Reel to reel recorders.

I'm currently working on creating a new software that aims to emulate tape. Hence the need to delve a little deeper into the world of analogue studio tape recorders and reel-to-reel tape recorders. I confess that my knowledge in this area is severely lacking. In the early days of my career I had the privilege of encountering studio tape recorders, but then things changed rapidly, with DAT recorders replacing tape recorders and digital multi-track recording equipment giving the final push. Today it is a rarity to use one of these to record tracks.

One of my great favourites in the analogue tape recorder world is the AKAI GX 747. However, although it is beautiful, it is only suitable for studio use with some good intentions. It is not designed for multi-track recording. It allows recording of a total of four tracks (two stereo). In terms of technical advances, the recording and playback heads are almost wear-resistant, and recording or playback is not done with a mechanically rotatable switch like its predecessors, but the playback speed is designed more for the needs of the field listener. For studio purposes, it is the high tape speed that gives the richness of detail in the recording, but the AKAI is only capable of speeds of 19 cm/s and 9.5 cm/s. Still, if a good deal came along, I wouldn't think twice about buying it. These devices are magic. Buy me, but I'm a retro mobster.

The range of tape recorders for studio use is very wide, but there aren't really as many actually designed for that purpose as you might think. Common features of such devices are high tape speeds, the ability to record 8-16-24 tracks simultaneously, and low signal-to-noise ratios. In this respect, tape recorders are considered to be quite inferior to their digital counterparts. Compared with the 144 dB signal-to-noise ratio of a 24-bit material, the 76 dB signal-to-noise ratio of better studio tape recorders may seem somewhat ridiculous, but listening to music from the 1980s, you can be sure that it won't blow your mind. Today's music is more demanding of clarity, where the signal is maximised to maximise the noise, and the noise level is increased when mastering. Nevertheless, these devices can still be used today, for example, when you want to achieve a soundstage that is 20 or 30 years old, because the style of the music is almost begging for it, or in the case of mastering, when you want to get a slightly more saturated end product out of your highly digital signal. Even an AKAI can do the trick.

After a long search, I found a pdf article about the frequency response characteristics of studio tape recorders. There I could see that the other signal conditioning factor of - tape recorders - linearity in the lower frequency range is not even known. These devices are therefore only recommended for studio use for those who know that tape recorders ultimately deform the signal, transforming it in their own way.

The transformation is not just a change in the signal-to-noise ratio, a change in the frequency curve. There's also the notation called WOW-Flutter. These are actually two separate concepts. One is tape whine, i.e., a very minimal change in tape speed. The other is that the maximum volume also changes, because the mechanical parts obviously shape even this during recording and playback. Of course, the change is so small as to be almost imperceptible.

The signal stream is also modified by the quality of the tape and how much the input volume is overdriven. One of the main advantages of tape recorders is that the overdriven signal peak is not suddenly cut off, but rounded off. As a result, the sound will be more natural than with a digitally overdriven signal.

In conclusion, using such a device is a hassle, it doesn't follow the demands of the modern world, but it is like LEGO for a child. What I wouldn't give to have one of these! I swear, if someone gave me one of these, it would certainly take me out of my deep apathy and make me a happy grinning man for a while.

If you're interested in the world of tape recorders, I recommend a visit to the world's only magnetophone museum, where you'll find a whole lot of things to see:

http://www.magnomuzeum.hu/

Finally, for those who cannot afford to buy one, what can you do? You are left with the plug-in, but I can assure you that even the best emulations are far inferior to their analogue counterparts.