Tape Guide (Q and A) (Sept. 1972)

Multiple Recorder Hookup

Q. I am wondering whether connecting up to three tape recorders to the tape output of an amplifier would affect signal strength or quality when all three of these machines are recording? If so, can you suggest any method that would not produce a lower quality recording?

-Robert L. Martindale, Arlington, Va.

A. The manner and extent in which signal quality might be affected depends on the output impedance of your amplifier and the input impedances of your tape recorders. Given a fairly low output impedance and reasonably high input impedances, there is a decent chance you might be able to drive three tape machines at once without appreciable signal deterioration. If there is signal deterioration, you can try isolating the tape machines from each other by placing suitable resistance between each machine's input and the output of the amplifier. You might try resistance values between 100,000 and 500,000 ohms. The higher the value, the more likelihood is there of significant treble loss.

Recording In Church

Q. I am going to make a tape recording of my friend's church wedding. In all of the recordings which I have listened to that were made at church ceremonies, the quality of the recording has been poor. This seems to be due to a `booming" response caused by the long distance between the microphone and the voices being recorded. I cannot move the microphones closer to the parties. Is there some way, given this limitation, in which I can get a more natural response?

-Norman M. Moltar, Jr., Los Angeles, Calif.

A. A highly directional microphone--a supercardioid--may be of help. 'This will concentrate on sound directly from the front and will de-emphasize sounds from the side and rear, thereby helping to reduce echo. You might also use some bass attenuation and/or treble boost.

Low Voltage

Q. I have a Revox 636 tape recorder, which has plagued me for some time. The take-up reel refuses to function during recording and playback, although it functions well during rapid wind I have taken the recorder to a local audio dealer, who adjusted the brakes twice, and have taken it to the Revox Corp. in New York several times. They say that they have tested it there for several days, that they reversed the take-up and rewind motors, and have made a few other changes. Revox claims that it always works well there, but as soon as I bring the recorder home and put on a reel of tape, the take-up motor soon becomes sluggish and then stops. Revox also says that it would not be due to inadequate voltage since other voltages would also be affected. If I turn the takeup reel by hand, the recorder records and reproduces well.

-Joseph S. Ellison, Springfield, Mass.

A. Nothing occurs to me beyond what is already suggested in your letter, namely the possibility of a low voltage condition in your home. Have you checked your line voltage? If low voltage is indeed the cause of your problem, a suitable transformer (one that maintains output at a desired level) can be installed between the house outlet and your tape machine.

Extra Bass During Copying

Q. I own a Roberts 400X tape recorder and a Uher 20 tape recorder. When I use the 400X to copy tapes that already have over-emphasized bass, this machine further emphasizes the bass. This has happened not only when I play the tapes on my Uher, but also with a number of other tape machines used for playback.

I wrote to Rheem Manufacturing about the problem and received an answer which one could interpret as a polite suggestion that I have rocks in my head I am not crazy and I can hear. The problem is a very real one. A trip the 400X took to a local repair shop never solved anything.

-M. Glen Bair, Idaho Falls, Idaho.

A. Perhaps the reason you get bass emphasis is that the 400X supplies a little too much bass-not enough to be noticeable or objectionable when copying a flat tape, but becoming so when copying a tape which itself contains too much bass. I suggest that you employ the tone controls of your audio system, if possible to adjust the bass to your liking.

(Audio magazine, Sept. 1972; Herman Burstein)

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TAPE COMPETITION

THIS MONTH the first prize of $50.00 goes to Robert Austin of New York for his recording of a concert given in the Riverside Church. Organist was Frederick Swan and the singer was Robert Cummings and among the works played in this Abendmusikalien were Three Sonatas for Organ and Strings by Mozart and Dupre's Variations on a Noel. The recorder was an Ampex 960 and two Shure mics were set up about 25 ft. apart facing the soloists who were on a platform in the center of the 85-ft. long chapel. Robert says there was no chance to make proper tests before the concert but nevertheless results were very good indeed with a nice balance and excellent organ tone.

Second prize of $25.00 goes to S. Woythaler of Newport, R.I., for a magnificent recording of the Univ. of Rhode Island Wind Ensemble. Works included Rhapsodality Band conducted by Arthur Custer, the composer, and Vincent Perichetti's Celebrationsalso conducted by the composer and sung by the R.I. Univ. Chorus. Quality was excellent with good dynamic range and plenty of "bite" in the brass.

