In article ,
"David Eduardo" wrote:

"Telamon" wrote in message
...
In article ,
"David Eduardo" wrote:
I never experienced that. By 1960, the format for 2 track mono (forward
and
reverse) and, later, for two track stereo were the same in consumer and
boradcast applications. You are likely thinking of the mid to late 50's
stuff, which was not as standardized.

I don't know why you would not have "experienced that" as the tape
formulations changed as long as they were in popular use through the
60's, 70's. and 80's.

Broadcast tape equipment, like Ampigs and MCI's and ITC's and semi-pros like
the ubiquitous Otari 5050 and the Teac semi-pros as well as earlier
,machines like the Magnecorder and the Scully and even the Sony 777
(broadcast version was two track) did not have different head standards and
used widely compatible tape because spots could come in from hundreds of
agencies and production houses. While bias could be optimized to the
preferred in house tape for recording, playback was as close to a universal
standard as you could come. Today, it is very very rare to see a tape deck
in a radio station. They began disappearing in the early to mid 90's as
digital recording and storage became common.

You get the last two sentences right but that's about it. You are full
of crap as usual.

--
Telamon
Ventura, California

"Telamon" wrote in message
...
In article ,
"David Eduardo" wrote:

"Telamon" wrote in message
...
In article ,
"David Eduardo" wrote:
I never experienced that. By 1960, the format for 2 track mono
(forward
and
reverse) and, later, for two track stereo were the same in consumer
and
boradcast applications. You are likely thinking of the mid to late
50's
stuff, which was not as standardized.

I don't know why you would not have "experienced that" as the tape
formulations changed as long as they were in popular use through the
60's, 70's. and 80's.

Broadcast tape equipment, like Ampigs and MCI's and ITC's and semi-pros
like
the ubiquitous Otari 5050 and the Teac semi-pros as well as earlier
,machines like the Magnecorder and the Scully and even the Sony 777
(broadcast version was two track) did not have different head standards
and
used widely compatible tape because spots could come in from hundreds of
agencies and production houses. While bias could be optimized to the
preferred in house tape for recording, playback was as close to a
universal
standard as you could come. Today, it is very very rare to see a tape
deck
in a radio station. They began disappearing in the early to mid 90's as
digital recording and storage became common.

You get the last two sentences right but that's about it. You are full
of crap as usual.

No, in this case and as usual you are. Broadcast tape decks had to play
equally well material that came from hundreds of different studios, maybe
thousands. They also had to play syndicated shows that came on tape, or even
syndicated formats. As proof, the NAB and STL (Standard Tape Library) had
only one stereo and one mono test tape, available in different speeds, for
all tape decks made. Those standard tapes were used at just about every
location with a semipro or pro tape deck of any brand.

In article ,
"David Eduardo" wrote:

"Telamon" wrote in message
...
In article ,
"David Eduardo" wrote:

"Telamon" wrote in message
.
..
In article ,
"David Eduardo" wrote:
I never experienced that. By 1960, the format for 2 track mono
(forward and reverse) and, later, for two track stereo were the
same in consumer and boradcast applications. You are likely
thinking of the mid to late 50's stuff, which was not as
standardized.

I don't know why you would not have "experienced that" as the
tape formulations changed as long as they were in popular use
through the 60's, 70's. and 80's.

Broadcast tape equipment, like Ampigs and MCI's and ITC's and
semi-pros like the ubiquitous Otari 5050 and the Teac semi-pros as
well as earlier ,machines like the Magnecorder and the Scully and
even the Sony 777 (broadcast version was two track) did not have
different head standards and used widely compatible tape because
spots could come in from hundreds of agencies and production
houses. While bias could be optimized to the preferred in house
tape for recording, playback was as close to a universal standard
as you could come. Today, it is very very rare to see a tape deck
in a radio station. They began disappearing in the early to mid
90's as digital recording and storage became common.

You get the last two sentences right but that's about it. You are
full of crap as usual.

No, in this case and as usual you are. Broadcast tape decks had to play
equally well material that came from hundreds of different studios, maybe
thousands. They also had to play syndicated shows that came on tape, or even
syndicated formats. As proof, the NAB and STL (Standard Tape Library) had
only one stereo and one mono test tape, available in different speeds, for
all tape decks made. Those standard tapes were used at just about every
location with a semipro or pro tape deck of any brand.

I'm not talking about what's in broadcast studios Ed'tardo. This is RRS
remember?

You are full of it as usual.

--
Telamon
Ventura, California

"Telamon" wrote in message
...
In article ,
"David Eduardo" wrote:

Broadcast tape equipment, like Ampigs and MCI's and ITC's and
semi-pros like the ubiquitous Otari 5050 and the Teac semi-pros as
well as earlier ,machines like the Magnecorder and the Scully and
even the Sony 777 (broadcast version was two track) did not have
different head standards and used widely compatible tape because
spots could come in from hundreds of agencies and production
houses. While bias could be optimized to the preferred in house
tape for recording, playback was as close to a universal standard
as you could come. Today, it is very very rare to see a tape deck
in a radio station. They began disappearing in the early to mid
90's as digital recording and storage became common.

You get the last two sentences right but that's about it. You are
full of crap as usual.

No, in this case and as usual you are. Broadcast tape decks had to play
equally well material that came from hundreds of different studios, maybe
thousands. They also had to play syndicated shows that came on tape, or
even
syndicated formats. As proof, the NAB and STL (Standard Tape Library) had
only one stereo and one mono test tape, available in different speeds,
for
all tape decks made. Those standard tapes were used at just about every
location with a semipro or pro tape deck of any brand.

I'm not talking about what's in broadcast studios Ed'tardo. This is RRS
remember?

Home tape gear was to the identical standard... in fact, in many cases I
have used home gear for newsrooms, to audition spots for clients recorded in
the main production rooms, and even as loggers. There is no difference.

In article ,
"David Eduardo" wrote:

"Telamon" wrote in message
...
In article ,
"David Eduardo" wrote:

Broadcast tape equipment, like Ampigs and MCI's and ITC's and
semi-pros like the ubiquitous Otari 5050 and the Teac semi-pros as
well as earlier ,machines like the Magnecorder and the Scully and
even the Sony 777 (broadcast version was two track) did not have
different head standards and used widely compatible tape because
spots could come in from hundreds of agencies and production
houses. While bias could be optimized to the preferred in house
tape for recording, playback was as close to a universal standard
as you could come. Today, it is very very rare to see a tape deck
in a radio station. They began disappearing in the early to mid
90's as digital recording and storage became common.

You get the last two sentences right but that's about it. You are
full of crap as usual.

No, in this case and as usual you are. Broadcast tape decks had to play
equally well material that came from hundreds of different studios, maybe
thousands. They also had to play syndicated shows that came on tape, or
even
syndicated formats. As proof, the NAB and STL (Standard Tape Library) had
only one stereo and one mono test tape, available in different speeds,
for
all tape decks made. Those standard tapes were used at just about every
location with a semipro or pro tape deck of any brand.

I'm not talking about what's in broadcast studios Ed'tardo. This is RRS
remember?

Home tape gear was to the identical standard... in fact, in many cases I
have used home gear for newsrooms, to audition spots for clients recorded in
the main production rooms, and even as loggers. There is no difference.

Here you go Ed'tardo. This just covers the basics. There were many more
changes than this.

http://electronics.howstuffworks.com/cassette.htm/printable

--
Telamon
Ventura, California