Cassette Decks: Recording & Playback Technology

This article explores some of the formats available for your audio playback and record needs.

Cassette Tape

The cassette tape is the most common form of playback (and recording) media, and will probably be for quite some time. It is inexpensive, convenient, and if used properly, clear and precise. Here are some tips to improve your tapes:

Recording

When recording, the source should be a high quality cassette or CD. Do not copy a song off a low-quality radio because the recording will pick up unwanted noise.

	Figure 1		Figure 2

 

When making a copy of a song or effect, use a cabled connection between the play and record decks (see Figure 1). Don't just place a microphone in front of a boom box because the copy will be poor (see Figure 2).

To reduce noise and improve clarity, record the source at a high level. However, you don't want to distort your recording by having the level too high. This means you may end up testing your recording several times before you find the ideal level (unless you have a Tape Monitor mentioned in Cassette Deck Purchasing Hints).

For the lowest tape noise (hiss), switch in Dolby B or C on your recorder. However, for accurate playback, be sure the play deck also has Dolby B or C capabilities. Do not use Dolby C on the record deck if you are unsure.

Playback:

For the best sound quality, the play deck must be connected with a cable to the sound system. As we mentioned for recording, do not stick a microphone in front of a boom box speaker to amplify the song.

Figure 3

Use a direct box if your sound system does not have a Line In (Aux In) jack. The direct box converts the Line Out of the play deck to a Microphone In of the mixer (see Figure 3). Simply use a microphone cable to connect the direct box to a microphone jack.

Theatrical Technology

The theatre places high demands on a playback device - accurately timed sound effects are a must! This section discusses six theatrical playback options.

1. The reel-to-reel tape has been the theatre standard for many years. It can reproduce high quality sound effects in any order. Timing leader can also be spliced between the effects to allow accurate timing and cues.
2. The multitrack reel-to-reel format allows the technician to place separate sound sources on individual tracks. These tracks can then be "assigned" to a specific loudspeaker(s). The effect creates the sensation of localization as it relates to the performance - as in the opening example.
3. The Compact Disk is also used to play sound effects. It provides excellent sound and accurate cues. But most people do not have the equipment to record a CD, so it is difficult and expensive to customize them.
4. Modular Digital Multitrack machines (MDM) are now much more cost-effective than before. There are many advantages of using MDM machines: high quality recorded material, reduced tape noise for playback, greater dynamic range and lower tape cost. However, the tape cannot be physically spliced. Any editing must be done electronically from machine to machine. But, because the copying is done digitally, 1st generation copies are equal quality to 10th generation copies!
5. Of course, computers are getting popular, too. Computers allow the operator to alter any recorded effects or songs. For example, you may wish to rearrange a melody or erase "hiss," then assemble the effects or songs in any order - easily! Plus, playback is nearly instant (a click away).
6. Another medium utilizes computer technology but is a stand-alone machine (you don't need a computer to operate it). This device allows instant access of digitally recorded effects with the push of a button. The cost of this machine is surprisingly reasonable.

Summary

There are many playback and recording formats available, each with their unique strengths. Let us help you find the right equipment for your particular applications.

by Travis Ludwig © 1996 Internet Sound Institute (www.soundinstitute.com). This article is for personal use only. Any commercial reproduction is not permitted without permission. To obtain permission, contact ISI at hopi@soundinstitute.com

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