It's not a record until it's mastered on an Ampex tape machine.
The Ampex ATR-102 Mastering Tape Recorder plug-in provides the final "analog glue" for your music, turning your recordings into records.
The only emulation that's fully authenticated by the Ampex Corporation, and trusted by producers and engineers the world over, the Ampex ATR-102 puts the colorful saturation, warmth, and harmonics of this industry-standard tape machine at your command.
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With Auto-Gain, make adjustments to Repro/Record levels while maintaining perfect gain staging
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Enjoy enhanced, larger, easy-to-read interface
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Mix and master your music with the most popular professional 2-track tape machine ever made
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Get classic Ampex tape saturation, selectable tape types, and color to "glue" your mix together
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Use the entire ATR-102 circuit, including its transformers, amplifiers, Repro, Sync, and Input paths
New Features for Modern Workflows
Getting perfect gain staging on the Ampex ATR-102 requires meticulous calibration of the repro and record levels, a delicate art that demands precision. With Auto-Gain, you can make adjustments to either the Repro or Record levels while maintaining perfect gain staging. And with its retina-enhanced GUI, the ATR-102 is that beautifully vibey plug-in that you'll want to leave on all the time.
Turn Your Recordings into Records
The Ampex ATR-102 Mastering Tape Recorder plug-in provides the final "analog glue" for your music. Fully authenticated by the Ampex Corporation, now you can get the same unique dynamics, frequency response, and saturation characteristics of the original mastering hardware, virtually indistinguishable from its analog ancestor.
Take a Deep Dive into Tape Tone
Discover vast reel-to-reel textures using three classic tape heads (¼", ½", and 1") tape speeds and emphasis EQs, famous tape formulas (GP9, 456, 900, 250), and more. You can even fine-tune the machine's calibration to open up some headroom, or get grittier tape compression and saturation.
Find Your Sound Fast
Ignite your inspiration with presets from longtime ATR‑102 users Chuck Ainlay (Chris Botti, Mark Knopfler) Richard Dodd (Wilco, Robert Plant), Buddy Miller (Martina McBride, Emmylou Harris), Mike Poole (Keith Urban, Dolly Parton) and more. Use these presets as a starting point and season to taste on your mixes — you'll marvel at the cohesive, rich sound that can only come from an Ampex tape machine.
Operational Overview
Famous Tape Sound
The Ampex ATR-102 Master Tape Recorder provides all of the original unit's desirable analog sweetness. Like magnetic tape, users can dial in a clean sound, or just the right amount of harmonic saturation.
Plug-In Parameters
Like the ATR-102 hardware, the plug-in allows you to choose between various Signal Paths (Input, Sync, Repro), different Tape Speeds / Emphasis EQs (NAB, CCIR, AES) and Tape Formula combinations, even including home/consumer tape. The Input (Record) Gain knob and the Cal button are the primary controls for regulating levels, and even saturating the tape, and can be used to deliver a heavily colored sound if desired. Other ATR-102 features include: 1/4," 1/2," or 1" Head Select, Biasing/Calibration controls (auto and manual), crosstalk, wow and flutter, and hiss and hum.
Mixdown Tape Deck
The primary purpose of the UAD Ampex ATR-102 is to obtain tape mixdown sonics within the DAW environment. To obtain the classic tape mixdown sound, instantiate the plug-in as the last insert on the output bus, after other processing is applied (or possibly as the second-to-last insert, before a brick-wall processor such as the (UAD Precision Limiter). Of course, creative "non-standard" results can be obtained by placing the Ampex ATR-102 in any channel insert or on buses in a send/return configuration.
Multiple Tape Formulas
The Ampex ATR-102 Master Tape Recorder models seven popular magnetic tape formulas. Each type has its own subtle sonic variation, distortion onset, and tape compression characteristics. The tape formulas that can be selected depend on the active tape speed and head width; all tape formulas are not available for all tape speeds and head widths. Lower fidelity types are included to facilitate more signal coloration options.
Multiple Tape Heads
The original hardware machine was manufactured with an interchangeable head block system which enabled the system to be quickly converted to use either 1/4" or 1/2" tape stock by simply swapping out the heads and recalibrating the electronics. As track width increases, subtle improvements to stability, fidelity, and noise become apparent. A popular custom aftermarket tape head is available which enables the use of 1" tape stock, enabling even higher fidelity with its greater track widths. All three tape head widths are accurately modeled and selectable in the Ampex ATR-102 Master Tape Recorder.
Multiple Tape Speeds
All four tape speeds in the original hardware are modeled in the Ampex ATR-102 Master Tape Recorder. Speeds of 3.75, 7.5, 15, and 30 inches per second (IPS) are available. Each speed provides distinct frequency shift, head bump, and distortion characteristics. Higher speeds have higher fidelity; 3.75 IPS has a distinctively "lo fi" character.
