Part 2: Set-Up, Use And Other Suggestions
It is best to use the simplest path possible to make the best dubs. What I
do is connect both decks into the same tape loop. Here's how it works:
Preamp(Receiver)>Deck 1>Deck2> Preamp(Receiver). There are other
advantages to this aside from having only a patch cord between decks.
While you are dubbing you can listen to something else. It also frees up
an extra input on your preamp(receiver). Obviously you record from deck 1
to deck 2 so it is best to have deck 2 be the better deck. When you just
want to listen to tapes you use deck 2. If you want to record from
something other than a tape you either record on deck 1 or pass the signal
through deck 1 to deck 2. For best results you could physically remove
deck 1 from the chain but that would be a pain. If you have a deck that
has playback fine tuning features such as the Nakamichi Dragon and CR-7A
you will probably want to have it in the playback position. Do some
experimenting and see which decks work best in the play and record
positions. If you have one deck that is a Nakamichi and one that is not
you will probably want to pay particular attention to which one you use for
which purpose. Keep in mind that a tape made on a Nak will sound best when
played back on one.
It is better to not stack your stereo equipment on top of each other. You
should isolate your amp or receiver as far away as possible from your other
equipment. Try to keep other electrical appliances as far away as possible
from your audio equipment. Once you turn your cassette decks or other
equipment on you should leave them on until you are through with them for
the day. Equipment such as preamps and CD players that do not run hot
should be left on all the time. Each time you turn a piece of electronic
equipment on or off you send a surge through it. Leaving equipment on but
idle uses very little electricity. Your equipment will last longer and
sound better when left on rather than turned on and off repeatedly.
Audiophile cables are worth looking into and really can make a difference.
The following are recommended. Prices are approximate and for a 1 meter
Kimber PBJ $65
Straightwire Flex Connect $50
Vampire (not sure of model) $30
Audioquest is also a good low cost alternative, but I am not that familiar
with their line.
AVOID Monster cable, the above are far better.
Setting levels is going to vary from deck to deck for a variety of reasons
explained below. You want to set the levels as high as you can to keep the
music above the noise floor(hiss). If you set the levels too high the tape
will saturate and distortion will result. With most chrome tapes on many
decks you will want the peaks around +2 or +3 dB. Different tapes and
decks will react differently. Consult your manual to see what it suggests
as far as setting levels. Use that as a starting point and then
experiment. See how far you can push different types of tapes before
distortion begins. Once you find the point where your deck is going to
distort try to stay about 2 dB below that level.
First of all, 0 dB on cassette decks can vary from one deck to another
whether by design or just by miscalibration. Most decks have a Dolby
symbol somewhere on the meter and this *should* be considered the real 0
dB. Different meters also react differently, especially different types,
i.e. needles, LED, fluorescent. Some meters are faster than others and
also some are meant to show averages(needles) and not peaks. Slower meters
are not able to "follow" a signal all the way up to the peak. Very fast
meters can read peaks of +5 or more but this is for such a small fraction
of a second that the tape will not saturate. These +5 peaks will more
likely read at around +2 or +3 or lower with most other meters.
Play recordings made on your deck on other decks and try to get a consensus
of how differently your recordings are going to react. READ YOUR MANUAL.
It will suggest recording levels based on how the deck has been set up.
Some decks, especially ones with meters that show averages, should usually
be set around 0 or +1. Very fast meters should usually be set with *peaks*
at around +4 to +7. If your source material has high continuous levels you
will need to set the levels lower or saturation will result. This is based
on chrome tapes. Metal would be a little higher, normal bias a little
lower. Experiment and see what works best. See how high you can push a
tape before distortion results. Experimenting with test tones can lead to
some insight. As an example I can use a test tone and match my two
cassette decks to exactly 0 dB with a continuous signal. Peaks on my Onkyo
TA-2056 of +2 dB will correspond to about +5 or +6 on my Aiwa F-990.
