The Fidelipac, commonly known as a "NAB cartridge" or simply "cart", is a magnetic tape sound recording format, used for radio broadcasting for playback of material over the air such as radio commercials, jingles, station identifications, and music, and for indoor background music. Fidelipac is the official name of this industry standard audio tape cartridge. It was developed in 1954 [1] [2] by inventor George Eash [3] [4] (although the invention of the Fidelipac cartridge has also been credited to Vern Nolte of the Automatic Tape Company [5] [6] ), and commercially introduced in 1959 by Collins Radio Co. at the 1959 NAB Convention. The cartridge was often used at radio stations until the late 1990s, when such formats as MiniDisc and computerized broadcast automation predominated.
The Fidelipac cartridge was the first audio tape cartridge available commercially, based on the endless-loop tape cartridge design developed by Bernard Cousino in 1952, while Eash shared space in Cousino's electronics shop in the early 1950s. Instead of manufacturing the Fidelipac format himself after developing it, Eash decided to license it for manufacture to Telepro Industries, in Cherry Hill, New Jersey. Telepro then manufactured and marketed the format under the Fidelipac brand name. [7]
Fidelipac was originally a 1⁄4-inch-wide (6.4 mm) analog recording tape, two-track format. One of the tracks was used for monaural program audio, and the other being used for a cue track to control the player, where either a primary cue tone was recorded to automatically stop the cart, a secondary tone was recorded to automatically re-cue the cart to the beginning of the cart's program material (in some models, two secondary tones, one after the program material, and one before it, were recorded to have the cart machine automatically fast-forward through any leftover blank tape at the end of a cart's program), or a tertiary tone, which was used by some players to trigger another cart player or another form of external equipment. Later versions used three tracks, two for stereo audio, and the third for the cue track.
The standard tape speed for Fidelipac carts used in the radio broadcasting industry is 7.5 ips, although some cart players and recorders can be set to record at other speeds, such as 3.75 (Harris and a couple of Broadcast Electronics) or 15 ips (most famous one is the Pacific Tomcat - only difference is instead of the 3 tracks being of equal size, the cue track is reduced to 8-track width and the two program track widths are increased). [8]
Unlike the consumer-marketed 8-track cartridge developed in 1964 by Bill Lear which had the pinch roller integrated into the cartridge, the Fidelipac cartridge had a hole in the right-hand bottom front corner of the cartridge, where the pinch roller built into the player would swing up into place to hold the tape against the drive capstan. While later machines from ATC, ITC, Harris, and others had the pinch roller automatically engage the cartridge when the play button was pressed (the capstan motor was already running when the cart was inserted), early machines such as Sparta, Spot-matic, and others required the operator to also push or pull a separate lever to move the pinch roller into place before playback could begin. The 8-track cartridge tape speed was slower (3+3⁄4 ips compared to Fidelipac's 7+1⁄2 ips) and did not have adequate tape support pads, and thus was not "broadcast quality." The lower speed and narrower tracks in 8-track cartridges led to higher noise and reduced frequency response. The 8-track design also lacked a cue track.
There were four sizes of Fidelipac carts available — the inch-wide by two-inch long AA (single) size, capable of carrying the same material as a 45 RPM EP (six minutes per track) 4-inch-wide A size (Fidelipac Model 300, 350 and MasterCart), which was a standard 8-track size cart with maximum 10+1⁄2 minute playing time at 7.5 ips (this was the most common and widely used size of Fidelipac cart); the 6-inch-wide B size (Fidelipac Model 600), a larger cartridge designed for holding longer programs; and the even larger 8-inch-wide C size (Fidelipac Model 1200), often used for background music applications like the Rowe Customusic.
The A size Fidelipac cartridge was later adapted by Earl "Madman" Muntz in partnership with George Eash in 1963 for his Stereo-Pak cartridge system (also known as a 4-track cartridge). Several instances of B-size and C-size carts were also produced for a limited time to accommodate 2, 3 or 4-LP sets on tape.
These differed in two ways — the number of tracks used (four in this case, with two played back at a time to provide a total of two programs of stereo audio), and the tape speed (3+3⁄4 ips—the same speed as 8-track cartridges, as opposed to Fidelipac's standard 7+1⁄2 ips). Unlike the Fidelipac players which used a stationary head, the Stereo-Pak system used a movable head to switch between the two programs (much like the 8-track format, which also used a movable head to select its four stereo programs).