Multiple Calibration Levels
Tape machines can be set up with different calibration levels, which entails setting unity gain from input through output based on the magnetic flux (amount of magnetic field) of a given tape formulation. Different calibration levels provide different tape response characteristics for a given level into the recorder. Four selectable calibration levels are available in the Ampex ATR-102 Master Tape Recorder.
Ancillary Noises
Tape recorders have inherent signal noises that are a by-product of the electro- mechanical nature of the machine. While "undesirable" tape system noise is historically considered a negative and was an attribute that pushed the technical envelope for better machine design and tape formulas (and ultimately, "noiseless" digital recorders), noise is still an ever-present characteristic of the sound of using tape and tape machines.
The Ampex ATR-102 models the hum, hiss, wow, flutter, and crosstalk characteristics of the original hardware. These noise components can be disabled.
Modeled Transformer
The original hardware was manufactured with isolation transformers, which can color the signal. A common modification to the hardware tape machine eliminates the transformers from the signal path to produce a (subjectively) "cleaner" sound. Ampex ATR-102 simulates the behavior of the transformers in the hardware circuit, and can be optionally disabled in the plug-in, providing both sonic options.
Automatic Calibration
The ability of a magnetic tape recorder, which has inherently non-linear response characteristics, to accurately reproduce an audio signal with a minimum of noise and distortion requires precise adjustments to the system electronics. The calibration settings are based on the current tape speed, formulation, emphasis EQ, and tape width. The hardware must be meticulously re-adjusted each time a different tape, speed, emphasis EQ, or head width is used (and for system wear and drift, even if these variables are not changed). Ampex ATR-102 Master Tape Recorder has an automatic calibration feature that tunes all calibration electronics with a single button.
Low Level Tuning
Even though automatic calibration is available, the individual controls that adjust calibration are exposed for sonic manipulation. Playback EQ, record (tape) EQ, and record bias can easily be altered for manual calibration and/or creative purposes.
Mono/Stereo Operation
While the UAD Ampex ATR-102 is a true stereo processor designed primarily for use in stereo-in/stereo-out configurations, it will also operate in mono-in/stereo-out and mono-in/mono-out modes.
When used in a mono-in/stereo-out configuration, the mono input signal is sent to both channels of the processor, which can then be adjusted independently. When used in a mono-in/mono-out configuration, adjusting any left or right control will change both the left and right controls (the left/right controls are always linked in mono mode).
Quick Setup
The primary use for Ampex ATR-102, and the recommended method for evaluating this plug-in, is as the last stereo insert on your master fader (or possibly the second-to-last insert before a brick-wall processor such as the UAD Precision Limiter). Set up the plug-in by first adjusting Tape Speed, Tape Type (tape formulation), Cal, and Tape Head, or simply select a factory preset. Note that as you lower the tape speed (i.e. 15 IPS, 7.5 IPS), the tape "sound" becomes more audible. Once this basic setup is made, adjust the L/R Record (input gain) levels for more or less tape/circuit coloration and saturation. Other common uses for the Ampex ATR-102 are as individual mono or stereo insert effects, or as an auxiliary group effect where the user wishes to apply it only to specified sources or groups (e.g., drums, guitars, etc).
Primary and Secondary Controls
The graphical interface panel has two modes; Open and Closed. In Closed mode, the primary controls (those that are typically most used) are available on the main panel interface. Additional (typically less used) controls are available on the secondary panel in Open mode. The secondary controls panel is accessed by clicking the Open button beneath the AMPEX label.
History
Introduced in 1976, the Ampex ATR-102 2-Track Tape Recorder was a near-instant hit, thanks to its revolutionary servo-controlled reel motors and capstan, which provided smooth, continuous tape tension and handling. The large capstan, and absence of pinch rollers, provided nearly non-existent speed drift and ultra-low flutter. The clever ATR-102 design allowed users to change out heads and guides in mere minutes, with a 1" head being a very popular "hot-rod" modification in more recent years — especially when running at 15 IPS (inches per second). The ATR's role in modern recording history is so prevalent, that it would be easier to list classic albums that weren't mixed down on this machine, rather than to try to list all those that were.
Primary Controls
Meters
The two Meters display signal levels of the plug-in for the left and right channels. Meter ballistics of the original hardware are modeled.
The plug-in operates at an internal level of -12 dBFS. Therefore a digital signal with a level of -12 dB below full scale digital (0 dBFS) at the plug-in input will equate to 0 dB on the Meters when Reproduce is in its calibrated position, which is marked with the "red arrow sticker."