Set the levels for the loudest part of the tape. Once you get the hang of
this and get a good feel for your tape decks you will be able to do this
fairly quickly. Keep mental or actual notes about where the peaks are on
your tapes. Once you set the levels and start recording you should not
change them so as to preserve the dynamic range. If there is an obvious
change in level due to something non-musical, then it probably is a good
idea to make subtle adjustments to compensate.
Some purists say you should never adjust the balance between the left and
right channels. The simple fact though is that after a few generations it
is real easy for the balance to get skewed to one side. I personally
prefer the levels to be close to even on average unless there is a good
reason for them not to be. Some early(60s) tapes had a weird left-right
balance and necessitate being off balance. Also, the Dead's drums/space
segments will have odd balances on purpose. Use your best judgment. Find
out what your trading partners prefer.
The best and cheapest method is to use swabs (Q-tips or whatever) and plain
alcohol. Cassette cleaners that you insert in the deck are not as
effective. First of all make sure you use something that has 90% or
greater alcohol content. Most rubbing alcohols have around 70% and this is
not good as there are too many additives which are not good for your deck.
The best thing I have found to use is grain alcohol. Everclear is 95%
alcohol, and I think it is the most concentrated you can get. I can't
believe people actually drink the stuff. Another good choice is denatured
alcohol which you should be able to get at a pharmacy. There are some drug
store alcohols that are something like 92% for about a dollar. This is the
cheapest way to go, but I think using Everclear or denatured alcohol is
better. The 200ml bottle of Everclear will cost about $4 from a liquor
store, and you will probably never run out of it. Keep the cap on tight as
it evaporates easily. It is probably better to get the foam swabs rather
than cotton as the cotton strands sometimes unwind and could get caught up
in the deck. I still use the cotton though.
Take the swab and dip it in the alcohol and then scrub the heads and
anything else that the tape might touch. When the swab gets a little bit
of brown gunk on it change to another. Do not use alcohol on the rubber
pinch roller, or it can dry and crack. The safest thing to do is use only
rubber cleaner on the pinch roller. At one point you could get rubber
cleaner at Radio Shack but I have not been able to find it there lately.
Places that sell professional recording or broadcast supplies should have
it. I often use just a dry swab on the pinch roller. The capstan (metal
pin above the rubber pinch roller) is usually spinning all the time when
the deck is on. This makes it pretty easy to clean as you just have to
press the swab against the capstan and the spinning does a pretty good job
of cleaning. Some capstans only spin when there is a tape in the deck. In
this case you can feel around at the top of the deck's well and find the
switch that senses when a tape is inserted. Pressing the switch will make
the capstan spin. The capstan is very important to keep clean because it is
usually the culprit when a tape is "eaten." If the tape well in general
looks dusty or grungy try to clean it up as best you can. A can of
compressed air can be very effective. The alcohol usually evaporates
quickly, but it doesn't hurt to go over everything with a dry swab to make
sure everything is dry. Many decks have removable doors that make them
easier to clean.
Clean the heads about every 20-50 hours of use. Some decks get dirtier
faster than others. If there is more than just a hint of brown stuff on
your swab, you need to clean your heads more often. It does not hurt to do
it too often.
There is much controversy concerning demagnetizing. A few say it needs to
be done often, some say only once every few years and many say not at all
or only when necessary. One thing I will say is DO NOT use the cheap
demagnetizes that you find in record stores. These can cause more harm
than good. Demagnetizing should only be done by a professional with
professional equipment. The safe plan is not to do it all. If your deck
is having problems and you are having it serviced ask the technician about
demagnetizing. They will usually do it for free if you are already having
work done. Otherwise, if it ain't broke don't fix it.
It is a good idea to take your deck to a reputable repairman or high-end
oriented audio store and have your deck professionally cleaned, aligned and
calibrated. If your deck gets very heavy use you should do this about
every year or so. If you are a little tight on money you can get by with
every two or three years or so. At a minimum have them 1) calibrate the
meters on playback and record 2) calibrate the transport speed 3) calibrate
the bias to the tapes you use most often 4) clean and demagnetize(only if
necessary) 5) set the head-azimuth to zero' 6) check the performance of
the analog sections. After 5 or so years it is a good idea to have them
check the motors if the deck has had very heavy use. This will cost
approximately $30-$80, depending on where you take it and how much you need
done. This can be done yourself if you really know what you are doing and
have the right equipment.
