New source for Master Calibration tapes; ATR Service Inc.

Well, it IS being done, albeit not by everyone. If you do a search you will even find some discussions and circuits for that. Used to be analog circuits were used... today it is much easier in digital domain. I don't know how many studios do that, but I know that at least one adjusts the azimuth for every song on a master tape.
 
Well, it IS being done, albeit not by everyone. If you do a search you will even find some discussions and circuits for that. Used to be analog circuits were used... today it is much easier in digital domain. I don't know how many studios do that, but I know that at least one adjusts the azimuth for every song on a master tape.
That would make it really difficult when it came time to master to LP or digital file. Once you start cutting an LP groove you don't stop until the end of the side. So this sort of thing isn't done for mastering to LP FWIW (I ran an LP mastering operation for about 12 years).
 
Well, it IS being done, albeit not by everyone. If you do a search you will even find some discussions and circuits for that. Used to be analog circuits were used... today it is much easier in digital domain. I don't know how many studios do that, but I know that at least one adjusts the azimuth for every song on a master tape.
This only has to be done or checked on each song in one case: mastering from a compiled tape of songs done in different studios. No one ever tweaks head azimuth except for once at the beginning of a mix-to-tape session or a mastering-off-tape session.
 
Please read carefully my post on the previous page. You are basically agreeing with that I said.
 
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I've run a studio for the last 45 years. I've never heard of anything like this! Usually tape machine azimuth is quite steady and should not need constant tweaking as long as there isn't a problem with the capstan. Even cassette machines are very consistent with azimuth.
Everyone uses the same azimuth.in a format. That is why cassettes are consistent. But this post does remind me to get an alignment tape for a machine I have that malfunctioned on me (otari MTR10) and I can't find my MRL tapes. I think its the bias card. Recently, I just obtained an extender card so I can work on the cards while they are plugged in. What I'm not going to like about working on it, I will have to sit on the floor to work on it. Tapes that were pre-recorded on the machine, one channel low and distorted, recording, One channel dead, the other very distorted.

Can I get away with just getting one alignment tape, since its not a transport issue? Something like +3 NAB @ 10ips (medium speed)
 
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Everyone uses the same azimuth.in a format. That is why cassettes are consistent.

That's not been my experience. For example, the azimuth for Sony decks is very different than Nakamichi. When I play a tape in my Nakamichi Dragon that was recorded on a Sony, it take 5-10 seconds for the deck to get the azimuth adjusted.
 
Then it sounds like the Sony is out of adjustment.

Could be, but I have played back tapes made from multiple different Sony decks, maybe 10-20, so I think this is how Sony sets their azimuth. The same goes for tapes made in Tascams.
 
Could be, but I have played back tapes made from multiple different Sony decks, maybe 10-20, so I think this is how Sony sets their azimuth. The same goes for tapes made in Tascams.
I'd get an alignment tape and see what's going on. Azimuth is always set to exactly one spot which is the point where the head is the most vertical, allowing for the best HF response. This is true across all machines; IOW if you encounter something like this someone was sloppy somewhere.
 
Which alignment tape? They are all slightly different. And no one knows what are the typical and the worst case tolerances of azimuth in a typical... and a less than typical... studio. In other words - what is the worst case difference between your machine and the tape made somewhere else, who knows how long ago, that you can realistically expect?

I know full well that on some of those tapes with three tones the 10KHz signal is not exactly a diagonal line... it is an oval.

I usually don't adjust for that, because I am just a casual listener, not a producer. But I would most definitely make an adjustment if I was doing some real work with them.
 
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Which alignment tape? They are all slightly different. And no one knows what are the typical and the worst case tolerances of azimuth in a typical... and a less than typical... studio. In other words - what is the worst case difference between your machine and the tape made somewhere else, who knows how long ago, that you can realistically expect?

I know full well that on some of those tapes with three tones the 10KHz signal is not exactly a diagonal line... it is an oval.

I usually don't adjust for that, because I am just a casual listener, not a producer. But I would most definitely make an adjustment if I was doing some real work with them.
I still have a Teac cassette alignment tape still sitting around fro the old days when I serviced consumer electronics. I would also check the alignment on a cassette machine using pre-recorded tapes. I never found one to be different from another although I don't doubt they might exist because someone might have been sloppy setting up a duplication machine.
 