Meter In/Out
These switches change the Meter to display levels at the input or output of the plug-in. Input metering is a feature which is unavailable in the original hardware.
In
When in Input mode, the Meter reflects the signal before the processor.
Out
When in Output mode, the meter reflects the signal level at the output of the plug-in, which is just after the Reproduce (output) gain.
Clip LED
The left and right channels each have a Clip LED, just above the Meter. The Clip LED is not in the original hardware; it is a UAD-only feature. The Clip LED illuminates only when the machine's audio electronics clip. The Clip LED is not affected by the recorded tape signal, even if the tape is overloaded and distorting.
Record
Record adjusts the signal level into the plug-in and the tape circuitry. There are two Record controls, one for the left channel and one for the right. These left/right Record controls can be adjusted individually, or simultaneously when Link mode is active. The Record control's available range is -∞ dB (off) to +9.3 dB. The default value is 0 dB.
Tip: Option-click the "RECORD" text label to return the Record value to 0 dB.
Note: The graphical interface panel values, which range from 0 - 10, are arbitrary and do not reflect a particular dB value.
Record is a primary "color" control for the plug-in. Just like genuine magnetic tape, lower Record levels will have a cleaner sound, while higher levels result in more harmonic saturation and coloration. Higher Record levels will also increase the output level from the plug-in, if Autogain is off. The Reproduce control can be lowered to compensate if unity gain operation is desired.
Reproduce
Reproduce adjusts the signal level coming from the virtual tape before the signal is sent to the Meters. The available range is -∞ dB (off) to +9.48 dB. There are two Reproduce controls, one each for the left and right channels. The left/right Reproduce controls can be adjusted individually, or simultaneously adjusted when Link mode is active. default value of 0 dB is the "calibrated position" which is marked with a "red arrow sticker." Reproduce is not affected by Auto Cal.
Tip: Click the "REPRODUCE" text label to return Reproduce to 0 dB.
Note: The graphical interface panel values for Reproduce, which range from 0 - 10, are arbitrary and do not reflect a particular dB value.
Autogain
Autogain adjusts the Record and Reproduce levels reciprocally, so as you turn one up, the other is turned down. Enable this to prevent volume increases or drops when adjusting the Record or Reproduce level. To adjust Record and Reproduce controls independently, switch Autogain off.
Link/Unlink
Link mode is a software-only addition that enables controls that are identical for the left and right channels to be linked for ease of operation when both channels require the same values, or unlinked when independent left/right control is desired. In other words, left/right channel controls are ganged together in link mode. The Link parameter is stored within presets and can be accessed via automation.
Note: Although there are separate left/right Meter controls for In/Out and Autogain, these controls are permanently linked and cannot be switched individually for the left and right channels, even if Unlink mode is active.
Link
In Link mode, modifying any left or right channel control causes its adjacent stereo counterpart control to snap to the same position. Important: When Unlink mode is active and Link is enabled, the left channel control values are copied to the right channel. Control offsets between channels are lost in this case. When Link is active, automation data is written and read for the left channel only. In this case, the automation data for the left will control both channels. Additionally, changing the right channel parameters from a control surface or when in "controls only" (non-GUI) mode will have no effect.
Unlink
When Unlink is active, the controls for the left and right channels are independent. When unlinked, automation data is written and read by each channel separately.
Emphasis EQ
The Emphasis EQ buttons determine the active Emphasis EQ values and the frequency of the Hum noise. NAB or CCIR curves can be selected when the Tape Speed is 7.5 or 15 IPS. When the Tape Speed is 30 IPS, neither value is available (the LEDs are disabled) because the EQ is fixed with the AES emphasis curve, per the original hardware. At 3.75 IPS, only NAB is available (as it is with the hardware).
NAB
When the value is set to NAB (traditionally the United States standard), the Hum Noise frequency is 60 Hz. When set to CCIR (traditionally the standard in Europe and other regions), the Hum Noise frequency is 50 Hz.
Tape Speed and Emphasis EQ were originally practical controls for recording duration versus noise and local standards. Historically, the origin of the tape machine (US or European) dictated the built-in EQ emphasis, but later machines like the Ampex ATR102 had both circuits available.
CCIR
CCIR (also known as IEC1) is the EQ pre-emphasis made famous on British records and is considered the technically superior EQ. This EQ was part of the "British sound" during tape's heyday. NAB (also known as IEC2) was the American standard with its own sound. AES is truly standardized at 30 IPS and is the sole EQ found on the Ampex ATR-102 at 30 IPS, so neither the NAB or CCIR buttons are lit or functional at 30 IPS.
Power
This is the plug-in's Power control. When set to Off, emulation processing is disabled, the Meters and control LEDs are dimmed, knobs and buttons are disabled, and resource usage is reduced.
