDK-SA tape as a standard? (I don't know how or why we assumed this in the 80's, but it was an assumption).
Higher end cassette decks would tend to include bias-fine tuning control on the front, with the majority of them having no other facilities such as internal test tones. Why include this feature as a half-ass component, or rather, how would the layman in practice determine how to set this control without proper test tones?
The cream of the crop high end cassette decks had bias control and test tones, like Tascam 122 master decks (I-think) and Nakamichi's, which some NAKs were really slick and had auto alignment. Swift! However, I've never owned a 122 or Nak.
Further, on older Tascam Portastudios I seem to remember they stated in the manuals they were set up for TDK-SA tape. Newer manuals wouldn't specify brand names. That's by memory & isn't iron clad in my mind ATM. Be that as it may,... is all well and fine.
Here's the gut of my question:
1) If bias control is so important, why is it inaccessible on most cassette decks as an internal adjustment? Or worse, as an adjustment control that's only half-implemented? Was it assumed that it's factory setting would be good to go forever, or the user incur bench time? Was it really that important?
2) Are all the (formerly available) cassette Type II tapes "bias compatible" to such a close degree that they're all basically the same? Is there an average or middle-of-the-road setting that's good for all?
I've read on Tapeheadz reviews of name brand tapes, shootouts, etc., and the users often go on how different tapes need different biases. Of course, this is the NAK-crowd, so some of that is to be expected.
3) For my Tascam Portastudios, typically I'd never adjust or tinker inside (only by necessity!), but if I did, what tape would be the "best" tape to bias to,... then just use the rest as is? I have a great many varieties of Type II cassettes, including Maxell, TDK, Fuji, JVC,.... Ampex,... probably more that I can't remember. Memorex,... Emtec,...
4) Would using different brand name Type II cassettes require you to tinker with the unit nearly endlessly? Is there a strategy involved? I don't know if it's bias is an issue specifically, but most laymen would notice very slight differences in fidelity between different brands of cassettes in a shootout.
I limit the scope of my questions to Type II tapes, as that's more "audiophile" level sound quality & is mostly what I use, myself being a big Portastudio user and casual tapehead for general use. I used to be super-into cassette recording in the 80s & 90s,... less so now with the advent of CDr.
Could anyone offer any wisdom, tips or advice on the subject. Granted, it's light fodder and not a major concern, as my cassette recordings sound generally good.
As a parting shot, as bias is taken as a higher concern in reel-reel recording, why aren't the controls on most machines easily accessible? Most home recording decks would have internal adjustments under the bottom panel, while the high end or studio machines have these controls easily accessible. Then, regardless of what I read it's always emphasized that bias is set to the reel tape used. However, where does this leave the person who has a large variety of tape to use? Bench teck or DIY every time you change batches?
Aaaggghhh. For a non-important issue, this one is really bugging me?
Forget the quick response: "Go-digital"!!!
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