Recorder was a Revox A-77 and mikes were two Syncron AU-7a condenser types which were placed on a boom 8-ft. high and 15-ft. in front of the orchestra. A TEAC A-1200 was used for dubbing.

Consolation prizes of Maxell or BASF low-noise tapes will be sent to the following (among others too numerous to list): Robert Florian of Brookfield, Ill., for an interesting melange of Joan Baez, the Fifth Dimension, and various political speeches. Unfortunately no details of the equipment used are given.

If there were a prize for originality, it would certainly go to Mortimer Goldberg of Tappan, New York, for his two tapes-Symphony of the Birds and Hear the Animals Sing. The first was made by recording real birds and then reducing the recording speed to as slow as one-eighth normal, thus lowering the pitch. Portions of the calls were then excerpted and mixed to compose the symphony. Hear the Animals Sing was made in a similar manner and a commentary dubbed in. The piece de resistance of this "Animal Farm" is a young boy leading the animals in a version of Old MacDonald Had a Farm. Incredible! The least we can do is to send Mortimer two tapes. Maybe he will come up with a Zoological Concerto one day.... Richard Price of Westland, Mich., sent in a recording of the Westland Symphony Orchestra and Rackham Choir made in Detroit's Orchestra Hall. This particular hall had not been used for 20 years (Mercury made some of their early recordings of the Detroit Symphony there). Some months ago, it was sold to Gino's but the local community managed to buy it back and eventually they hope to raise funds to refurnish it. Richard says that some of the background noises were due to water dripping on the stage and to pigeons flying above! (A pity Mr.

Goldberg wasn't there.) Equipment used was a Revox A-77 (15 ips), another for dubbing at 7 1/2 ips, a Gately Pro Kit SM-6, an Advent 100 Dolby unit, two Sony ECM-22P mics. Sound is clean with good presence and the works performed included Negro spirituals, Stravinsky's Pater Noster, and choruses from Handel's Messiah.

Also in the program were Rod's Little Acre trio with selections from Brubeck.

Unfortunately, these items were not recorded as the temporary electric wiring would not carry the power for their amplifiers as well as Richard's equipment and so Richard had to defer to popular opinion in the hall and switch off! Composition for Synthesizer #8 was the title of a tape sent by Stephen Blair of Newburyport, Mass. It was composed on a Moog and the recorder was a Revox 1102 HS and the tape was transferred to a Sony TC 355 via an Advent 101 Dolby unit. Some interesting effects, well recorded.

James K Jobson of Atlanta, Ga., was a winner in June, so it probably would not be fair to award him another prize-although this second tape is certainly as good as the first. It is a recording of L'Infant Prodige by Debussy and this work involves three singers and a piano. The recorder was a Crown CX-822 and two Turner 500 mics were used for the piano while two AKG D-119 ES mics were used on booms for the three singers. A baffle was placed between the piano and the singers to produce the required balance. Piano tone was excellent and the stereo image most convincing.

Frank Ruhl of Fairfield, Ohio, used a TEAC TCA-42 recorder, a Sony MX-12 mixer plus a Shure RM-70 unit to record five songs-all originals.

Stereo image was exceptionally good with lead guitar on the left; vocalist at the left of center, drums and bass next, and then a steel guitar at extreme right. The most successful number was Diggin' More Coal with a sewer drain and a knife used to give the effect of picking at the coal face! The next tape came from Canada-- Bon View, Ontario--and it was sent in by John Woodward who recorded a singing group called "Sing-Out West End." These are all high school or college students who, John says, "travel around singing for their supper." Recorder was a Revox A-77, mics were Sony ECM-22's with E-V dynamics.

Shure and Switchcraft mixers were employed together with an Advent 100 Dolby unit.

Tom Porett of Philadelphia sent in a most interesting tape recording of the famous local Mummer's Parade, complete with interviews and crowd effects-all skillfully put together. Tom used a Nagra IV and a Norelco Carry corder, a Revox HS-77, and an Advent FBC unit.

The next tape was made in Mexicoat the Hotel El Ejecutivo in Mexico City to be precise. It was made by Lee Price of Coral City, Fla., and Lee recorded a stage performance by The Cabelleros--who were in pretty good form, no doubt fortified by generous helping of tequilla. The recorder was a Nagra III and Lee says that one Louis Castenada held the E-V 635 microphone-which was mounted on a pole! The competition was closed at the end of June but there are still 60 tapes left (including some at 15 ips). These will be divided into two groups of 30 and winners announced in our October and November issues.

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