![]() You will use this to set playback levels and EQ. This is a tape, which has been recorded at a known level of magnetism for at least three frequencies, 100 Hz, 1 kHz, and 10 kHz. Thus the tape deck uses a -6 dB per octave low-pass equalization to obtain flat frequency response.Īrmed with this knowledge, we are now ready to match the tape machine's electrical characteristics to the tape we wish to use for recording. On playback, magnetic tape exhibits a 6 dB per octave rise in output. Playback equalization must be applied to compensate for the nature of the medium. Its purpose is to compensate for the characteristics of the recorder and the tape. ![]() Recording equalization (set to AES/NAB or IEC/CCIR standards in most cases) is applied before our audio gets to the tape. In analog recording, a built-in EQ is applied at both ends of the process. We all understand the purposes of equalization. There is some low-level intermodulation distortion, however. in pro decks), it doesn't affect the audio being recorded too much. Since the bias frequency is way beyond our hearing range (100- 200 kHz. That shove is provided by high-frequency bias. The tape needs a bit of a shove to get it into the linear part of its transfer function. Well, if the tape's already been erased, you might wonder, why do we need more of the same signal fed to the record head? Turns out that magnetization is not a linear function. The bias oscillator in your analog tape machine serves two purposes: it erases the tape as it passes the erase head, and it provides recording bias, as a smaller amount is sent to the record head. Keep in mind that this is just the tip of the iceberg - there's enough info and tips on this to fill a book - but don't be afraid to learn how to do this yourself - you need this knowledge! Here's how it works: ![]() Your recordings will sound better (than if you left it uncalibrated for years!) and you won't be afraid to try new tape formulations or work on tapes from other studios. If you're an engineer working with analog tape decks, you should know how to set decks up for different operating levels, bias for varying brands and formulations of tape, and how to calibrate your deck for a flat EQ response. The fan, visibly shaken by the request, allegedly told Massey he “only had an AUX cable anyway,” and quickly made his way to the exit.Bias and equalization you've probably heard and used the terms for years, possibly without really understanding their effect on the quality of your recordings. “He was almost begging the kid, asking, ‘I want to hear if they doubled my bass parts like I asked them to. ![]() “Yeah, it started to get a little awkward when said, ‘Come on, dude - let’s go to your car, it will only take a minute…’ You could tell the kid wasn’t feeling it,” said Marcy Stephenson, who also declined to buy the cassette release. Emerging Harsh Noise Artist Revealed To Be Faulty Air Conditioning Unitīystanders at Tree Eater’s merch table reportedly overheard Massey and Daly asking the fan, who requested anonymity, if they could “all go out to his car and listen to it together.”.Regionally Popular Hardcore Band Ready for National Obscurity.Limited-Edition Tape Receives Limited Interest.Man, I hope the kick drum’s loud enough.” Related: “I had to work the day we mixed it, and my Walkman uses, like, $40 worth of AA batteries to power up, so I haven’t been able to check it out. Tree Eater drummer Brandon Daly shared Massey’s questionable production knowledge, revealed when the same fan asked Daly if he was happy with his drum sound on the cassette. “So I don’t think I ever heard that one, either.” “My turntable’s been broken for, like, six years,” said Massey. Massey, whose tape deck was stolen from his ’98 Toyota Camry last summer, allegedly also couldn’t confirm whether the band put “that weird reverb” on singer Justin Bentley’s voice, which they’d done on a previous 7” EP. “I think ‘Riot Act’ is the first song, and if it is, it opens up with a dope sample from ‘The Mechanic,’” said Massey, looking over the insert. Sources close to Tree Eater confirm the track order, credits, and publishing rights are also a mystery to the band, due to the album’s black-on-black screen-printed inserts. “The songs are really good! I mean, I don’t have a tape deck anymore,” said Massey, “but we used the same engineer who did the Big Push EP, and he told us it turned out awesome, so… yeah. Bassist Andy Massey of Tree Eater was reportedly unsure how to respond to a fan asking about his band’s new album, issued exclusively on cassette, accidentally confirming that the band members themselves have yet to hear their own release.
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