Which Dolby for studer A 80

[bass man]

Hi

I can get a 362 (stereo 361)with Dolby A Cat 22 cartridges or Dolby SR 365 model w/ 280 modules for the Studer A80 1/4 " 2 track 15 Ips , which one should i get and what is the difference ?

Thanks

[dcollins]

Originally Posted by bass man

Hi

I can get a 362 with Dolby A Cat 22 cartridges or Dolby SR 365 model w/ 280 modules for the Studer A80 1/4 " 2 track , which one should i get and what is the difference ?

Get a 363 with 300 modules.


DC

[bass man]

Originally Posted by dcollins

Get a 363 with 300 modules.


DC

Is that A or SR ?

I cant get other then mentioned above , so which one ?

[dcollins]

Originally Posted by bass man

Is that A or SR ?

I cant get other then mentioned above , so which one ?

It does both A and SR. What is your application?


DC

[bass man]

I mix to Studer A 80 from my DAW . So should i take Dolby A or Dolby SR thats the question ....

[dcollins]

Originally Posted by bass man

I mix to Studer A 80 from my DAW . So should i take Dolby A or Dolby SR thats the question ....

Chances are you don't need any noise reduction at all. If you are recording music where the quiet parts are so quiet that tape hiss becomes objectionable, I would recommend SR.


DC

[bass man]

I mix acoustic music and jazz mostly and did not use Dolby til now but on the beginnings and endings of the songs i can hear some hiss ....
What is the difference between SR and A Dolby ?

[dcollins]

Originally Posted by bass man

I mix acoustic music and jazz mostly and did not use Dolby til now but on the beginnings and endings of the songs i can hear some hiss ....
What is the difference between SR and A Dolby ?

SR is a much more sophisticated system than A. My advice would be to avoid noise reduction, and experiment with different alignments of the tape machine. Try increasing the record level, or using IEC equalization as a start.

Then again, I like hiss.


DC

[24-96 Mastering]

Originally Posted by dcollins

Then again, I like hiss.


DC

Pervert.

[bass man]

I think my machine is IEC , its a European broadcasting standard ( or maybe i am wrong ) and my machine is from broadcasting studio ....
I don't mind hiss but its kind of not OK 200 msec before the first tone of the song starts ....

[ORC]

I stopped using all noise reduction when 3m 996 and ampex 499 came out.
In mastering, when I don't recieve analog mixes, I have many clients that want me to print their mixes to 1/2 inch, and master their projects off of the tape. Here's what I use: Otari MTR-10 with PLX extended range heads, and modified audio cards by Jim Williams. I have the machine setup to run ATR Magnetics and RMGI tape at +9/0vu when I record. Depending on the material I might hit the tape 3 db down from there. For some material I use 15 ips some i use 30 ips. With this setup, I know I'm getting at least 80 db signal to noise ratio if not better. Even on soft passages tape noise is barely audible, and this sounds so much better than using noise reduction. On a Studer A-80 using 1/4 inch ATR tape at 15 ips. You should be able to get really great sounding mixes that have very little noise.

I'm extremely particular about aligning my tape deck and you should be too. Find out how to get it spot on. Make sure you use a Hand D Mag
often, and always before before you align your machine. What sort of shape are your studer's electronics in? When was the last time it was recapped? Are your heads in good shape? I can tell you this. Years ago I used to mix to a Revox PR-99 running 1/4 inch 3m 996 at +9/0vu 15 ips. Those mixes were not noisy at all, so you should be able to mixdown to and playback from an A-80 at 15 ips without using any noise reduction. The A-80 has such a gentle and quiet transport, its one of my favorites. Make sure that this transport is properly calibrated too.

I rarely ever recieve analog mixes these days where the mix engineer uses
noise reduction. I have dolby A and SR just in case. I have DBX too, but usually they're just taking up rack space.

