2 Track Analog Tape

Alignment
Aligning an analog machine is easy. Basically the settings are as simple as adjusting a
stereo - there's volume, treble and bass. The "record bias" is sort of like tuning in to the
radio station you like... not a big deal. Just realize that each channel has a
volume/treble/bass setting, and there's a volume/treble/input setting for the record side
of the machine... so don't be intimidated by this process.

The goal of all of this to to end up with 3 alignment tones at the beginning of your
master tape. This is so that each channel sounds the same, and so the mastering engineer
can set up his/her machine to sound the same way yours did... in terms of volume, treble
and bass.

You need to have a 250 nW/M alignment tape and a tone generating oscillator. The
frequency response curve of the tape will either be NAB, AES, or IEC/CCIR - NAB
used to be the standard for 7 1/2 or 15 ips, but AES may be the standard now. Get
alignment tape for the speeds of your machine (try Micworks or Sweetwater and tell 'em
John Vestman sent ya). Also get some splicing tape (1/2" or 1/4", depending on your
machine), some single edge non-lubricated razor blades, some leader tape (preferably
plastic), and be sure you have an editing block that's easy to get to.

Not recommended, but ok in a pinch: If you can't find an oscillator, simply play your
alignment tape on your analog deck, set the 1k tone on the both channels of the tape for
a PLAYBACK OUTPUT LEVEL of 0 vu, and record the tone onto your digital system
setting the input so the digital meters input signal reads minus 12. Then record the 10k
and 100hz tones (from your alignment tape) the same way - tape output level at 0 vu,
digital input meters showing -12. Good idea: Even though you recorded stereo tones, it's
more ideal to delete one side and clone the other side over to replace it. Make sure it's
perfectly lined up in exact sync with the first side, that way it's exactly one identical
tone going to both sides. Set each channel to minus-12, onto a cdr for future use. Print
each tone three times in a row so you have 2 - 3 minutes of each tone. That cdr will then
become the tone generator for your console. This just isn't a great idea if your machine
isn't really stable on the high frequencies.

Now then - back to the machine.

(1) Play the alignment tape and set the PLAYBACK head (output) level of the 1k tone
to -2dB on the machine meters. That was easy.

Now you have to find the "high frequency" playback level (NOT the high frequency
record level). It may be on the front where it's easy to find, and it may be inside the
machine where it's easy for a technician (or you) to find. On some machines you take
off the bottom panel of the deck and it's right there.

(2) Play the 10khz tone and set it for -3 vu on the meters on the machine. This is where
it can be important to have a new alignment tape. An old alignment tape can have wear
on the edges, and possibly cause the meters to fluctuate. If you have a new tape and you
see the meters moving around instead of staying still (like 1k probably did), it can also
be because (A) the heads and tape guides on the machine are worn unevenly (B) the
motors are older and not stable (C) the tape tension adjustments or tilt of the capstan is
incorrect. (Here are the experts to contact if the problem is really radical.)

(3) Set your tape deck to playback the CUE (or record head) level. This used to be
called Sel-sync on older machines. Repeat steps (1) and (2) for the RECORD HEAD
(CUE) adjustments. Remember, these are different pots than the ones you adjusted
when you did the PLAYBACK settings. It's possible that there may not be an
adjustment for the high frequency adjustment for the cue depending on the machine.

Now take off the alignment tape and set the machine back to the PLAYBACK head.

(4) Put your BASF 900 tape on the machine "Heads out" (the full reel is on the left,
empty on the right). Roll off about 6 feet of tape onto the floor. Set the area of tape
that's close to the machine into the splicing block and use your razor blade to cut a
diagonal spice - toss the 6 feet of scrap tape.

Take your leader tape (if it has arrows on it, aim the arrows in the direction of the take-
up-reel) and hand-thread about six feet onto the take up reel. Then cut a diagonal splice
in the leader tape, and use the splicing tape to join the two tapes. Use your razor blade
You should now have the 6 ft. of white leader tape wrapped around the take-up reel,
sliced to the BASF 900 which comes from the supply reel. Thread the tape through the
machine tape guides and MAKE SURE THE RECORD SIDE OF THE TAPE IS UP
AGAINST THE HEADS, NOT THE TAPE HEAD GUARD!