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The 8-track tape is a magnetic-tape sound recording technology that was popular from the mid-1960s to the early 1980s, when the compact cassette, which pre-dated the 8-track system, surpassed it in popularity for pre-recorded music.
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The Muntz Stereo-Pak, commonly known as the 4-track cartridge, is a magnetic tape sound recording cartridge technology.
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2-inch quadruplex videotape was the first practical and commercially successful analog recording video tape format. It was developed and released for the broadcast television industry in 1956 by Ampex, an American company based in Redwood City, California. The first videotape recorder using this format was built the same year. This format revolutionized broadcast television operations and television production, since the only recording medium available to the TV industry until then was Motion picture film.
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EIAJ-1 was a standard for video tape recorders (VTRs) developed by the Electronic Industries Association of Japan with the cooperation and assistance of several Japanese electronics manufacturers in 1969. It was the first standardized format for industrial/non-broadcast VTRs using a helical scan system employing open reel tape. Previously, each manufacturer of machines in this market used a different proprietary format, with differing tape speeds, scanner drum diameters, bias frequencies, tracking head placement, and so on, although most used 1/2" wide tape. As a result, video tapes recorded on one make and/or model of VTR could only be interchanged with other machines using that specific format, hampering compatibility. For example, a reel of tape recorded on a Panasonic machine would not play on a Sony machine, and vice versa. The EIAJ-1 standard ended this incompatibility, giving those manufacturers a standardized format, interchangeable with almost all VTRs subsequently brought to market around that time. The format offered black-and-white video recording and playback on 1/2″ magnetic tape on a 7″ diameter open reel, with portable units using smaller 5″ diameter reels.
The Tefifon is an audio playback format, developed and manufactured in Germany, that utilizes cartridges loaded with an endlessly looped reel of plastic tape. It is somewhat similar to the later 4-track and 8-track magnetic audio tape cartridges, but with grooves engraved into the tape, like a phonograph record. The grooves were engraved in a helical fashion across the width of the tape, in a manner similar to Dictaphone's Dictabelt format. The grooves are read with a stylus and amplified pickup in the player's transport. A Tefifon cartridge, known as a "Tefi", can hold up to four hours of music; therefore, most releases for the format are usually compilations of popular hits or dance music, operas, and operettas. Tefifon players were not sold by television and radio dealers in Germany, but rather sold directly by special sales outlets affiliated with Tefi.
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Bernard August Cousino was an American audio technology inventor. He invented an endless loop tape cartridge design in 1952, known as the Audio Vendor, under U.S. Patent 2804401A. The tape is pulled from the inside of a loose tape roll making it spin to wind the returning tape onto the roll again. Initially, this mechanism was mounted on a reel to reel tape recorder. Later Cousino developed a plastic housing to be hung on some tape recorders. At first, the magnetic coating was wound facing the inside of the reel. This cartridge was marketed by John Herbert Orr as the Orrtronic Tapette. Newer cartridges had the magnetic coating wound facing outside of the reel, which required a special recorder to operate it, but offered comfortable, simple insertion of the cartridge without threading the tape. These more compact cartridges do not require any bottom spare for the tape head assembly. That would inspire George Eash to make the Fidelipac tape cartridge, which itself inspired the Stereo-Pak tape cartridge.
George H. Eash was an American inventor of several magnetic tape audio cartridges having a single tape reel. In 1950s he worked next desk to Bernard Cousino, who invented the endless tape loop, using it at first on an open reel. Eash created further cartridges using this tape loop like the Fidelipac, also known as "NAB-Cartridge" or even "cart" and used in broadcast, and as a consultant of Earl "Madman" Muntz the 4-Track cartridge, known as the Muntz Stereo-Pak or CARtridge. With the Lear 8-Track cartridge Eash's patent plea failed.
HiPac, is an audio tape cartridge format, introduced in August 1971 on the Japanese consumer market by Pioneer and discontinued in 1973 due to lack of demand. In 1972 it only achieved a market share of 3% in equipping new cars. In the mid 1970s, the format was repurposed as a children's educational toy called ポンキー and was used in the analog tape delay "Melos Echo Chamber".
An endless tape cartridge is a tape cartridge or cassette that contains magnetic audio tape that can be played in an endless loop, without the need to rewind to repeat.