If you go to the ATR magnetics website, you will find specs on their tape. These specs are referenced at 185nWb/m or true 0 vu. Even at that low of a level the S/N is really pretty good. This tape is made to run safely at a reference level of +10/0vu. One ought to beable to get really quiet referenced at +10. Some guys are running this tape at 185nWb/m at 30 ips. I see no point in this. I'd keep things in the digital realm if rather than hit the tape that lightly at that speed.

Anyway, my point is that reaching for noise reduction units would be my very last resort. I know you can get great sounding noise free mixes on an A-80 at 15 ips. if it is setup properly.

Good luck, and I hope this helps!

[bass man]

Originally Posted by ORC

I stopped using all noise reduction when 3m 996 and ampex 499 came out.
In mastering, when I don't recieve analog mixes, I have many clients that want me to print their mixes to 1/2 inch, and master their projects off of the tape. Here's what I use: Otari MTR-10 with PLX extended range heads, and modified audio cards by Jim Williams. I have the machine setup to run ATR Magnetics and RMGI tape at +9/0vu when I record. Depending on the material I might hit the tape 3 db down from there. For some material I use 15 ips some i use 30 ips. With this setup, I know I'm getting at least 80 db signal to noise ratio if not better. Even on soft passages tape noise is barely audible, and this sounds so much better than using noise reduction. On a Studer A-80 using 1/4 inch ATR tape at 15 ips. You should be able to get really great sounding mixes that have very little noise.

I'm extremely particular about aligning my tape deck and you should be too. Find out how to get it spot on. Make sure you use a Hand D Mag
often, and always before before you align your machine. What sort of shape are your studer's electronics in? When was the last time it was recapped? Are your heads in good shape? I can tell you this. Years ago I used to mix to a Revox PR-99 running 1/4 inch 3m 996 at +9/0vu 15 ips. Those mixes were not noisy at all, so you should be able to mixdown to and playback from an A-80 at 15 ips without using any noise reduction. The A-80 has such a gentle and quiet transport, its one of my favorites. Make sure that this transport is properly calibrated too.

I rarely ever recieve analog mixes these days where the mix engineer uses
noise reduction. I have dolby A and SR just in case. I have DBX too, but usually they're just taking up rack space.

If you go to the ATR magnetics website, you will find specs on their tape. These specs are referenced at 185nWb/m or true 0 vu. Even at that low of a level the S/N is really pretty good. This tape is made to run safely at a reference level of +10/0vu. One ought to beable to get really quiet referenced at +10. Some guys are running this tape at 185nWb/m at 30 ips. I see no point in this. I'd keep things in the digital realm if rather than hit the tape that lightly at that speed.

Anyway, my point is that reaching for noise reduction units would be my very last resort. I know you can get great sounding noise free mixes on an A-80 at 15 ips. if it is setup properly.

Good luck, and I hope this helps!

It helps for sure thanks .
You are right , recapping my studer wouldn't be a bad Idea , its good aligned by pro tech and the hiss isn't bad at all etc ...Heads and transport are in great condition . I wanted to check the DOLBY just to get an idea of what its doing to audio - sonically.
I use sm 468 RMG . I think the A 80 is actually pretty clean sounding , almost too clean for the tape deck ; )
I am wondering what kind of modifications to the Repro and Record cards,etc.. are possible
I have heard from Bob Ohlson on this forum that modification of studers PSU was a common thing to do in a lot of studios , it has something to do with Input/output impedance in connection to other units or something , i don't know exactly i am not a tech .

[bass man]

Anybody?

[Greg Reierson]

Originally Posted by ORC

Some guys are running this tape at 185nWb/m at 30 ips. I see no point in this.

Dolby likes lots of headroom to avoid tape non-linearities so a lower recording level is a good idea. Otherwise, you're right.


GR

[IIIrd]

15 ips and dolby SR for me.

[dcollins]

Originally Posted by bass man

I have heard from Bob Ohlson on this forum that modification of studers PSU was a common thing to do in a lot of studios , it has something to do with Input/output impedance in connection to other units or something , i don't know exactly i am not a tech .

