See also: equalization, noise reduction, reels & hubs, speeds, synchronization, tape timing, and tape winding

2-channel is a popular mastering format. Resources for transfer: Richard L. Hess, Aurora, Ontario — Sonicraft, New Jersey — Access Audio, California — Bluefield Mastering, North Carolina — Dreamhire, New York — Vidipax, New York — Masterdigital, Covington, Louisiana — La Restauration Audio, Paris — Joav Shdema, Israel

2-Channel 3M DynaTrack is explained briefly here. While this was a 2-channel system, it used 4 tracks. Resources for transfer: Dale Manquen, California

3-channel was a popular recording format in the 1950s and 1960s. The Ampex paper referenced under 2-track 1/4-inch tape shows this format to be three 100 mil tracks and two 85 mil guard bands. Resources for transfer: Richard L. Hess, Aurora, Ontario — Sonicraft, New Jersey — Vidipax, New York — La Restauration Audio, Paris

4-channel was used in television production and music recording. It was also used in some siturations as duplication running masters. This was shown in the 1960 Ampex paper as it remained, four 70 mil tracks and three 60 mil guard bands. Resources for transfer: Richard L. Hess, Aurora, Ontario — Sonicraft, New Jersey — Dreamhire, New York — Access Audio, California — Vidipax, New York — Joav Shdema, Israel — Ted Kendall, England

8-channel was a music recording format. Resources for transfer: Richard L. Hess, Aurora, Ontario — Sonicraft, New Jersey — Masterdigital, Covington, Louisiana — Dreamhire, New York — Access Audio, California — Ted Kendall, England

16-channel was a more budget-oriented music recording format. Resources for transfer: Richard L. Hess, Aurora, Ontario — Sonicraft, New Jersey — Dreamhire, New York — Access Audio, California — Joav Shdema, Israel.