In the Nakamichi I am playing back cassettes which were made live in the field. I am sure the record deck was not in perfect alignment. There is a reason why Nakamichi build a deck which doesn’t auto azimuth. They knew there would be some variation from deck to deck.
 
Hm.

They don't appear associated with ATR Magnetics, the only US supplier of recording tape. If I had to guess, this would seem to cause some confusion in the marketplace. I know Betty, the owner of ATR, and I assumed as soon as I saw this thread that ATR was associated with ATR Service (since calibration tapes; something that ATR could be producing with their tapes; IMO a good idea). But no mention of ATR on the ATR Service website... Sheesh! I think it would be a very good idea for ATR Service to change their name.

I spoke to Betty at AXPONA at her booth. So ATR Magnetics is not invisible to high end audio.
Hi there, the ATR Service is no longer affiliated with ATR Magnetics. We can use the RTM or ATR Tapes per customer's preference. You are welcome to reach us at anytime. Thanks, Andrey (ATR Service, Inc.)
 
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How many audiophiles would know what to do with those tones?

That is the question Number 1.

And the question Number 2 is what good are those tones if the tape then exceeds the max level by a factor of N?

In those cases the tones are just something to annoy the customer.

You can put the azimuth adjustment tones on tape... how many audiophiles have scopes and even screwdrivers, plus clear understanding of what to do?

I have scopes and screwdrivers, and I have the tones on several of my tapes. Do you think I ever used them?
Hello,
Yes you are right that for most of the users it is complicated to align machine properly. But if you want to get the best sound quality then you have to have (MUST) your machine properly calibrated and have to do so on regular basis. Just because of mechanical "deviations" (considering conditions of heads, tape tension, components aging, bearings, etc.).
On a side note, that in a past ten years we have seen practically each purchased calibration tape with a lot of issues (up to +/- 45 deg azimuth and tones levels incorrect).
Regards,
Andrey (atrservice)
 
in the past ten years we have seen practically each purchased calibration tape with a lot of issues (up to +/- 45 deg azimuth and tones levels incorrect).

sobering to contemplate the performance consequences of this for any recently acquired tapes. and......calibration tapes have a shelf life. so old ones are not going to help us.
 
Hello,
Yes you are right that for most of the users it is complicated to align machine properly. But if you want to get the best sound quality then you have to have (MUST) your machine properly calibrated and have to do so on regular basis. Just because of mechanical "deviations" (considering conditions of heads, tape tension, components aging, bearings, etc.).
On a side note, that in a past ten years we have seen practically each purchased calibration tape with a lot of issues (up to +/- 45 deg azimuth and tones levels incorrect).
Regards,
Andrey (atrservice)

The “SHOP” button on your web page doesn’t seem to be functional.
 
Hm.

They don't appear associated with ATR Magnetics, the only US supplier of recording tape. If I had to guess, this would seem to cause some confusion in the marketplace. I know Betty, the owner of ATR, and I assumed as soon as I saw this thread that ATR was associated with ATR Service (since calibration tapes; something that ATR could be producing with their tapes; IMO a good idea). But no mention of ATR on the ATR Service website... Sheesh! I think it would be a very good idea for ATR Service to change their name.

I spoke to Betty at AXPONA at her booth. So ATR Magnetics is not invisible to high end audio.
Bette and I are good friends. I am very proud to keep the name and culture of Mike Spitz creation. Not to mention - the ATR is stated for Analog Tape Recorder + Service off cource :) and our new alignment tape has name MASTER CALIBRATION TAPE. Thanks!
 
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working on it right now. just email me your enquiry please.

I am not sure what is available. Maybe you can post a list here,
 
I am not sure what is available. Maybe you can post a list here,
available Calibration tapes 1/4”
- timing per tone 30 sec.;
- flux level 250 nWb/M or 320 nWb/M
- NAB/CCIR/AES
- single or double speed

all above can be customised per request.

7.5ips-$150;

15ips-$150;

30ips-$160

Dual speed tape $210

plus shipping.

1/2” tapes will be ready for production soon.
 
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