![]() This is perhaps the most widespread consumer format from the late 1950s through the 1970s. As is evident from the drawing at the top of the page, the tracks are wider, providing a better signal-to-noise ratio. It is my understanding that the narrower tracks were used to reduce crosstalk.ĭIN Stereo is the format widely used in Europe for stereo master recordings. The later NAB standard used 82 mils for both mono and stereo. Figure 7 shows, among other things, half track mono with 82 mil track width and a 70 mil guard band and 2-track stereo with 75 mil tracks and an 84 mil guard band. In October 1960, several Ampex engineers (Mort Fujii, George Rehklay, John McKnight, and William Miltenburg) publised in the Journal of the Audio Engineering Society “The Multichannel Recording for Mastering Purposes”. The above drawings show 75 mils for Ampex stereo and 82 mils for NAB stereo. Two-track NAB mono and stereo tapes.This has been a long-term standard for radio and recording, but was only used widely in the 1950s for mono home recording. We do not believe any of these machines were ever made. Mono 3M DynaTrack was proposed in a 1964 AES paper by Jack Mullin, n is explained briefly here. The 1960 Ampex paper (see below under 2-track) shows full-track width at 234 mils. We have modified one set of tape guides to accommodate that width without binding. The early German tape is 6.5mm wide instead of 6.35mm. Useful information (some articles are in both categories) is also discussed in the storage-care-handling category.įull track mono tapes are best reproduced with a full-track head. In general, it is robust, but some types of tapes have suffered from various adverse aging processes, some of which are discussed in the tape aging category. Professionally, it was used from 1947 (and earlier in Germany) and continues into the 21st century. Quarter-inch tape was the mainstay of amateur recording from the early 1950s through the 1970s. See also: equalization, noise reduction, reels & hubs, speeds, synchronization, tape timing, tape winding, and track configurations. ![]() Track numbering starts at the top, away from the deck plate for all common audio transports, such as the Ampex 350/440, Studer A807/A810/A820, and Sony APR-5000. This view is THROUGH the tape looking at the heads, with the magnetic coating facing away from the viewer. The tape is recorded/played so earlier material is at the right (i.e., tape moves left to right). Note: Audio tape is generally A wind (oxide facing the hub of the reel). For details on the track width of the centre track timecode, please see the drawing on my Synchronization page. Quarter-inch formats and two-channel erase heads.Ĭlick on the images to open a larger view in a new window.
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