I think they are referring to a upgrade in the current capability of the power supply.

If everything is dialed-in (especially with high energy tape) I don't think you really need noise reduction.


DC

[bass man]

Originally Posted by dcollins

I think they are referring to a upgrade in the current capability of the power supply.


DC

Thanks man for your help . Do you know more about power supply upgrade / modification ?

[wado1942]

I have dolby A and SR just in case. I have DBX too, but usually they're just taking up rack space.

I'm in the same boat with my Otari MX-5050Bii and my Ampex 440b/c. Plenty of noise reduction available, never used them outside of testing.

Some guys are running this tape at 185nWb/m at 30 ips.

Well that would give about 26dB of headroom before reaching 3% THD on most machines. Perhaps they're using on machines that don't have sufficient headroom to run at 400nWb/M or higher. A lot of people are avoiding RMGI because of shedding/slitting problems so perhaps they're just using ATR at a lower fluxivity. 185 does seem rediculously low though. I'd think 250 would be more common even for very old machines, except perhaps maybe 300 series Ampex.

[ORC]

I think you would experience an instant improvement if you switched to
ATR Magnetics tape, and ran it at +6/0VU or 355Nwb/m. i run it at +9/0vu
(0vu =185nWb/m) and it sounds clean and has a great vibe at both 15 and 30 ips. I like to do a few short passes of a tune to find what recording level sounds best for that tune, it takes some time, but its worth it to find the sweet spot. Every song is different, so i do this with each song. Sometimes on the same album I might do some tracks at 30 ips, and some at 15. I think finding the best speed for a given song is important as well.
After some time you'll be able to hear a mix and automatically know if it is going to sound best at 30 or 15.

In my opinion ATR is the best sounding, most reliable and consistent tape currently available. I have only recieved one reel that was iffy, and the folks at ATR Mag. were happy to replace it for me. Before i switched to ATR exclusively I was using new old stock quantegy GP-9. Compared to ATR, GP-9 is absolute crap. Also, before changing over to ATR I ordered in some RMGI 468, 900, and 911. I had shedding problems from the get go, and I can't work that way. Thank God for ATR!!!

I hope you give ATR a try, you'll be glad you did. I would set it up for +9 operation. You can always record with your levels 3 or 6 db back if you need more headroom. The overbias for ATR at 15ips on a Studer should be 4.5 db. I'm fairly certain that just switching to ATR will be good for a db or 2 improvement in signal to noise ratio even without changing your reference level.

Proper calibration of your machine is critical for good performance. I get stuff in from guys using ATR 102's and studer 820's that don't sound nearly as good or as noise free as recordings I make on my humble MTR-10. The only thing i can attribute this to is that my machine is modified, but most importantly it is thouroughly cleaned, D-Mag'd, and really dialed in terms of calibration before EVERY session.

Again, Studer A-80 in good shape, cleaned, D-mag'd,properly aligned, good tape, good levels, at 15 ips should be just fine without any NR.
If your listening at 110 db, you will hear tape hiss for sure. If you're listening at 85 db you should hear little if any noise at all.

[ORC]

BTW I believe I read an article where Chuck Ainlay was running the ATR tape at 185nW/m on an atr 102 1 inch 2 track with Aria electronics. he said it sounded magnificent. I would have stuck with digital over this. Seems like a waste of tape to me. But hey, he's made a few more records,
and a few more bucks than i have.

[ORC]

Originally Posted by bass man

I think my machine is IEC , its a European broadcasting standard ( or maybe i am wrong ) and my machine is from broadcasting studio ....
I don't mind hiss but its kind of not OK 200 msec before the first tone of the song starts ....