Bias Setting (Tape Types)
There are three broad bias or tape type settings. These are:
[Type III or Ferric Chrome is no longer available.]
- Normal or Type I
- Chrome, CrO2, High Bias, or Type II
- Metal or Type IV
Each of the names on a line means the same thing. The first name is the
most common in usage.
Most cassette decks should have settings for the different types of tapes.
Car stereos, boomboxes, and walkmen sometimes do not. In playback mode
metal and chrome are basically the same. Many car stereos and walkmen have
a playback setting that says chrome/metal. Many newer cassette decks have
an auto setting so you do not have to even worry about setting this. Even
with auto setting there should still be some sort of indicator light
showing the setting.
Within the normal and chrome settings there is also bias fine tuning that
is necessary. Most better decks made within the last several years will
have some sort of bias fine tuning. Some of the older decks may not. If
your deck does not have any sort of fine bias adjust you should find out
what tape the deck was factory set for and use that tape or have the deck
recalibrated for the tape you want to use. Many decks are set for Maxell
XL-II or TDK SA in the chrome position which are pretty close to each other
as far as bias. The exception would be where the deck manufacturer also
makes tapes in which case they would likely bias their decks for their own
tapes. This is a concern that needs to be addressed with Sony and Denon
decks. The deck's manual should say what tape the deck was set for. If it
does not try contacting a service representative for the company or try
experimenting with different tapes. (More on different tapes below)
There are two ways of setting the bias fine tuning. With automatic systems
it is usually just a matter of inserting the tape you wish to set the deck
for and pushing a button. The deck will go through its motions for several
seconds and then be ready to go. With a manual system there is usually a
dial on the front of the deck. In the straight up position the dial should
lock in place and be set for whatever tape the deck was biased for. The
deck's manual will show where to set the dial for other brands of tapes.
If the manual does not give the information you need, you can call a
service representative or you can try to figure it out for yourself by ear.
You will need a 3-head deck to set the bias by ear. Start recording a good
sounding source(preferably a CD or LP) you are familiar with. Put your
deck on source and get a good idea of how it sounds. Then switch over to
tape and have the bias dial set to the straight up position. Slowly turn
it to the right and see what it sounds like and then slowly turn it to the
left. Your goal is to as closely as possible find the setting that will
match the sound of the source to the tape setting. Resist the urge to set
the dial only based on where the hiss is the least. This can result in
dull highs. The difference in sound will likely be very subtle, so take
your time and listen closely. The effects will be most noticeable in the
high frequencies. Try this both with speakers and headphones.
My best advice is to not use it. Most current tape formulations allow for
very low noise so Dolby is not really necessary. To my ears, Dolby B is
terrible and I try not to ever use it for any reason. It kills the high
frequencies and sometimes causes weird phasing or pumping problems. Dolby
C *can* work very well on a high quality deck. The problem is it only
really works well when you play the tape back on the same deck it was
recorded on. Results can vary considerably when tapes are played back on
other decks. Dolby circuits in decks that cost less than about $250 or so
are not likely to be very good.
If you have a tape that already has Dolby on it the best way to copy it is
to set the Dolby off on both decks. The copy will still have the dolby on
it and will need Dolby engaged when playing it back. Most people don't
want Dolby on their tapes though so most of the time you will decode the
dolby on your play deck and then record without Dolby. Some dubbing decks
will not let you do this. Multiple encoding and decoding of Dolby will
make the sound worse and should be avoided.
Dolby HX pro is a dynamic range enhancer, and on good decks is usually
beneficial. It is on all the time.
I have not heard a dolby S deck yet but have heard that it works very well,
better than Dolby C supposedly. The advantage is supposed to be that you
can play back a Dolby S tape with Dolby B and it will sound decent but not
as good as played back with Dolby S.
