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2, 4, 1/2 and 1/4 reel tape

355f1

355f1

Member
upload_2015-10-15_14-44-27.gif Reel to reel: is 2 track same as 1/2 track?
Hello,

I have no knowledge of R to R tape. Some people refer to 2, 4, 1/2 and 1/4 tape. I thought that maybe 2 and 1/2 track are the same. I know that I cannot use a 4 track tape on a 2 track machine and that 2 track records only one way, this is basically everything I know.

I have had a 2 track Revox A77 with 7 and 15 IPS for many years and would like to use it.

Best regards,
 
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yes is an answer to the question in your title.

Hope that machine is in good shape after its nap.

folks say stuff different ways but you can search google for ideas on all of it with pics of how the tracks are laid down on the tape. A quarter track and 4-track machine might not be the same thing as the quarter track is probably a stereo (Mostly but can do mono) machine and a 4 track would probably be a 4 channel machine. really takes some looking at what you are discussing to know for sure.
 
The important thing to remember is that "tracks" are not necessarily the same as "channels". Most consumer machines are 1/4 track, sometimes referred to as 4 track - but that's not the same as 4 channel. A machine such as yours is a semi-pro machine, seeing as it's 1/2 track (same as 2 track) and 7-1/2 and 15 rather than 1/4 track and 3-3/4 and 7-1/2.

The other point of confusion comes with the statement "1/2 and 1/4 tape". All consumer machines use 1/4" tape, some prosumer machines use 1/2" tape (not yours). Studio machines are almost always 1" or 2".

Then to make things even more confusing, some albums have been recorded using 35mm tape...which is a whole 'nuther thing.:idea:

Happy trails,
Larry B.
 
I would have to add the Revox B-77 to that "modern machine" baseline. I guess the qualifications would include remote-able logic controlled transport, pro I/O, multi-tape EQ/bias, 15ips+ available speed, large reels, reasonable serviceability (although the Revox is a little tougher there) I've used the Revox, Otari 5050's in 2-track and 1/2" 8-track, and MTR series in 1" 16-track and 2" 24-track. Fine machines all.

Made a lot of recordings with other, earlier professional gear, like Magnacords, Ampex 350/51 and 440 (spin that idler up before hitting play) and the venerable 3M 16-track. Although they have their strengths, the Otari machines were like a breath of fresh air...

Chip
 
eddisc said:
1tumbleweed - would you NOT consider the MX5050 series to be studio machines; they are 1/4" to start... yes some go up to 1" +, but the thousands we are now seeing from radio stations, etc are mostly 1/4INCH and half-track with XLR I/O only.
Click to expand...

Pro or semi-pro, yes - but not studio. I make a distinction between machines intended for a constant-use environment, but still quarter-inch, and true "studio" machines using 1" or wider. A machine such as the Otari bridges the gap between pro/semi-pro and studio, depending on its configuration. I don't recall ever seeing a broadcast machine with anything wider than 1/4", nor have I ever seen a recording studio machine with less than 1/2". So, the line gets a bit fuzzy there....and I'm not considering so-called "project studio" equipment.

The prevalence of XLR connections is mostly because of the length of runs between the machine and console; balanced connections cancel the hum that develops along excessive 1/4" or RCA runs.

But I do agree with Kent that Otaris are the very bottom of the transition between consumer and semipro. I'd also include some TEAC models in that, too. (NOT Tascam)

Happy trails,
Larry B.
 
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