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Noise Reduction Basics

\”Noise Reduction\” is a potentially confusing topic, partially because it has come to be used to mean two different things.

  1. 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).
  2. 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.

Project Notes: Crosstalk on a cassette

I received a cassette from a client and he complained that the previous recording was audible as well as the new recording.

There are several ways this can happen:

  • The erase head can be dirty—this usually leads to high frequencies being erased and lower frequencies still audible
  • The erase head can be misaligned—this often provides a partial erasure, but careful use of track selection can find a section of track with less crosstalk.
  • A similar problem occurred on quarter-track reels with misaligned record heads where recordings from the opposite direction would invade the tracks for the forward directions. Again, a specially adjustable narrow head usually solves this.
  • A completely non-functioning erase system—this is what we suspect happened with the current project. There were no track dissimilarities nor any other way we could find, including looking at the tape with the 8-track cassette recorder to separate the underlying, unwanted recording from the wanted one.
  • A totally unrelated mechanism that may sound the same is if the microphone or tape recorder picks up a broadcast or other radiated signal and records that along with the desired signal.

We opted not to proceed with any noise gating as it would not improve the overall audio quality for listening and may actually impede transcrption.

While not a success, we were able to confirm to the client that there was no way that could preserve the fidelity of the desired sound and remove the undesired sound. The desired interview was completely intelligible and could be transcribed. It was just distracting to listen to.

Demagnetizing recorders and heads

Demagnetizing tape heads and recorder parts is a ritual of magnetic recording. If any part that touches the tape is magnetized beyond a certain level it will begin degrading the tapes played on it.

While early machines may have had an issue with magnetization, most late-model machines rarely become magnetized. The source for real information on this is Jay McKnight’s Magnetic Reference Lab Web site.

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Cassette Equalization: The 4 dB ambiguity at 16 kHz

There have been rumours that Nakamichi used a different cassette standard than the other manufacturers. This is not really the case. Everyone thought they were using the same 3180/120 or 3180/70 microsecond equalization as specified in IEC Pub 60094-1, 1981. There is further discussion from 2010 here.

As I understand the history, both Nakamichi and STL in the late 1970s discovered that when they made calibration tapes based on the published time constants in the standards, their response showed that the then-common BASF alignment tapes were approximately 4 dB high (hot) at 16 kHz.

It is assumed that BASF, who made the calibration test tapes made an error in calibrating their reproduce heads’ response in one of two areas:

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DSS and other compressed digital files in an oral history archive

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.

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Alternate tape equalizations—Teac Extra Efficiency

While the Ampex Mastering Equalization is well documented on this site and at the MRL site, and standard equalizations are detailed at the MRL site on page 3 of this document, I am always amazed when I discover additional, supported tape equalizations. Certainly there have been proposals for alternate equalizations. Jay McKnight has published a paper (here) about this. This post is about something different.

Teac Corporation, with their X-2000M reel-to-reel tape recorder included a button called “Extra Efficiency” to be used with then-new tapes that had double the coercivity of standard reel-to-reel audio tapes. This changed the recording equalization (and the bias and possibly the reference levels) to better make use of the new tapes to improve the overall sound.

What was fascinating here is not that they used the IEC standard equalization of 35 μs at 15 in/s, which was standard in Europe, but that they also invented their own standard and used 35 μs at 7.5 in/s as well! Not content with that, they invented yet another standard of 50 μs for 3.75 in/s.

The NagraMaster and StellaMaster equalizations are also non-standard and were probably the most widely adopted equalizations after AME, but who knows how widely used this Teac EE equalization was and who knows what tapes are in archives that had this equalization incorrectly applied.

I have been informed that it was only intended for the consumer market.

Magnetic Tape Splicing

I received an email asking me to discuss tape splicing. Most of my work is now repairing old splices so I try and butt them together as best I can in an Edi-Tall block and use the blue Quantegy splicing tape (which will become harder to find with Quantegy exiting the business). I will not be evaluating a replacement for several years as I bought a large supply a few years ago.

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Aligning a tape recorder

It seems some people new to tape are confused over how to align a tape recorder. This is the abbreviated version.

If you want to record on a tape recorder (and I do not recommend doing that these days as you’re just generating more tapes that will need to be transferred later) the first thing to do is get the playback correct.

  1. CLEAN the machine.

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StoryCorps experience including equipment discussion

My friend Susan Kitchens and her brother took their parents to the StoryCorps recording session in Los Angeles a few weeks ago. She blogged it here. One of the neat things is that between her article and the discussion she and I had in the comments, we have a good handle on most of the equipment that was used in the trailer. It’s a good selection in my opinion and shows how simply good-quality recording systems can be set up. Further discussions from a StoryCorps representative have shown how clever the setup is.

Slow speed 4-channel cassette digitization

There has been some discussion recently about the 4-channel cassette recorders that were used for court reporting and other logging- or court-reporter-type applications. It seems that the players only have one output and can select any combination of one or more playback channels into that one output.

This monitoring topology is actually identical to two 1-inch 40-channel reel-to-reel logging machines I have where one can listen to any combination of one through forty tracks on a single output.

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TAPE Project Audio Tape Digitisation Workflow

The Training for Audiovisual Preservation in Europe (TAPE) Project has just published an excellent Audio Tape Digitisation Workflow document here. It is authored by Juha Henriksson of the Finnish Jazz & Pop Archive and Nadja Wallaszkovits of Phonogrammarchiv, Austrian Academy of Sciences. It is aimed at the newcomer but still addresses all of the major points without being overwhelming.

