Buy blank audio cassettes online dating


08-Feb-2017 05:38

By the mid 1980s, when the Sony Metal-ES 60 depicted in this post was made, metal tapes had been adopted by a lot of enthusiasts.They remained too expensive to be bought in bulk by the average consumer, but if you wanted to record something special – and particularly if you produced music yourself – you’d probably be highly attracted by the exceptional recording quality of a good metal cassette.The metal-formulated audio cassette hit the scene near the end of the 1970s, as the answer to a number of problems with previous tape formulations.The standard ferric-oxide (Type I) tape had typically rendered poor high frequency definition, with pervasive noise, meaning a woolly sound without much presence or zing… Two subsequent solutions had been developed – the first (Type II) being a chrome (Cr O2) formulation, which rendered much better frequency reproduction and very low noise (hiss) at the expense of some output level and low frequency solidity.The indentations on the top of a cassette were read by the recording/playback equipment, so as to automatically determine the correct electronic settings for each tape type without the need for the user to adjust anything.The cassette photographed for this article has not had its write-protect dips opened up – the break-off tabs on the far left and right of the line of notches are still in place, meaning the tape will accept recordings.Right next to those write-protect tabs, moving inward, are the indentations which reset the recording/playback equipment from the standard 120 micro-second EQ setting, to the chrome/metal tape’s 70 micro-second setting, and raise the bias in keeping with a Type II tape.

Indeed it could be said that Type II chrome’s light and airy feel was actually preferable to the slightly stodgier fullness of a Type III ferro-chrome.

Metal cassettes had the highest bias of all the four types.