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Is anybody actually uses it with the cassette recorders?
any notable benefits mentioned (vs Dolby C/S)?
also interesting is it developed using special IC or just a common components. For example Cat 300 cartridges.
Maybe any service manual or schematics available?
I find an operational manual but will be a nice look at the implementation.
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I use Dolby 363 SR/A on my R2R machines (Studer A820, A807/II, Otari MTR12 and 2 x Sony APR 5000). Dolby SR is great at preventing tape hiss when recording on 15 IPS R2R. You can get S/N ratio of 90-95 db - no idea what it would be on cassette at 1.875 IPS.
However, the 363 units need to be set up individually for each machine. You will need a cassette tape with test tones and some accurate meters (e.g. PPM) and a test tone generator (e.g. from a mixing desk, standalone or from a computer).
The 363 units are balanced XLR only. If you use domestic cassette machines with RCA unbalanced cables, you will also need a XLR-unbalanced converter, where you can adjust the levels to match e.g. Alice Matchpak. XLR - RCA cables alone will not do.
You will need to record Dolby SR noise at the beginning of each tape, as each tape is auto calibrated through the 363 unit.
So it's doable, but it's certainly not a plug and play.
Charlie
IMHO the question is "what do you want to achive?"
All these Dolby systems were designed to reduce tape hiss. And lowering the noise floor can increase usable dynamic range a bit.
There are limits to each system. If you go beyond these limits, audible distortions become a problem.
This is only one solution to the noise floor issue.
The most popular one in studios was to use a wider tape run at a higher speed.
That's why only bedroom studios ever used cassette as a recording media.
Of course, there's absolutely no reason why you shouldn't try using it today.
I wouldn't expect much better performance than Dolby Labs got with Dolby C.
Go for if you have the spare cash!
> IMHO the question is "what do you want to achive?"
fun, of course.
> The most popular one in studios was to use a wider tape run at a higher speed.
actually top cassette decks are similar in freq and dynamic range to R2R.
as an option it possible to run cassette at 3¾ in/s, like a modded Tascam 122MKII/MKIII or any other deck. That I plan to do next.
> Of course, there's absolutely no reason why you shouldn't try using it today.
Yep. I bought this Dolby device and will test it. Just for curiosity.
"actually top cassette decks are similar in freq and dynamic range to R2R."
I guess that depends on your definition of "similar".
:)
Nakamichi 1000zxl, Dragon, double speed Tascam 122MKII, well tuned Sony ka3es. Even well maintained Nak 700II. from part of my collection.
and it is no problem to create ultra low noise playback amp from modern opamps and low noise components on 4 layer pcb.
But still the problem of the noise level at the standard speed, that what I am looking to solve.
It is not intended to be used with cassette tapes or slow speed 1/4 track open reel, intended for professional open reel tape machines only. Dolby S was not available for outboard use for cassettes, Dolby S required deck manufacturers meet very stringent electrical, mechnical, and frequency response specifications.
Back in the day I recorded some live concerts in the field with professional model DBX encoder feeding a Sony TCD5 cassette. It worked great!
Of course the issue with wouldn't just be setup of the Dolby SR unit, but proper calibration and transport stability of the cassette machine.
My understanding is that Dolby SR/A is that it was and is used in the studio environment using machines that are calibrated to use it. It was not designed for home use or cassette use.
We're Burning Daylight
but any practical experience?
IMHO it is no any special calibration other that a dolby level 200nWb/m. and 363/300 have a special dolby signal generator.
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