Roll one-and-a-half to two minutes of tape forward, and edit in (insert) another 4-6 foot
section of leader tape and thread the machine again. Roll another 30 seconds of tape
forward, and edit in another six foot section of leader tape. Rethread the machine and
roll it back to the first section of tape.

(5) Plug in the tone generator (either the oscillator or the cdr) into your console and play
the 1k tone so that the output meters on your mixer read 0 vu or minus 12dB on digital
meters. Both left and right should be exactly the same. While watching the
PLAYBACK level on your analog deck, record the 1k tone and set the RECORD
INPUT LEVEL so that your playback meters show 0 vu. Record just enough to get that
level to 0 vu.

(6) Next, play the 10khz tone on your oscillator/cd, but play the level so that the console
meter shows minus-five on the vu meter, or -17 or -18 on the digital meters. Find the
machine's BIAS ADJUST (or bias set) for the speed you're recording at (hopefully at
least 15 inches per second). Again, it may be under the bottom or back panel that you've
removed from the machine.

While you are playing that 10k tone, record it onto the 1st section of tape. Never mind if
the machine's meters look funny. Turn the bias adjust down (counter clockwise) a pretty
decent amount. You'll see the machine meters go down.

Now start slowly turning the bias adjust up, watching the machine meter of the channel
you're adjusting. Keep turning the bias up till you see it reach a peak, or a high point on
the meter. This point could be at -5 or -6.5 or -3. It doesn't matter. You'll find that if you
keep turning the bias UP, at some point, the machine meter level will start to go down.
This is good! Experiment. Turn the bias up and down to kind of see where that peak
occurs on the meter.

Ok, you can stop experimenting now. Turn the bias down, slowly bring it up to that
peak spot, continue turning up the bias till you see the machine meter drop 1.5 dB if
you're recording at 30 ips. (If you're recording at 15 ips, the meter should drop 4 dB.) So
if the meter peaks at -5, increase the bias till the meter reads between -6 and -7 (at 30
ips). This is the amount of "over bias".

Do the same for the other channel. It's ok to change the console/oscillator's output if you
need to - the important part is how much the meter drops from the high point. Just keep
doing this whole alignment process over the same area of tape - that 1 1/2 minutes you
have at the head of the reel. It won't hurt the tape to keep recording over what you've
recorded on before... for doing tones that is...

Note: Some tape manufacturers recommend different bias settings, and different
machines may require different bias as well. This one is just a general overall
recommendation for BASF 900. Ask your tape supplier (or manufacturer) to tell you
what's best. Here's two numbers for BASF tech support: 800-371-0152 and 877-284-
2600.

(7) Now set your oscillator/cdr back to 1khz and turn the console level of that signal
back to 0 vu (-12 digital). Record that tone onto your machine and set the RECORD
LEVEL (not the playback level) for 0 vu on both channels. Whew! That was easy.

(8) Now set the oscillator to 10k at 0 vu (-12 digital) on the console. Still on the same
piece of tape, set the HIGH FREQUENCY RECORD setting (yep, it's another tweaking
pot somewhere hidden in the machine) so that the machine meters read 0 vu.

(9) Double-check your 1k tone by setting the oscillator to 1k at 0 vu on the console. Set
the RECORD LEVEL for 0 vu (it may not need changing).

(10) Now... there may or may not be a pot (potentiometer) to tweak this next part. You
want to set your oscillator for 100hz at 0 vu on the console. I don't have to keep
mentioning the -12 on digital boards, right? Look to see if you have a LOW
FREQUENCY PLAYBACK LEVEL adjustment. If you do, record the 100hz tone and
set the LF PLAYBACK to read 0 vu on the machine. If you don't have that adjustment,
you're stuck with whatever the machine gives you. It may be +1 or -0.5, but in any case,
it's worth it. It's analog. Do still record the tone, even if your machine doesn't have that
adjustment.

(11) Another easy one. Play your oscillator 1khz at 0 vu on the console. Set your
machine to INPUT (the tape doesn't even have to be rolling). The meter on the machine
is showing you the input signal now, not the PLAYBACK signal that we've seen all
along in this process. Find the INPUT CAL (or input meter) pot.... yes... somewhere
inside the machine probably... and set the machine meters to read 0 vu. This is so that
whatcha see is whatcha get.