At 15 ips on my deck, I can select NAB or IEC eq. I prefer the sound of the iec curve, but most 15 ips mixes that come to me are NAB eq. My deck also does 30 ips AES eq of course. I'm curious if your machine does 30 ips as well. The reason i wonder is becaused flatpicked acoustic guitars, mandolins, snappy upright bass, etc. Can have some pretty quick transients that can become softened or even masked at 15 ips. I really like the sound of 15 ips, but for material with a bunch of fast transients i
prefer 30 IPS.

Its important that you know for sure that your deck's electronics are iec or nab. You need to have the proper MRL tape for your machine. Specify NAB or IEC eq, 15 ips, at least these tones: 1k, 10k, 16k, 100hz. Then your reference level 185 nWb/m = 0, 250 nWb/m = +3 db, 355nWb/m = +6, 500 nWb/m = +9. If your deck does 30 ips AESeq as well, order a 2 speed MRL tape. OH I almost forgot. Make sure your MRL tape is NON-FRINGING COMPENSATED!! fringing compensation is for narrow format multitrack machines.

I use a 2 speed MRL at 250 nWb/m. With a single tape like this, you will be able to setup for +0, +3, +6, and +9 operation using your VU meters.

If you want to make your mastering engineer really happy, print these tones at 0VU for him: 1k, 10k, 16k, 100 hz, bass sweep from below 20 hz to 200 hz or so, and some white noise at 0vu. Some guys like to adjust playback azimuth using 16k. Some guys like to use white noize to set azimuth.

One more thing to get done assuming your heads are in good shape would be to send your head block to JRF magnetics for an optical alignment. This is inexpensive, and can really help you get the best performane out of your machine.

[bass man]

Originally Posted by ORC

At 15 ips on my deck, I can select NAB or IEC eq. I prefer the sound of the iec curve, but most 15 ips mixes that come to me are NAB eq. My deck also does 30 ips AES eq of course. I'm curious if your machine does 30 ips as well. The reason i wonder is becaused flatpicked acoustic guitars, mandolins, snappy upright bass, etc. Can have some pretty quick transients that can become softened or even masked at 15 ips. I really like the sound of 15 ips, but for material with a bunch of fast transients i
prefer 30 IPS.

Its important that you know for sure that your deck's electronics are iec or nab. You need to have the proper MRL tape for your machine. Specify NAB or IEC eq, 15 ips, at least these tones: 1k, 10k, 16k, 100hz. Then your reference level 185 nWb/m = 0, 250 nWb/m = +3 db, 355nWb/m = +6, 500 nWb/m = +9. If your deck does 30 ips AESeq as well, order a 2 speed MRL tape. OH I almost forgot. Make sure your MRL tape is NON-FRINGING COMPENSATED!! fringing compensation is for narrow format multitrack machines.

I use a 2 speed MRL at 250 nWb/m. With a single tape like this, you will be able to setup for +0, +3, +6, and +9 operation using your VU meters.

If you want to make your mastering engineer really happy, print these tones at 0VU for him: 1k, 10k, 16k, 100 hz, bass sweep from below 20 hz to 200 hz or so, and some white noise at 0vu. Some guys like to adjust playback azimuth using 16k. Some guys like to use white noize to set azimuth.

One more thing to get done assuming your heads are in good shape would be to send your head block to JRF magnetics for an optical alignment. This is inexpensive, and can really help you get the best performane out of your machine.

My deck is only 7.5 and 15 ips and its IEC eq that was preety much standard for European radio stations and my deck is A80 R (rundfunk - radio) i think. The problem is that it is impossible to find the test tape here ( i am in europe). My tech has one but he is not giving it away ....

[Ron Obvious]

Hello Bassman,

Dolby A was the original noise reduction hardware. It only dealt with reducing the noise above about 5 khz. The early filters and phase distortion was not that great. A number of years later, Ray Dolby came up with Dolby SR. Now the audio bandwidth was divided into 4 bands. Something like today's multi-band compressors. This allowed even more "broadband" noise reduction. I believe that Dolby A was about 10-15 dB on the top end only, while SR was about 20 dB overall. The electronics in the SR units were also of a higher standard - sounding much more transparent. Dolby A sucked all of the transients out of drums.