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Digital storage file systems and topologies

Once again, an interesting post on Jill Hurst-Wahl’s Digitization 101 Blog. She started by discussing tape backup issues. In the comments, I discussed my solution of using multiple spinning disks. Another commenter, Ike, provided an extensive review of file system options and his opinions on what works (and doesn’t) for long-term storage. Ike’s comment is fascinating and has lots of food for thought. Here is the post.

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A solution to reduce spoking in old acetate tapes

It appears that many old acetate tapes when played on high-quality audio recorders will suffer spoking when left in a play wind condition. I have discussed this problem here. Since posting that, I have taken one of my Racal Store 4DS recorders and removed the heads to save them from wear and now use that to re-spool any tape that shows spoking when played on a Studer A80, Sony APR-5000, or Studer A810.

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Mono and stereo cassettes

The format page for 0.15 inch wide tape has a drawing (click for large version) that clearly shows that mono cassettes have one wide track and stereo cassettes split this track in half and add a small guard band. Most mono cassette recorders follow this format. It turns out that the mono Marantz PMD201 uses a two-channel head and records dual mono. Most other mono recorders seem to follow the standard.

While this is a theoretical problem, few if any good mono recorders are available for reproducing these tapes anyway, so most of us in the domain transfer field use good quality stereo machines for all cassette transfer work.

UPDATE 2012: While it is often possible to sum the channels if the Dragon finds proper azimuth, on many low-quality tapes this proper azimuth is not achieved. Now that azimuth correction (at least the time delay portion) is available for a reasonable price in iZotope RX2 Advanced, I have found that after correcting for time delay between channels that I can now sum both (if they are worthy of it) and reduce the noise prior to applying the noise reduction plug-in.

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Five historic standards now linked from the history page

About two years ago, I asked the EBU to make available a copy of their historic document, Review of existing systems for the synchronisation between film cameras and audio tape-recorders and they complied, making it available on their website.

I asked the National Association of Broadcasters about their Cartridge, Cassette, and Reel tape standards as well as their Disc standard and they gave me permission to post these standards at my website.

These five standards plus some other articles of historic interest are available here in the history portion of this website. I hope that you find these of use in unraveling some of the challenges that old media present.

Another way to identify a tape with Sticky Shed Syndrome (SSS)

For a current list of degrading analog tapes, click here.

Teaching people how to identify tapes that are suffering from sticky shed syndrome is often difficult.

I would like to propose that a careful inspection of how the tape comes off the pack may be a good way. Please provide comments as to how it’s working for you.

The tape should come off the tape pack at a precise tangent to the tape. If the tape starts to adhere and not pull off straight, that is a sure sign that the tape needs baking.

Of course, don’t bake acetate tapes even if they show this indicator, but on the last batch of questionable SSS tapes, I’ve been looking at this and it’s a fair indicator, and it seems to show at the outer edge of the pack.

More than one “test” or “factor” is needed to be sure, but this one is looking good.

Another almost sure sign of SSS is brown oxide and black back-coat.

Studer A807 digital noise improvement

I received an email from Andrew Pearson of the British Library providing some hints in reducing noise during playback on the Studer A807 tape machine. He would be interested in hearing from people who had other ideas and people who had either successes or failures attempting his techniques.

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Zoom H2 line input

The Zoom H2 HandyCorder is perhaps the lowest-cost digital recorder on the market that provides reasonable and useful results. While I have a Sound Devices 722 for my more serious work, I bought the Zoom to test it out to see if it could be part of a simple tape digitization system for archives on a budget who wish to do the work themselves. It does this reasonably well.

As with much equipment–and especially with lower-cost equipment–the performance specifications and the actual operational data is not published. There are reports of the H2 clipping on the line inputs in some of the reviews and it appears that a lack of understanding how the inputs were configured exacerbated that situation.

There is nothing wrong with the line inputs on the H2. BUT there are some caveats:

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Sony APR-5000 head assembly problem

I was having slightly intermittent connections on one head assembly on a Sony APR-5000 and was concerned as to the cause because the 78-pin head connectors are essentially unobtanium and a headache to change.

As I installed and de-installed the head, I got to thinking that the connector might not be positioned correctly (i.e. perhaps the wrong hardware had somehow found its way into the connector mounting system.

When I measured the bottom (oriented as if the head were mounted in the machine) face of the connector mounting flange referenced to the bottom of the mounting posts (using a straight-edge across two of them), I discovered that, indeed, this connector was recessed about 25 mils (0.025″) further into the head assembly than several other ones. Adding a 25-mil thick washer should solve the problem.

This is posted in case you’re scratching your head with a similar problem. This is something I wouldn’t have immediately thought of. I don’t know if this was caused by aftermarket work or if it perhaps represents a manufacturing error.

Kodak Durol triacetate tape with bad vinegar syndrome

I recently received two 7-inch reels of Kodak Type 31A Triacetate tape (1250 feet, Durol Base) that smelled of vinegar even before I got the envelope open.

These tapes were badly warped due, most likely, to the vinegar-syndrome induced differential shrinkage. Other factors may have been poor winding during long-term storage (I had received them after several attempts to play them on another machine).

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Dangers of old tape recorders for playback; using the elevator head

We are currently working on some un-published tapes for a major Canadian folk artist. We have a 7.5 in/s 2-track stereo recording that was one of (if not the) first studio recording of this artist from circa 1972.

At some point, this tape was played on a 1/4-track machine that injected hum onto the left channel. Here’s what the magnetic viewer showed:

hum_overwrite_dsc_0571

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