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XDR (expanded dynamic range), also known as SDR (super dynamic range) is a quality-control and duplication process for the mass-production of pre-recorded audio cassettes. It is a process designed to provide higher quality audio on pre-recorded cassettes by checking the sound quality at all stages of the tape duplication process. In this way, the dynamic range of audio recorded on an XDR-duplicated cassette can be up to 13 decibels greater. [1]
XDR (Expanded Dynamic Range) was originally developed by Capitol Records in LA in their R&D facility. Before they had released anything Capitol Records-EMI of Canada was made aware of this activity and was able to release their own version called SDR (Super Dynamic Range) ahead of the American version.
Capitol Records Canada was able to do this for the following reasons:
The XDR/SDR process involves many steps, the most prominent being:
As well as with EMI & Capitol Records, PolyGram and other labels also offered cassette releases duplicated with the XDR process.
Several different tonebursts were used during the life of the XDR/SDR process.
| 470Hz | 604Hz | * |
| 470Hz | 816Hz | D |
| 470Hz | 816Hz | D |
| 426Hz | 604Hz | 7 |
| 426Hz | 604Hz | 7 |
| 385Hz | 604Hz | 4 |
| 426Hz | 668Hz | 8 |
| 348Hz | 604Hz | 1 |
| 426Hz | 738Hz | 9 |
| 385Hz | 816Hz | B |
XDR tonebursts tend to be at both the beginning of side 1 and end of side 2. Some XDR cassettes include a series of DTMF-like dual-tones after the second toneburst at the end of the tape which uniquely identifies the album. Each dual-tone is 65 milliseconds long and separated by 35 milliseconds of silence. XDR's dual-tones are a modified form of DTMF where each of the two frequencies is one-half the usual specification.
| 604.5 Hz | 668.0 Hz | 738.5 Hz | 816.5 Hz | |
|---|---|---|---|---|
| 348.5 Hz | 1 | 2 | 3 | A |
| 385.0 Hz | 4 | 5 | 6 | B |
| 426.0 Hz | 7 | 8 | 9 | C |
| 470.5 Hz | * | 0 | # | D |
Dual-tone multi-frequency signaling (DTMF) is a telecommunication signaling system using the voice-frequency band over telephone lines between telephone equipment and other communications devices and switching centers. DTMF was first developed in the Bell System in the United States, and became known under the trademark Touch-Tone for use in push-button telephones supplied to telephone customers, starting in 1963. DTMF is standardized as ITU-T Recommendation Q.23. It is also known in the UK as MF4.
The Compact Cassette, also commonly called a cassette tape, audio cassette, or simply tape or cassette, is an analog magnetic tape recording format for audio recording and playback. Invented by Lou Ottens and his team at the Dutch company Philips, the Compact Cassette was released in August 1963.
A Dolby noise-reduction system, or Dolby NR, is one of a series of noise reduction systems developed by Dolby Laboratories for use in analog audio tape recording. The first was Dolby A, a professional broadband noise reduction system for recording studios that was first demonstrated in 1965, but the best-known is Dolby B, a sliding band system for the consumer market, which helped make high fidelity practical on cassette tapes, which used a relatively noisy tape size and speed. It is common on high-fidelity stereo tape players and recorders to the present day, although Dolby has as of 2016 ceased licensing the technology for new cassette decks. Of the noise reduction systems, Dolby A and Dolby SR were developed for professional use. Dolby B, C, and S were designed for the consumer market. Aside from Dolby HX, all the Dolby variants work by companding: compressing the dynamic range of the sound during recording, and expanding it during playback.
A cassette deck is a type of tape machine for playing and recording audio cassettes that does not have a built-in power amplifier or speakers, and serves primarily as a transport. It can be a part of an automotive entertainment system, a part of a portable audio system or a part of a home component system. In the latter case, it is also called a component cassette deck or just a component deck.
Sound can be recorded and stored and played using either digital or analog techniques. Both techniques introduce errors and distortions in the sound, and these methods can be systematically compared. Musicians and listeners have argued over the superiority of digital versus analog sound recordings. Arguments for analog systems include the absence of fundamental error mechanisms which are present in digital audio systems, including aliasing and associated anti-aliasing filter implementation, jitter and quantization noise. Advocates of digital point to the high levels of performance possible with digital audio, including excellent linearity in the audible band and low levels of noise and distortion.
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the source from which all copies will be produced. In recent years, digital masters have become usual, although analog masters—such as audio tapes—are still being used by the manufacturing industry, particularly by a few engineers who specialize in analog mastering.
SDR may refer to:
Audio system measurements are used to quantify audio system performance. These measurements are made for several purposes. Designers take measurements to specify the performance of a piece of equipment. Maintenance engineers make them to ensure equipment is still working to specification, or to ensure that the cumulative defects of an audio path are within limits considered acceptable. Audio system measurements often accommodate psychoacoustic principles to measure the system in a way that relates to human hearing.
