1-I should first unscrew the cassette case and put the tape into a TDK MA case (or another good case), because I've found that my Teac V2030S deck have much less flutter with TDK MA cases than, for example, TDK SA. But I usually skip this. Anyway, the tapes were already recorded with flutter.2-I know that some of my tapes were recorded on a deck with misaligned heads. I then put off the front of the deck, and screw the playback head while the tape is running until the sound is best (in this case, remember the old position in order to go back when the recording is done).3 - Find the exact speed at which the tape should be played, looking for CDs with one track that was also recorded on the same cassette recorder at the same time. The speed correction needed to match the wav recorded from the tape and the wav ripped from the CD must be applied on the recording. I use a resampling function for this. Say that I must set the speed to +2 % in order for the tape recording to have the same pitch as the CD. I resample then all the tapes recordings from the same recorder to 44100/1.03=42816 Hz, then reset the sample rate to 44100 in order to correct the pitch.4 - I load all wav files in Samplitude 2496, then match volumes of each one (I sometimes need to compress dynamics), then the treble level. I use a parametric equalizer for the treble correction.5 - I burn.I never remove the hiss. My old tests with SoundForge noise reduction plugin were disappointing.
As far as compressing dynamics and boosting trebile I will give this a definate try. That might help with the distortion???
MA or MA-XG ?
Aligning (and cleaning, even on a brand new tape deck) the head should bring the most audible improvement ...
Dolby circuits work as a compressor during recording and expand during playback so be sure that you choose the correct playback setting (B/C/S)
Here's what I did with the file. 1. I used Waves LMB (a multiband compressor/expander) as an expander to tame down the noise. It basically works like a multiband noise gate, but without a gate! 2. It still wasn't quite clean enough, so I then processed it with Waves X-noise. 3. I then used Waves LMB again, but this time as a multiband compressor to get the basic balance between the instruments where I wanted to hear them. 4. I set up an auxillary bus with a VERY short reverb with a 30ms predelay to open up the sound just a bit. 5. I used the Waves L2 limiter at the end (on the master bus) to get the sound as "in-your-face" as possible. Let me know what you think of the results. That said, the original transfer isn't that great. I've done some amazing things from cassette masters.
An MA-XG won't hurt. But in 2000, when I still recorded on cassettes, the MA had a case labeled "super precision anti resonance cassette mechanism" while the SA didn't. The flutter affecting the Bias 10 kHz calibration tone was indeed lower on the MA tapes. I can still measure it, if anyone needs it.~~Yes, but the problem is the lack of reference. It is easy to set the alignment right for a given tape, but how to set it back after this, in order to record new tapes ? The only reference I could find was pre-recorded tapes. And some of them had so weak a buffer that the tape was not properly pressed against the head. So be careful, if you turn half a revolution clockwise, remember to turn half a revolution counterclockwise after the recording.Having a reference for speed is easier, because TDK tapes display their lenght in meters. I then calculated, granted that the tape is 135 meters, and the speed 1+7/8 ips, that a 90 minutes TDK tape should run 47 minutes and 15 seconds per side. Exeeding the rated lenght allows them to guarantee 90 full minutes even on mistuned deck (the tolerance is +/- 2 % for consumer gear and +/- 0.5 % for professional gear, IIRC, or maybe there is a 1% in them...)~~Dolby C and S can be applied on recent tapes, granted the head is properly aligned. Old tapes loose treble, and the decoding process doesn't match the encoding process, so that the sound is "pumped" when dolby is set on playback as well as on record. Playing an old Dolby tape without Dolby doesn't harm much. It even helps to recover some of the lost treble. Dolby B is very sensitive to this problem.
QuoteAs far as compressing dynamics and boosting trebile I will give this a definate try. That might help with the distortion???Boosting treble helps, old tapes usually lack treble. Dynamics compression doesn't help at all. I used it because I sometimes find on CD a track that is in my cassettes, and I end up mixing cassettes recordings with CD rips. In this case, I might need to comrpess the cassette in order to get it as loud as the CD without clipping it.
First use NO pre amp or amp. Tape directly into card or what ever is the DAC. The reason not to use the amps is they ad a tiny bit of there own noise. SO I personally prefer to go "raw" then you have that original to play with.
IIRC there have been various discussions Re: digitally simulating dolby de-emphasis over at the Cool Edit forums, and none of them got anywhere.
Quote from: 2Bdecided on 07 May, 2003, 12:19:14 PMIIRC there have been various discussions Re: digitally simulating dolby de-emphasis over at the Cool Edit forums, and none of them got anywhere.Is the problem that the algorithm itself is poorly documented, or is the problem that a hardware circuit have access to absolute levels etc that are hard to get right in an external digital simulation?