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Ping-pong recording (also called ping-ponging, bouncing tracks, or reduction mixing) is a method of sound recording. It involves combining multiple track stems into one, allowing more room for overdubbing when using tape recorders with a limited set of tracks.
A reel-to-reel tape recorder from Akai, c. 1978. An audio tape recorder, also known as a tape deck, tape player or tape machine or simply a tape recorder, is a sound recording and reproduction device that records and plays back sounds usually using magnetic tape for storage.
DASH is capable of recording two channels of audio on a quarter-inch tape, and 24 or 48 tracks on 1 ⁄ 2-inch-wide (13 mm) tape [1] [2] [3] on open reels of up to 14 inches. The data is recorded on the tape linearly, [ 4 ] with a stationary recording head , [ 5 ] as opposed to the DAT format, where data is recorded helically with a rotating ...
M wrap, used in VHS and the D-1 (Sony) and D-2 (video) digital videotape formats, wraps the tape around the head drum in a pattern or in a tape path reminiscent of the letter M, around the left and right side of the head drum, 250 to 300 degrees around it where 180 to 270 degrees are active or used for recording, with two heads if 180 degrees ...
A looped tape, capstans, and multiple magnetic heads for multiple echos on a Roland RE-101 Space Echo unit. In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder.
Tape hiss is the high frequency noise present on analogue magnetic tape recordings caused by the size of the magnetic particles used to make the tape. Effectively it is the noise floor of the recording medium. It can be reduced by the use of finer magnetic particles or by increasing the tape speed or the track width used by the recorder.
Magnetic tape transformed the recording industry. By the early 1950s, most commercial recordings were mastered on tape instead of recorded directly to disc. Tape facilitated a degree of manipulation in the recording process that was impractical with mixes and multiple generations of directly recorded discs.
Some analog tape manufacturers specify frequency responses up to 20 kHz, but these measurements may have been made at lower signal levels. [16] Compact Cassettes may have a response extending up to 15 kHz at full (0 dB) recording level. [17] At lower levels (−10 dB), cassettes are typically limited to 20 kHz due to self-erasure of the tape media.