Reel-to-reel audio tape recording, also called open-reel recording, is magnetic tape audio recording in which the recording tape is spooled between reels. To prepare for use, the supply reel containing the tape is placed on a spindle or hub. The end of the tape is manually pulled from the reel, threaded through mechanical guides and over a tape head assembly, and attached by friction to the hub of the second, initially empty takeup reel. Reel-to-reel systems use tape that is 1⁄4, 1⁄2, 1, or 2 inches wide, which normally moves at 3+3⁄4, 7+1⁄2, 15 or 30 inches per second. Domestic consumer machines almost always used 1⁄4 inch (6.35 mm) or narrower tape and many offered slower speeds such as 1+7⁄8 inches per second (4.762 cm/s). All standard tape speeds are derived as a binary submultiple of 30 inches per second.
Print-through is a generally undesirable effect that arises in the use of magnetic tape for storing analog information, in particular music, caused by contact transfer of signal patterns from one layer of tape to another as it sits wound concentrically on a reel.
dbx is a family of noise reduction systems developed by the company of the same name. The most common implementations are dbx Type I and dbx Type II for analog tape recording and, less commonly, vinyl LPs. A separate implementation, known as dbx-TV, is part of the MTS system used to provide stereo sound to North American and certain other TV systems. The company, dbx, Inc., was also involved with Dynamic Noise Reduction (DNR) systems.
A voltage-controlled oscillator (VCO) is an electronic oscillator whose oscillation frequency is controlled by a voltage input. The applied input voltage determines the instantaneous oscillation frequency. Consequently, a VCO can be used for frequency modulation (FM) or phase modulation (PM) by applying a modulating signal to the control input. A VCO is also an integral part of a phase-locked loop. VCOs are used in synthesizers to generate a waveform whose pitch can be adjusted by a voltage determined by a musical keyboard or other input.
Professional mobile radio are person-to-person two-way radio voice communications systems which use portable, mobile, base station, and dispatch console radios. PMR systems are based on such standards as MPT-1327, TETRA, APCO 25, and DMR which are designed for dedicated use by specific organizations, or standards such as NXDN intended for general commercial use. These systems are used by police, fire, ambulance, and emergency services, and by commercial firms such as taxis and delivery services. Most systems are half-duplex, in which multiple radios share a common radio channel, and only one can transmit at a time. Transceivers are normally in receive mode, the user presses a push-to-talk button on his microphone when he wants to talk, which turns on his transmitter and turns off his receiver. They use channels in the VHF and UHF bands, giving them a limited range, usually 3 to 20 miles depending on terrain. Output power is typically limited to 4 watts. Repeaters installed on tall buildings, hills or mountain peaks are used to increase the range of systems.
Sound recording and reproduction is the electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.
A loop bin duplicator is a specialized audio tape machine used in the duplication of pre-recorded audio cassettes and 8-track cartridges.
MPX filter is a function found in analogue stereo FM broadcasting and personal monitor equipment, FM tuners and cassette decks. An MPX filter is, at least, a notch filter blocking the 19 kHz pilot tone, and possibly higher frequencies in the 23-53kHz and 63-75kHz bands.
Electric music technology refers to musical instruments and recording devices that use electrical circuits, which are often combined with mechanical technologies. Examples of electric musical instruments include the electro-mechanical electric piano, the electric guitar, the electro-mechanical Hammond organ and the electric bass. All of these electric instruments do not produce a sound that is audible by the performer or audience in a performance setting unless they are connected to instrument amplifiers and loudspeaker cabinets, which made them sound loud enough for performers and the audience to hear. Amplifiers and loudspeakers are separate from the instrument in the case of the electric guitar, electric bass and some electric organs and most electric pianos. Some electric organs and electric pianos include the amplifier and speaker cabinet within the main housing for the instrument.
Audio compact cassettes use magnetic tape of three major types which differ in fundamental magnetic properties, the level of bias applied during recording, and the optimal time constant of replay equalization. Specifications of each type were set in 1979 by the International Electrotechnical Commission (IEC): Type I, Type II, Type III, and Type IV. 'Type 0' was a non-standard designation for early compact cassettes that did not conform to IEC specification.
The Revox B215 is a cassette deck manufactured by Studer from 1985 until around 1990. A professional version with different control layout and audio path electronics was manufactured concurrently as the Studer A721. A later improved version was marketed as the Revox B215S. Because it was expensive compared to other consumer models and had exceptionally good mechanical performance and durability, the B215 was used primarily by professional customers—radio stations, recording studios and real-time cassette duplicators.
In magnetic tape recording, adaptive biasing is the technique of continuously varying the bias current to a recording head in accordance with the level of high-frequency audio signals. With adaptive biasing, high levels of high-frequency audio signals cause a proportionate decrease in bias current using either feedforward or preferably a negative feedback control system. Compared with the use of fixed bias current, adaptive biasing provides a higher maximum output level and higher dynamic range at the upper end of the audible spectrum and to a lesser extent, mid-range frequencies. The effect of adaptive biasing is most pronounced in compact cassette and low-speed reel-to-reel media. The first commercial implementation, the feedforward system Dolby HX was developed by Dolby Laboratories by 1979 and was rejected by the industry. The subsequent negative-feedback system Dolby HX Pro was developed by Bang & Olufsen and marketed by Dolby, and became the de facto standard of the consumer high fidelity industry in the mid-1980s.