Dolby SR is much better. Use this. Only use Dolby A (rec mode) for that stupid add high end to the vocal trick.

Studer A80 alignment. 15ips IEC is fine. I would have your tech align the playback electronics for +6 dB over 185 nW/m = 0VU. This way with any of the modern high MOL tapes, you'll have lots of headroom in all frequencies.

The first thing you do when you get the machine back to your studio is make your own "test tape". Yes I know is not as good as the real one, but it will allow you to play with other alignments in the future ( i.e. +9 dB over 185nW/m = 0VU

From your console/daw oscillator - do a record alignment with 1khz, 10khz for bias, and high frequency, and then 50 hz for the low end. You'll notice that there is no rec low end adjustment. You need to adjust the 50 hz record level be adjusting the low frequency playback.

Once this is all done check the record head phase alignment, and also check how good 15 khz looks. It should a near 0 VU, also.

Now find a piece of clean unrecorded tape and make yourself and alignment tape. 1 to 2 minutes of each tone. 1khz, 10khz, 50 hz & 100 hz and 15 khz, just to see what's happening with these frequencies. Store this tape and only play it when you need to.

After this is all happening, now plug in the Dolby unit and do the input and output calibration. You send 1khz at console 0 VU to the Dolby unit. There are two screws on the way in. First one is to align to 0 VU on the dolby unit meter, next align the dolby "rec" output to the input of the Studer. Again adjust the Dolby rec cal for 0 VU on the Studer. This of course this needs to be done for the left and right channel "rec" and "playback". Note you are NOT touching the Studer at this point. > It's aligned already. Don't use the Dolby tone to align. Just put a bit of this at the end of the tones, so that the mastering guy knows that its a Dolby tape master tape.

Lastly, as someone had stated earlier in this thread, you could also try and align the Studer A80 to +9 dB over 185nW/m = 0VU. Then don't use any Dolby at all! Your tech will also mention that in Europe the IEC numbers for nW/m are just a bit different than the North America ones. I.E. 320 NA is 355 europe.

185nWm = 0vu original 1960's standard
250 = +3 dB
320 = +6 dB - in Europe IEC. = 355 nWm
520 = +9 dB modern tapes

Good luck.

[ORC]

Okay, I think its a safe bet that you are using IEC equalization. This is not a problem. Navigate here: MRL Calibration Tapes You can find any alignment tape you'll ever need here. You could get a two speed 7 1/2 and 15 ips Iec eq 1k, 10k, 16k, 100hz, non-fringing compensated tape at 250nWb/m. With this tape you could align at 0, +3, +6, and +9.
It would be great if you could calibrate your own machine. I always do my own, that way i know its been done right, and is at my desired reference level.

When using any noise reduction, you want to keep your machine referenced at a level lower than your tapes maximum reccommeneded reference level. 3 db below would be nice. That way whether your using dolby A, SR, DBX whatever, your recording levels will always remain within
your tape's linear operating range. You don't want to be saturating the tape and getting into tape compression. Its been my experience that NR sounds awful if your tape is saturating. By choosing to use NR over running your reference levels higher, on tape that can handle these higher levels, you are missing out on a really beautiful thing which is the organic compression that happens when tape is saturated a bit, or a lot. Its a wonderful thing, and is quite controllable.

Years ago, when i was a tracking/mix engineer we always ran ampex 456 or 3m 226 at 15 ips using Dolby SR. Then the +9 tapes came out ampex 499 and 3m 996 were what we used. At this time i stopped using noise reduction at 15 ips and 30 ips. Everything sounded better, and when needed i could really bury the needles if that was the sound i was looking for.

I've heard some pretty strange things happen with noise reduction especially if a poject on 2 inch with NR gets mixed down to 2 track with NR. Most of my analog clients don't use NR and if they ask me pre- mastering if they should, i tell them no. If you simply must use NR Dolby SR is what I would use. But as I and others have mentioned before, with your machine properly calibrated, with good tape, and good levels, you shouldn't need NR.

