Jill Hurst-Wahl in her excellent blog “Digitization 101” asks this question and provides some good answers with reasons. You can read it here.

I received a query from Sweden today asking

I have a Studer machine with butterfly heads with which I’d like to reproduce
tapes recorded with normal two track heads. Theoretically, how much more noise,
in dB, would I get from playing the “empty” part of the tape? 

Let’s look at the assumptions.

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There are complex interactions between tape speed, track width, frequency response, and dynamic range. This article is an attempt to summarize the major influences. (more…)

I first wrote about seeing the tracks here in March of 2006. While these solutions work, the Plastiform viewer needs to be kept in a humidor and the Kyread spray is a bit of mess to use and the results are variable. One result of the Kyread treatment can be seen here (please wait for the pictures to load, it’s a big page).

Here is what appears to be a vastly improved solution:

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For several years, we have been discussing the differences between Sticky Shed Syndrome (SSS) and Loss of Lubricant (LoL). It appears from my latest research (presented at the 2006 Audio Engineering Society’s 121st Convention in San Francisco in October) that LoL does not really factor into the equation for most tapes and that an overarching failure mode is Soft Binder Syndrome, or SBS. Sticky Shed Syndrome appears to be a subset of SBS. (more…)

I receive many tapes that use very creative methods of securing the end of tapes to reels. Some don’t do it at all. Most 1/4-inch tapes are secured as shown below. Sadly, the superior Zebra tape is no longer available. This is the traditional crepe-paper type of tape sold for the application. The picture below should explain all.

A few months ago, I transferred several Tonschreiber tapes which were IG Farben Magnetophonband Typ C manufactured in Germany prior to the end of 1943. These had been stored in their almost-sealed steel cans and stunk. The best description of the smell was old lemon chicken.

We know that the sealed can will accelerate the vinegar syndrome degradation. The big question is are these tapes an anomaly or the mine canary for some (or all) acetate tapes?

The composite photo below shows some of the conditions that we found. Note especially the rolled outer strands showing extreme shrinkage from vinegar syndrome.

Click for a larger image.

We were able to transfer these tapes,  but the sound quality suffered due to the unsteadiness of the tape transport. The quality of the sound was due mostly to the fact that this was recorded at 30 in/s (probably 77 cm/s) with a full-track head. Nothing beats areal density for robustness.

I have been suggesting for many years that one of the reasons that acetate audio tapes have not suffered from vinegar syndrome to the extent that acetate films have suffered from this malady is because of differing storage practices. In general, film for many years was stored in sealed cans while tape has generally been stored in cardboard boxes.

I recently came across a 3-inch reel of acetate tape, not in its original box, that showed the following pattern in the box. This tape was recorded in Fall of 1964 and the photo was taken on October 2006, 42 years later. The tape played well, considering it was originally recorded at 1.88 (1-7/8) in/s.

All of the outgassed material that was absorbed by the cardboard was no longer free to degrade the tape.

There is a recurring question as to what is the best way to set azimuth for playing a tape. Many people assume that using the test-tape alignment is best. Well, that makes another big assumption: The recorder used a proper test tape alignment. While that can be the case, it usually is not. (more…)

With budget limitations, it appears that oral histories are being recorded with little thought to their long-term preservation. While this appears to have been the case in the past as well, with purchasing agents buying the cheapest white-box tape that they could find, continuing this into the digital age needs to be reconsidered.

The cost savings in using bargain-basement digital speech recorders are offset by the labour required to reformat these files upon their receipt by an archive and also the fidelity of the recording suffers, and with fidelity, intelligibility also suffers.

DSS was an industry standard agreed upon by Olympus, Grundig, and Philips in 1994. (more…)