“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 the program material was reduced in an unobtrusive way, transported by the noisy channel (be it tape or broadcast) and then expanded in a complementary fashion at the end/output of the noisy channel. These devices were generally referred to as companders (a contraction of compressor/expander).
When reviewing old tapes, they may be marked in various ways to indicate their noise reduction compression, or processing. As of this writing, there are no software plug-ins that accurately mimic the action of the hardware compander acting as an expander. We use actual companders from the original systems when restoring tapes made with these systems.
We currently handle nine different formats from four manufacturers and are always on the lookout for more. Most manufacturers sold a variety of systems tailored to the needs of different kinds of transmission/recording channels
See our special page under formats (click here) to see some of the information we’ve gathered about noise reduction techniques used over the years. Check back as we uncover additional formats and information.
You’ve been asked to digitize recordings in your collection and don’t have any idea where to start. There are several resources on this site which might be of use.
What I use is shown on my facility page. That’s one of the main reasons it is there. If I’m using it, it’s because I like it or it solves a problem for me. If I’m not using it, either I don’t have an opinion about it, won’t spring for it, or don’t like it. (more…)
I received a phone call today from someone who wanted my opinion on a Tascam 238 8-track cassette recorder for recording his music.
This was like the person who wanted to know about the DCC recorder for the same purpose yesterday.
People keep hearing that “analog sounds great” or that this or that format “sounds great” and they want to buy in. (more…)
I got a call today from a friend who said the hum shields on a friend’s APR-5003 were not working.
I recalled this had happened to one of my machines in the past.
Removing the cover surrounding the heads will expose the mechanism—of course the heads and pinch roller need to come off first.
Cleaning and lubricating the rods and other parts of the linkage should make all well again.
I used Zoom Spout Turbine Oil.
We have been wondering just how far we can push the Sony APR-5000 capstan servo system, so we ran a few tests using an external oscillator feeding the reference port. 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 the APR-24) did not run reliably below 3.75 in/s. But the good news was that we could bring 15 in/s down to 3.75 in/s using the external reference source. We were also able to run the APR-16 at 60 in/s, but takeup tension was a bit low.
The 108 memory locations for storing setups is a real feature of the APR-5000 series tape machines. The APR-24 manual alluded to this but did not provide any instructions.
I have the only APR-16 that Sony ever made, but it is essentially the same as an APR-24. My APR-16 is running firmware version 5.01.06.0.
It appears that there are a total of 18 total preset locations in the APR-16 (and presumably the APR-24). (more…)
The 2 mm hex head screws that hold panel modules and blanks on Studer A810s are easily stripped by slightly worn hex drivers. Studer used 2.5 mm hex head screws in the later A807, perhaps aware of this issue. Using PB drivers from the start will reduce the possiblity of this happening.
There are essentially two choices when this happens:
- Slot the screw with a Dremel rotary tool and a small cutoff blade and use a slotted screwdriver to remove the screw.
- Use some sort of Ez-Out screw extractor.
When I was confronted with this situation recently and I didn’t have an EZ-out of the correct size to bite into the screw without drilling, I grabbed a T10 Torx driver and gently tapped it into the screw head. I pushed in hard while starting to turn and the screw came out.
I have made a variety of static pages for my tape restoration Web site, but thought it was time to add a more user-friendly, article-based location to discuss various topics, tools, tricks, and techniques that I have come across in various ways.
What is easier to use than ready-made BLOG software, so I guess Richard is finally Blogging!
I hope you like this and find it of interest. Please let me know of any changes or topics you might like addressed.
Enjoy!
Note: This post has been put in every top-level category because it appears that a post is needed in each top-level category if the sub-categories are to be visible.
Note 2: The Tips & Notes blog and the Formats & Resources static pages of this sub-site replace the Tips and Resources static pages on the Web site. And, there is integrated searching across both the blog articles and the static pages.
