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T. Aukofer Chief Engineer

Frisco Classic Stereo Productions

Bay Area CA

A slightly adapted and updated version of a paper I did in junior high.

http://78rpmrecord.com/altformat.htm

ANALOG:

REEL (AUDIO):

Quarter inch and half inch (single, two, three and four track,) plus:

CONSTANT LINEAR VELOCITY (CAPSTAN DRIVE):

Quarter inch 8-track (Fostex E-8)

Half inch 8-track (Tascam 38)

Half inch 16 track (Fostex E-16---must borrow deck, check for availability)

NAGRA SYNC QUARTER-INCH, EIGHTH-INCH

EDISON VOICEWRITER (3-INCH TAPE/HOME LIBRARY SYSTEM)

32-TRACK MCI (3-INCH TAPE)

SPEEDS: 15/16, 1-7/8, 3-3/4, 7, 1/2, 15

SPEEDS (ODD): 22 1/2, 11-1/4 6-1/8, 3-1/16 1-17/32 49/64

CONSTANT ANGULAR VELOCITY (RIM DRIVE):

STENORETTE

MAIL-A-LETTER

AUDIONOTES

DICT-A-BELT

MAGN-A-BELT

WIRE RECORDINGS

TALK-A-PHONE/MAGNETIC DISC (12 RPM)

AMPEX MAGN-A-DISC (RADIO STATIONS)

AUDIO CARTRIDGES/SOUND MAGAZINES*:

NAB CARTRIDGE (2 TRACK OR 3-TRACK)

RCA SOUND MAGAZINE/QUICK LOAD (1958)

M-II

AKAI 12-TRACK PORTASTUDIO

U-MATIC 12-TRACK ANALOG PORTASTUDIO

CASSETTE [CONSTANT LINEAR VELOCITY] (CAPSTAN DRIVE):

PHILIPS 2-TRACK (MONO HEAD CONFIG)

PHILIPS 4-TRACK (STEREO HEAD CONFIG)

PHILIPS 4-TRACK (TALKING BOOK/PORTASTUDIO HEAD CONFIG)

SANSUI 6-TRACK PORTASTUDIO

MICROCASSETTE (MONO AND STEREO)

SPEEDS: 15/16, 1-7/8, 3-3/4

CASSETTE [CONSTANT ANGULAR VELOCITY] (RIM DRIVE):

NORELCO MINICASSETTE (MONO ONLY)

* IN ORDER TO PROVIDE GREATER SPEED STABILITY AND

MAXIMIZE HEAD-TO-TAPE CONTACT DURING TRANSFER:

All types of eighth-inch (0.15 as well as 0.125)

quarter inch and half inch audio carts and cassettes

are disassembled, leader spliced onto both ends

and wound onto 7-inch or 5-inch NAB hub reels before

being transferred on a reel deck to the digital format

of your choice.

DISC (AUDIO) [CONSTANT ANGULAR VELOCITY]:

33 RPM/45 RPM including CD-4, UD-4 as well as matrix quad

16 RPM TALKING BOOK (HALF-MIL STYLUS)

16 RPM HIGHWAY HI-FI (QUARTER-MIL STYLUS)

SO-CALLED 78 RPM DISCS (can be from 60-120 RPM) AND 1 INCH TO 22

DOLL/TOY RECORDS            ``    ``    ``    ``

EDISON DIAMOND DISC: STANDARD PLAY/LONG PLAY

DISC (AUDIO) [CONSTANT-LINEAR-VELOCITY]:

Audograph, Memovox, CGS, etc

CYLINDER (AUDIO):

2-min

4-min,

Concert style,

Hatbox,

Pink Lambert

Blue Amberol

Etc (call for quotes/availability)

MAGNETIC FILM:

16 MM: Single track, twin-track and edge track (Sound-on-film/striped)

35 MM: Single track/balance track or twin-track/striped 4-track/striped

FULL COAT: 35 MM 3- 4- and 6-track

FULL COAT: 70 MM 16- 24 - and Universal/(Bob Leonard) format

DIGITAL AUDIO:

DAT

PHILIPS DCC

REEL (VIDEO):

ONE-INCH:

IVC/Sony

Ampex A-Format

Ampex C-Format

HALF-INCH:

EIAJ Skip-field, Animation/Stop-motion (up to 108 hr) Full-motion

PCM/NTSC 44.056 KHz sampling, 12- 14- or 16-bit

QUARTER-INCH

Akai 11.25 IPS

Concord 11.25 IPS

VIDEO CARTRIDGE:

U-MATIC STANDARD

U-MATIC HALF-SPEED (INSTITUTIONAL/SCHOOL USE)

VHS SuperVHS

Beta/SuperBeta, EDBeta

Admiral/Cartrivision

V-Cord I/II

EIAJ (square cartridges, often used for security tapes)

Technicolor format (quarter-inch)

PCM/NTSC 44.056 KHz sampling, 12- 14- or 16-bit

DISC (VIDEO):

LASERDISC: STANDARD, SQUEEZE-LD, MUSE, DIRECTOR'S COMM.

