![]() ![]() These studio recordings are received on 10.5 inch reels, and are transcribed on a Tascam TSR-8 8-track open-reel tape deck running at 15 ips. The Dolby C noise reduction facility is included on this deck, and if this was used during the recording process, it will be used during transcription, to obtain the optimal noise-free transfer. These studio recordings are received on 7 inch reels, and are transcribed on a Fostex R8 8-track open-reel tape deck running at 15 ips. If dbx type 1 encoding was used during the original recording, a four-channel dbx type-1 noise reduction unit ( TEAC RX-9) is used to decode the signals during the transfer process. These studio recordings are received on 7 or 10.5 inch reels, and are transcribed on a TEAC A-3440 4-channel multi-track tape deck ( ‘Simul-Sync’), running at either 7.5 or 15 ips. Alternatively, we can supply a new USB-3 memory stick, or the files can be sent directly to the client for download using ‘ We Transfer’. wav file at up to 24 bit / 192 kHz sampling rate to the customers’ own flash drive or HD. ![]() With all multi-track tapes (see below), each individual track is lifted simultaneously and saved as a discrete. Unique recording sessions from the past can now be recovered to a format which permits re-mixing and mastering by the client using software such as Cubase, Pro-Tools or Reaper. ![]() wav files, we have furnished a second studio dedicated to all types of multi-track transfer, from 4-track to 24-track, 1/4 inch to 2 inch, 7.5 ips to 30 ips. 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. ![]() 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. ![]()
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