This might work too. A friend of mine had an a-80 1/4 inch 2 track that ran at 3 3/4 ips, and 7 1/2 ips. He mentioned changing a couple of internal jumpers, and now his machine runs at 7 1/2 and 15. There is a very slight possibility that your deck could be jumpered to run at 15 and 30. I'm not 100% on this, but i know it worked for him. Search the internet, and you might find the answer. Or just ask John French. He will most likely have the answer for you: Head relapping He is a super nice guy, who knows his stuff, and likes helping people.

If you haven't tried ATR Magnetics tape yet, you simply must go here:
ATR Magnetics, LLC These people are wonderful too!

So much better than RMGI your jaw will drop.

[bass man]

Hey you are so great all of you , thanks for all this help !
I went with Bob Katz true all this while ago , he explained to me how to integrate the deck in digital system , Bob is also very generous like you guys !
There is one thing thats not really clear maybe somebody can explain this to me , i am stupid or something .
On the RMG site there are spec. Nr. for every tape saying :

SM 468 is +12 db at 320 nW/m 15 Ips
SM 911 is +12,5 db at 320 nW/m at 15 ips
SM 900 is +14 db at 320 nW/m at 15 Ips
Per 528 is +11 db at 320 nW/m at 15 Ips

It means that you can have 12 db peaks with ,for example ,SM468 above 0 db VU which is 320 nW/m at 15 Ips speed right ? And you can have 2 db more peaks with SM 900 right ?
Is it basically saying that if you align your deck at 320 nW/m at 15 Ips to be 0 db VU on your deck ( And you are calling this + 6 alignment right ?) you can aloud the peaks of 12 db for sm 468 and 14 db for sm 900 , right ?

Lets take it from the DAW point of view :

If i mix so that my peaks in the DAW are reaching -0 dbfs and i want to mix to SM 468 which is +12 db at 320 nW/m at 15 Ips , i have to calibrate my deck so that when i play test tone from the tape at 320 nW/m into my DAW i have to read - 12 dbfs level in my DAW right ? And you call this + 6 alignment of the deck right ?

Thanks

[bob katz]

You can also do your own pseudo IEC even at the NAB setting or even if it doesn't have IEC. Just align the 10 kHz tone of the NAB playback tape to -3 dB (or whatever you choose) and this will amount to another 3 dB of high frequency noise reduction but (caution here) a proportional amount of increased high frequency saturation or distortion.

Using a 1/4" tape machine without noise reduction, especially at 15 IPS is an exercise in the art of compromise, unless all you are doing is rock and roll with little dynamics. There's far less compromise in my opinion with 1/2" and there you can play with the sonic differences between 15 and 30 without feeling like hiss is not your friend. As the hiss level of 1/2" is much more acceptable. In fact, I find the hiss level of 30 IPS 1/2", 320 nW/m with GP9 to be subtle and "soothing" and for most music, 15 IPS 1/2" to be quite acceptable.

[IIIrd]

Originally Posted by bob katz

You can also do your own pseudo IEC even at the NAB setting or even if it doesn't have IEC. Just align the 10 kHz tone of the NAB playback tape to -3 dB (or whatever you choose) and this will amount to another 3 dB of high frequency noise reduction but (caution here) a proportional amount of increased high frequency saturation or distortion.

Using a 1/4" tape machine without noise reduction, especially at 15 IPS is an exercise in the art of compromise, unless all you are doing is rock and roll with little dynamics. There's far less compromise in my opinion with 1/2" and there you can play with the sonic differences between 15 and 30 without feeling like hiss is not your friend. As the hiss level of 1/2" is much more acceptable. In fact, I find the hiss level of 30 IPS 1/2", 320 nW/m with GP9 to be subtle and "soothing" and for most music, 15 IPS 1/2" to be quite acceptable.

