New to tape, looking for advice on recording levels

  • Thread starter Thread starter weeping_wholes
  • Start date Start date
ah yes - forgot that one. I'm a cheapskate on something and my studio amp is a repurposed tuner amp I bought in the 80s - my grandson pressed the loudness button and it took me ages to work out what had happened.
 
They were cheapskate loudness controls then! A proper loudness control uses a tapped potentiometer with the frequency altering components attached to the tap. Thus you got the boost at low volumes, gradually going flatter as the control was advanced. I think I first saw this in a Mullard valve amp book?

Of course, the whole 'loudness control' gizmo was totally wrong headed. Our hearing changes LF (and HF a bit) sensitivity with differing SPLs but NOT relative to the arbitrary position of a pot!

Dave.
 
To expand a little on Dave's comment about Dolby NR, it would amplify any change caused by other factors. If there was HF loss due to head misalignment or over biasing, Dolby would increase that loss. The fault wasn't Dolby, it was with poorly set up decks. That's one of the reasons external bias adjustment was such a nice feature.
 
bouldersoundguy said:
To expand a little on Dave's comment about Dolby NR, it would amplify any change caused by other factors. If there was HF loss due to head misalignment or over biasing, Dolby would increase that loss. The fault wasn't Dolby, it was with poorly set up decks. That's one of the reasons external bias adjustment was such a nice feature.
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Yes, my original Denon, in addition to HX* had CPU control of bias and EQ and could 'optimize' any cassette type in about a minute. Also 'dual loop twin capstans' 3 heads and a very sophisticated capstan motor speed control based on direct drive turntable technology. This removed almost all of the bad effects of cassette case transports.

It is a shame really that such excellent digital sub-systems came just a bit too late to save tape in the mass market.

*Dolby HX is bloody clever! I will have a stab at explaining it if anybody is arsed!

Dave.
 
I believe HX Pro dynamically dialed back the bias when it detected high level, high frequency signal starting to behave like bias. It allowed one to push the record level up another 3 dB for increased dynamic range.
 
ecc83 said:
"Harmon Kardon tape decks are sooo good ! Hard to believe they are tape when listening to a good one."

That experience is common to any top end cassette machine I would say Mark.
I have had a Denon with Dolby HX and 'B' and 'C'. Later a Sony with B&C and a later, simpler Denon. All these machines WHEN BIASED AND SET UP CORRECTLY were capable of reproducing a CD with virtually no audible loss.

Depends to a degree on the music genre. Rock/pop you will never tell the difference, maybe a very wide dynamic range choral piece, Beethoven's Ninth say might be a bit strained at the finale.

I have tried virtually all the tape types over the years except metal but fixed on TDK AD as an excellent type for most recordings and TDK SA for the very highest quality results. AD is type 1 but needs an unusually high bias. SA is T2 and equally a high bias tape. Maxell, BASF, fUJI, Philips are also very good tapes but it is vital that the machine is biased correctly for them.

Myth buster. Dolby NR does NOT cause a treble loss IF the machine is properly setup and the system used correctly.

Dave.
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thanks dave for the tech info , very interesting. I must admit when i was using 4 track cassette ( yamaha mt100 ) in the late 80's early 90's i had no clue about the tech aspects etc... in fact i was so green that i made tons of " experimental " mistakes. And im glad to say i hope never to work with tape again .. i know its cool and it does sound awesome but from a practical / mental standpoint the very thought makes me twitch ... lol
 
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