(12) Now reset the machine to the PLAYBACK head mode and take the tape back to
the top. You should now record 30 to 40 seconds of a 1k tone (0 vu on the console) at 0
vu on the machine - another 30 to 40 seconds of a 10khz tone (0 vu on the console) after
the 1k tone, and last another 30 seconds of a 100hz tone on the tape. These are your
alignment tones, and you should print a set of these for every project you mix. If it's a 4-
song demo or f it's a 12-song album, record tones and keep them there at all times.

The extra 30 seconds of blank tape that follows the alignment tones is there in case you
need to re-bias your machine, like if someone brought in a different brand tape for you
to mix on. The 3rd leader is called a pad, and it's good to put on there even if you're the
only one using your machine. Let's say that you mix three songs this month, and then 2
months later you want to check the record alignment (a good idea). You'd have to
record on the tape to check the record alignment, right? That's what the pad is for. Saves
you having to search for blank tape to record on. Now you're ready to start your mix.
Zero the counter at your last leader - always let the machine roll a good 5 to 10 second
before the downbeat of your song. At the end of each song, let the tape roll at least 10 to
15 seconds after the final sound of the song finished. Put in another 15 seconds of leader
tape between songs.

Once you've done this process a few times, it will seem easy, and won't take you more
than 15 minutes. To lessen the print-through, always store your tapes TAILS OUT.
Take off the take-up reel (full of tape) when storing the tape. For your next project,
you'll take off the (former) supply reel and use it as the next take-up reel for the
recording to end up on. Store tapes in a cool dry place away from any speakers or other
magnetic field (unless you like remixing the whole banana again). Enjoy that analog
sound!

2 Track Azimuth Alignment.)

Azimuth scares the pants off everybody. Why? Because it's done with a mechanical
screw on the heads that the manufacturers often put that transparent "don't-mess-with-
this" glue on - so we all assume that it's so delicate, we'd better not mess with it. Not a
bad idea, but it's also not that difficult. Many studio owners don't own an oscilloscope
(best method), but it can be done with a simple meter on your console (VU is best). This
adjustment is best done before the record eq settings but if your machine is rreeealy old
and hasn't been adjusted for years, you may need to do the other alignment stuff (see
previous page) first to get things in the ballpark.

Put on the 1k tone from your alignment tape at the speed you're going to record. Bring
both output channels of the machine up on faders panned to the center of your stereo
buss (or simply assign both channels to a regular buss that's easy to meter). Set the
output to read 0 VU. Throw one channel out of phase. (If your console doesn't have a
phase button on each channel strip, it should!) The output should now be almost
nothing. Test it by putting the channel back in phase.... should be back to 0 VU. This is
good.

If your console doesn't have a reverse-phase button, you'll need to make a special out-
of-phase cable (mark it clearly!) to put in the signal path of the output of one track...
doesn't matter what track. If you have a phase reverse button, check the output of that
fader to be sure the gain of the left channel (going out the buss) is the same as the output
of the right channel. Sometimes a phase reverse button induces a gain loss.

Uncover the head stack so you can see the mounting plate that holds the heads. On the
playback head (very right) you'll see several screws. Usually the one with the glue,
generally to the right will be the azimuth adjustment screw. CHECK YOUR
MACHINE'S MANUAL TO BE SURE (or contact the technical/repair department of
the company).

(1) Playback rough azimuth adjustment: Now play the 1k tone off the playback head,
looking at the buss output. If you set the in-phase output to 0 vu, there should now be an
output of... oh... minus 10 to minus 20 or less.

Carefully, get a non-magnitized screw driver (probably phillips or maybe hex wrench)
and slowly turn the azimuth screw. Here's where I put the disclaimer that I'm not
responsible for any screw-ups. You should see the output of your buss meter change. It
should go up, again, assuming you've' got one channel out of phase on the board.

Turn the screw until you see the buss output go as low as it will go. Look carefully.
Don't do this by candle light. Rechecking is a good idea.