15 ips seems to be more linear. i find the low end at 30 ips goes a bit aray (spelling?). though as you rigthly say , the hiss has a smoother quality.
hence the dolby SR i use at 15ips.
i'm totally with you on 1/2" though.

[bob katz]

Originally Posted by IIIrd

15 ips seems to be more linear. i find the low end at 30 ips goes a bit aray (spelling?). though as you rigthly say , the hiss has a smoother quality.
hence the dolby SR i use at 15ips.
i'm totally with you on 1/2" though.

With a Flux Magnetics Repro Head, the low end of my 1/2" goes down to the center of the earth at 30 IPS so 30 is not a compromise with the right head. And NNR is the way to go with 1/2" for most projects.

But for 1/4" I agree about the SR choice. I have always been a fan of Dolby SR, it's sweet, liquid, euphonic... And in fact I was the first engineer in New York City to own a pair of SR modules. Some people are fans of Dolby A as well, but again, this is very dependent on the music being recorded, if it's music that likes saturation, for example, as Dolby A does not protect from saturation the way SR does. As a recording engineer, I used SR/15 IPS/1/4" to record purist projects in the days before great converters and even after, as a backup. I never preferred Dolby A for my purist projects and I could not tolerate 1/4" NNR as a medium, too hissy for me as I never pushed the tape to rock and roll hardness.

Then as I moved away from recording, and expanded my mastering to a wide range of other people's projects, I began to appreciate the virtues of why they chose 1/4" NNR and/or Dolby A for their rock projects, because it does rock. 1/4" 456 is part of the sound of so many classic rock albums. But I go on record as saying that for myself, for my own purist projects, 1/4" NNR was too noisy.

[IIIrd]

Originally Posted by bob katz

With a Flux Magnetics Repro Head, the low end of my 1/2" goes down to the center of the earth at 30 IPS so 30 is not a compromise with the right head. And NNR is the way to go with 1/2" for most projects.

But for 1/4" I agree about the SR choice. I have always been a fan of Dolby SR, it's sweet, liquid, euphonic... And in fact I was the first engineer in New York City to own a pair of SR modules. Some people are fans of Dolby A as well, but again, this is very dependent on the music being recorded, if it's music that likes saturation, for example, as Dolby A does not protect from saturation the way SR does. As a recording engineer, I used SR/15 IPS/1/4" to record purist projects in the days before great converters and even after, as a backup. I never preferred Dolby A for my purist projects and I could not tolerate 1/4" NNR as a medium, too hissy for me as I never pushed the tape to rock and roll hardness.

Then as I moved away from recording, and expanded my mastering to a wide range of other people's projects, I began to appreciate the virtues of why they chose 1/4" NNR and/or Dolby A for their rock projects, because it does rock. 1/4" 456 is part of the sound of so many classic rock albums. But I go on record as saying that for myself, for my own purist projects, 1/4" NNR was too noisy.

I have an studer A820 1/2"...i can't say what heads as i don't know, i'd guess they were the ones that came with the machine.
456 is my favourite tape stock, and has a sound all of its own.
SR does a certain something...i don't know what it is, but i love the sound of it.

i use it as a tool in mastering , and i've never been in the recording side. so many clients had asked if i could eq to give that "from tape" sound...behind me was a tape machine...it seemed rude not to use it. after all, if we stop using tape...they'll stop making it.

quantegy currently list 456 as for sale on their online shop, but they only have gp9 in stock. i did read somewhere that they intend to still make it....here's hoping.

I've used the RMG900/911 stuff...but i did have issues with shedding...although the shedding stopped after a few plays and with the help of some scotch tape cleaning felt.

one of my clients descirbed the difference between them quite well...."RMG is very smooth, but 456 is more rck n roll"....i have to agree...

sorry...gone way off topic...

eitherway...its nice to see people getting into tape

[bass man]

It seems like Dolby SR is the ticket with 15 Ips 1/4 " .

Anybody care to comment on post 25# in this thread ?