The MPX filter (not Dolby related) on cassette decks is intended to filter
out unwanted multiplex noises associated with FM broadcasts. It does not
need to be decoded on playback. It is not supposed to affect the sound of
an FM broadcast, but I can hear a subtle difference so I don't use it.
Experiment and see what you prefer.
Erasure Prevention Tabs
The tabs on the top of a cassette can be popped out to prevent accidental
erasure of a tape. You can cover the hole with thin tape if you want to
record over the tape. When doing this make sure you only cover the part
where the tab was. The hole beside the tab is used for cassette decks that
set the tape bias automatically. Also keep your tapes far away from
electro-magnetic sources such as your speakers, TV and other electrical
equipment to avoid erasure.
It is best to use 90s as much as possible. Use 100s when necessary. 110s
should only be used when absolutely necessary. I would avoid playing 110s
in walkmen, car stereos and boomboxes as the extreme tape length is bad for
the motors. Avoid fast forwarding and rewinding when possible in any deck
with 110s. The only two 110s I would consider using are the Maxell MX-110
and the TDK MA-110. I tend to prefer the TDK as it seems to put less
strain on the tape deck. DO NOT use anything over 110. If something will
fit on a 60(like some Dead first sets) check with who you are trading with
to see if that is OK. Most people will prefer a 90 and then some filler.
Be aware that tapes are not going to be exactly the specified length. They
are always a little bit longer. There is usually about two extra minutes
per side on most TDKs and Maxells. It will vary from batch to batch.
Since most good decks now have bias fine tuning you can usually optimize
the performance of your deck with just about any good quality tape. Still
you should consider strongly the tape recommended in the deck's user manual
and also try some experimenting.
Maxell XL-II has pretty much become the standard among tape traders. Some
people also like to trade with the nicer and more expensive Maxell XL-IIS.
For the most part XL-II will do for most situations. XL-IIS can make a
difference with super high quality low generation tapes. XL-IIS tapes have
a nicer shell and also a higher bias so that you can record higher levels.
If you do not have bias fine tuning you will see little to no advantage
using XL-IIS tapes, unless your deck was factory set for them. Maxell's
MXS metal tapes are extremely good but pretty much overkill in the world of
tape trading. Their best use would be in dubbing exceptional tapes from
DAT and for live recording. MX tapes are a notch down from MXS. In most
cases XL-IIS will probably outperform MX tapes. Avoid the Maxell Capsule
series. Many people feel that the XL-IIS and MXS are among the most
durable tapes you can get, so there is some advantage to putting
irreplaceable recordings on these tapes.
Although most everyone prefers Maxell, TDK tapes are at least worth a try.
Some decks may work better with one than the other. If you do not notice
any difference in quality get whichever is cheaper. Make sure with your
trading partners which tapes you send them. TDK SA tapes are comparable to
Maxell XL-II, SA-X are comparable to Maxell XL-IIS, MA are comparable to
MX, and MA-X are comparable to MXS. TDK does make some real high end metal
tapes above the MA-X but they are really only necessary in pro
applications. TDK D tapes are good if you want something that is real
basic and cheap. They are good for boomboxes, car stereos and walkmen.
If you have a Denon deck I strongly urge you to a least try a few different
Denon tapes and see how they sound. Denon makes a wide range of very nice
tapes. It should make sense that a company would set their decks for their
own tapes. They make one of the best metal tapes I have ever encountered,
but it costs about $7. If you do find that the Denon tapes sound better,
urge your trading partners that you will be able to make them better tapes
with the Denons.
I have never cared very much for Sony tapes, but if you have a Sony deck
you should probably at least give the better ones a try.
I have encountered a few people that have like Fuji tapes. I have not
Nakamichi chrome cassettes are TDK SA-X but with a different (better?)
shell and higher quality control. The tape is only taken from the center
part of the large spools in manufacturing where the quality is more
consistent. They are considerably more expensive than regular tapes
Continued in Part 3