(2) Record rough azimuth adjustment (optional): You can now put the machine into sel-
sync (playing off the record head) and repeat the above process for the record head, but
ideally, you want to wait and use some blank tape and actually be in record to do this.

(3) Playback fine azimuth adjustment: Now play the 10k tone and do the same thing,
only slower. It may not go down as far as the 1k tone did, since often the 10k region
isn't as stable as the 1k. It's smaller frequencies up there.... NOTE: This is called a
negative peak, and there will be one major negative peak, and a couple minor negative
peaks if you turn the screw a lot in one direction or another. This is when you tilt the
head so far off, one channel is reading the next whole sine wave instead of the same one
in line with the other track. Be sure you're adjusting the major negative peak which
always dips the lowest on the buss.

Go back to 1k (we're always in playback mode doing this) and check to see that the 1k
tone is still way low on the buss meter. If you need to do this a couple times to see these
negative peaks, go for it. In time it will become second nature. Come back to the 10k
tone and recheck to be sure it's showing the lowest possible buss output.

(4) Record rough azimuth adjustment (the real one): Now put on some blank tape,
preferably Basf 900, and preferably the kind that you'll be using for the session. On your
record pad (see here) or some piece of tape FAR away from any recorded music, send a
1k tone from your oscillator or tone generator to your machine. Record 1k onto the tape.
The console and machine should be set up the same way. You should still be in
playback - you're seeing your setting via the playback head's output. Turn the
comparable screw on the record head (NOT THE PLAYBACK HEAD) (check your
manual) and adjust the record azimuth to give you the lowest negative peak reading. (I
can stop saying "buss" now... right?)
(5) Record fine azimuth adjustment: When it's set to that lowest point, turn your
oscillator to 10k, roll back the tape (you can go over the same section of tape to make
these adjustments) and adjust the fine azimuth setting. Same stuff as above - record 10k
to tape, and still reading playback, find the lowest negative peak. Recheck. Leave the
playback screw alone or you get to get out the alignment tape (and turn off record
ready) and start over!

Recheck your 1k setting. Recheck your 10k setting. Recheck your playback settings.
You're done!

Whew! Later, I'll get into setting erase peak adjustments... for now I think I'm ready to
go watch a movie or something...
.
.
.
Ok, I'm back from my movie. Erase peak is a cinch. Er, well, you have to be very
careful with this one or you could turn you speakers into shrapnel...

Get some blank tape, preferably the kind you're using for most of your sessions (BASF
rules, in my opinion). Record a test tone (from your oscillator or tone cd) for a good two
or three minutes, usually anything from 400 to 1K, at 0 vu on tape. Now roll back the
tape, and TURN DOWN YOUR MONITORS. Click here to see the best monitor
controller available on the market today!

Turn your oscillator OFF and just start recording dead air on tape... and bring your
monitors up (listening to one channel only of the tape playback) slowly till you are just
hearing tape hiss, or some remnant of tone that's being erased on your tape. Find the
erase peak adjust control (of that channel) inside your machine (manuals can help) and
turn it down slowly till you start hearing the tone come up. Start turning the erase
control pot back up and you should hear the tone go away. (If you hear no change, be
sure you're monitoring the same track that your adjusting.)

Keep raising it till you hear the tone appear again. Turn the pot down and up till you
sense the peak, or middle spot where the tone is erased down the farthest. That's the
peak point where the erase bias is working the best. Erase bias is just a LOT more bias
than the amount that goes to the record head.

Then just repeat the same process for the other channel. BE SURE BE SURE BE SURE
that whenever you stop the tape YOUR PLAYBACK MONITORS ARE TURNED
DOWN. You have to crank them up in order to hear this process, and if you take the
machine out of record when there is still tone going, it will come on LOUDLY and
abruptly if your speakers aren't turned back down!

This process can be done even using plain old music on tape - it's simply finding the
place where the erase bias works best. Not rocket science, but if holding your alignment
tape makes you queasy, this wouldn't be the first thing I'd recommend that you do. If
you want even more precise alignment, contact a super-duper tech person who knows
machines and have them do bias choke optimizing, erase wrap and full head alignments.
These pages are designed for general analog machine use, and are part of full
maintenance upkeep that makes analog recording ...still... the best sounding to date.