This depends on your budget and the budget of your listeners. The new Tascam 202MKVII, allows for the reading and writing of type 1 and type 2 tapes. It should be noted that although tape type 4 offers the best sonic playback, some tape decks don’t allow for tape type 4 playback, due to the unique bias it requires during the recording and duplication process. At roughly $10 a cassette, these may not be the best option for a band looking to even out the cost of touring or playing out. Naturally, with these improvements came a higher price tag. Just as importantly, it reduced the amount of high frequency distortion that came with tape type 2, making it perfect of highly detailed recordings. It improves the overall frequency response, both high and low, as well as the dynamics. Type 4 uses metal particles instead of an oxide like type 1 and 2, and is often referred to as “metal tape.” Most of you probably won’t have your songs mastered for tape type 4 either, but it is still a relatively popular format, so let’s look into what makes it unique, and the best approach for mastering when using it. With that in mind, understanding it in greater detail may not be helpful, as you most likely will not have your songs mastered for this format. Although it did exist, it never became a popular cassette type for multiple reasons. You may be wondering what happened to tape type 3. Although I wouldn’t immediately recommend attenuating the high end, if saturation is a desired effect, then high end attenuation may be needed. High Range Frequency Response:īecause Tape Type 2 can easily reproduce higher frequencies, their level needs to be kept in mind. When mastering for Tape Type 1, these two things are particularly important: 1. It costs roughly $4 per cassette, making this a viable option for any band looking to expand their merchandising. Overall Tape Type 2 can record at louder levels however, unlike tape type 1, saturating this tape type can cause unwanted and unpleasant high frequency distortion. With that said, Type 2 has a more difficult time reproducing lower frequencies, and can sound thin in comparison to Tape Type 1. Unlike Tape Type 1, chrome tape can more easily reproduce higher frequencies, making it suitable for genres more often characterized by their high frequency response. It is also typically labeled as “High Bias” tape. It’s created using chromium dioxide, and is often referred to as “chrome” tape. Tape type 2 is the 2nd most popular, and the 2nd tape type to be introduced to consumers chronologically speaking. Notice that tape type 2 requires a higher frequency bias to combat hysteresis. These are hysteresis, bias, and saturation. We’ll discuss what makes each unique, the process behind mastering for this specific tape type, and how this all relates to your potential album release.īut first, let’s dive into some technical terms that are highly relevant to mastering for cassette and subsequent cassette duplication. With that in mind, let’s take a look at the 3 primary tape types. All of these factors and others need to be taken into consideration prior to the actual mastering process, as again the tape type heavily influences the mastering process.
Some are more budget friendly, and some are more popular for consumer grade playback. Choosing a tape type may not be as simple a process as you might think.Įach type has specific characteristics that lend itself to certain genres. To create a proper master for cassette, the first thing that needs to be considered is the type of tape your songs will be recorded onto. That’s why it’s so important to give listeners an experience that they will enjoy. When you couple that with the way cassettes shape any signal recorded onto it, there’s no doubt why artists wishing to emulate sounds of the past would turn to the medium.
Although convenient, digital streaming has limited artist’s ability to make money from their music.
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