CED/RCA SELECTAVISION

VHD

CD-VIDEO

CD-INTERACTIVE

CD-GRAPHICS

MINIDISC/HI-MD

STANDARD

HI-MD

CAMERA DISCS (650 MB)

MOTION VIDEO DISCS

4-TRACK PORTASTUDIO (YAMAHA MD-4) (A-TO-D TRANSFER)

8-TRACK PORTASTUDIO (YAMAHA MD-8)      ``    ``  ``  ``

OTHER STRANGE FORMATS BY REQUEST

SPECIAL RATES FOR NONPROFITS/MUSEUMS, INDIVIDUAL ARCHIVISTS

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Tell 'em not to bake the wax cylinders! They'll melt.

The only video format they left out was the Matsushita VX (aka "Great Time Machine") format, which was actually popular for about 5 minutes. The toughest one to play is 2" quad, and the best guy for that is David Crosthwait, here in LA:

DC Video

177 West Magnolia Blvd.

Burbank, CA 91502

(818) 563-1073

First-class 2" video work. And he does have access to the big ovens needed to bake old back-coated videotapes.

BTW, I just encountered a client who can't restore digital picture files on a job I did only 9 years ago. Yep, the digital files can no longer be accessed from the backup media. Luckily, the HD videotape still plays fine... but it makes you wonder how long the digital files are going to last, especially if they can't even load a data tape that's not yet a decade old.

--Marc W.

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Shouldn't M-II be listed under video instead pf audio, or is there an audio M-II that I'm not aware of.  M-II was Panasonic's stab at analog video, one of the last analog tape formats, arguably the best quality.

I recently got asked by Kamehameha schools about transferring about 40

hours of Nagra sound reels, but I think I scared em off with my quote.  They couldn't answer my numerous questions about the original recorder, speeds, eq, etc...  Good to know that there are still specialists to refer them to if they come back and the tape is not something I can handle.

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<SNIO>

BTW, I just encountered a client who can't restore digital picture files on a job I did only 9 years ago. Yep, the digital files can no longer be accessed from the backup media. Luckily, the HD videotape still plays fine... but it makes you wonder how long the digital files are going to last, especially if they can't even load a data tape that's not yet a decade old.

--Marc W.

Hi,

Just curious but, is this due to not converting formats in a timely manner or is the data corrupt?

Celac

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Just curious but, is this due to not converting formats in a timely manner or is the data corrupt?

Worse than that. We backed up everything to the DTF-2 format... which is no longer supported by Sony. Everything now in the VFX and Post world is all LTO-4, LTO-5, and the (new) LTO-6.

Think of it as the "Betamax" of digital pictures. (And this was a major, $40,000,000 studio picture that was a big success.)

--Marc W.

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Worse than that. We backed up everything to the DTF-2 format... which is no longer supported by Sony. Everything now in the VFX and Post world is all LTO-4, LTO-5, and the (new) LTO-6.

Think of it as the "Betamax" of digital pictures. (And this was a major, $40,000,000 studio picture that was a big success.)

--Marc W.

Thanks for the reply.  I suppose it is one of the curious ironies of the current march of progress that the tools are still available to transcribe ancient (and in my case, commercially valueless) media but not so for comparatively recent formats.  I imagine that the kernel of a business might lie therein given the value of these properties.  If nothing else it is clearly incumbent on modern archivists to vigilantly manage the migration of digital assets to currently viable formats.

Plus... I got an enigmatic one-worder from the Senator.

Celac

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The Senator is partly right! The tapes are falling apart, so the data is getting corrupt... and none of the DTF-2 machines needed to play the tapes will work.

It's kind of like making a DVD-R backup of something, and then finding out your DVD-ROM drive is bad and the disk is falling apart.

--Marc W.

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The Senator is partly right! The tapes are falling apart, so the data is getting corrupt... and none of the DTF-2 machines needed to play the tapes will work.

It's kind of like making a DVD-R backup of something, and then finding out your DVD-ROM drive is bad and the disk is falling apart.

--Marc W.

That I have actually had happen.  I have a lot of stuff on CDR's which, if I was drawing comics, would clearly emit a ticking noise. 

The Senator is fine by me.  His answer, implying but not stating "both", was clear enough.

Celac

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