Tape Speed
The Tape Speed control determines the speed of the tape transport, in inches per second (IPS). Tape Speed affects the recorder's fidelity and associated "head bump" sonics. Head bump is bass frequency build-up that occurs with magnetic tape; the dominant frequencies shift according to transport speed.
To change the Tape Speed value, click the IPS text values, or drag the knob.
15 IPS is considered the favorite for rock and acoustic music due to its low frequency "head bump" (low frequency rise) and warmer sound, while 30 IPS is the norm for classical, jazz, and other high-fidelity formats due to its lower noise floor, greater fidelity and flatter response. 7.5 and 3.75 IPS are available for an even more colored experience, with greater frequency shift and other artifacts.
Note: The available parameter ranges of Tape Formula, Head Width, and Emphasis EQ are affected by Tape Speed.
Tape Formula
Tape Formula selects the active tape stock formulation. Seven Tape Formulas are modeled in the Ampex ATR-102 Master Tape Recorder. To select the Tape Formula, click the TAPE button to cycle through the available types, or click directly on the Tape Formula value label. The active Tape Formula is highlighted in yellow.
Note: The available Tape Formulas and defaults are dependent on the current Tape Speed and Head values. See Tape Speed for more information.
Each formula has its own subtle sonic variations, distortion onset, and tape compression characteristics. Generally speaking, the lower the Cal Level for each formula, the higher the signal level required to reach saturation and distortion.
Cal Level
Cal Level automatically sets tape calibration/fluxivity. The Cal Level setting takes care of the setup one would need to make under equivalent hardware operation, and sets the reference tape/flux level without disturbing the (unity) gain of the plug-in.
To select the Cal Level, click the CAL button to cycle through the available levels, or click directly on the calibration value label. The active Cal Level is highlighted in yellow. The default value is +6 dB.
Because Cal Level affects the operating levels in the plug-in, it can be used to compensate for overly high (or low) levels at the input of the plug-in. For example, if the input is too hot, lowering the Cal Level will reduce the signal level without changing Record, which can affect the tape saturation characteristics.
Note: The noise floor is affected by the Cal Level when Hiss & Hum is active.
As tape formulas advanced, their output level increased, thus lowering relative noise floor. Under normal use, the machine would be calibrated to the tape's output level. However, sometimes the machine is under-calibrated to leave more headroom for a broader sweet spot or to prevent electronics from clipping. Therefore, one can "go traditional" and calibrate to the recommended levels, or select a non-corresponding calibration setting.
As an example, if 456 is the selected Tape Formula and when Cal is set at +6 (6 dB higher than the NAB tape standard), the reference flux level is 355 nWb/m (nanoweber per meter) and is 10 dB below the point where THD reaches 3% (referred to as the maximum operating level). Therefore, with a 1 kHz test tone at -12 dBFS sent to the plug-in, with Tape Formula set to 456, Cal set to +6, and Auto Cal enabled, output levels of the plug-in will match the input level and fluxivity on the tape will be 355 nWb/m.
The tape manufacturer's recommended calibration settings for each Tape Formula are shown in the table below.
Tape Manufacturer's Recommended Calibration Levels
Tape Formula |
Calibration |
Flux Level |
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111 |
+0 dB |
77 nWb/m |
35-90 |
+3 dB |
251 nWb/m |
250 |
+3 dB |
251 nWb/m |
456 |
+6 dB |
355 nWb/m |
468 |
+6 dB |
355 nWb/m |
900 |
+9 dB |
502 nWb/m |
GP9 |
+9 dB |
502 nWb/m |
Tip: The Ampex ATR-102 Master Tape Recorder presets offer a variety of preset Tape Formula, Tape Speed, CAL level, and EQ configurations that are commonly used for recording with each of the popular Tape Formulas.
Head Width
This control specifies the active tape head model. Head Widths of 1/4," 1/2," or 1" can be selected.
To select the Head Width, click the HEAD button to cycle through the available values, or click directly on the value label. The active Head Width is highlighted in yellow.
Note: At tape speeds of 3.75" and 7.5" only the 1/4" head can be used. At these speeds, the 1/2" and 1" heads cannot be selected.
Tape Reels Animation
The graphical tape reels "spin" if the transport is running.
The tape reel animation can be disabled by clicking the capstan or a tape reel. Click the capstan or a tape reel gain to continue the animation.
Path Select
The Path Select buttons specify which of the four possible signal paths is active in the Ampex ATR-102. The active mode is indicated by an illuminated LED above its associated button. The default value is Repro.
Sync
Sync mode models the sound of direct tape recording and playback via the sync/record head, plus all corresponding machine electronics. Sync mode is generally not used for playback due to its poorer frequency response, but it is included for authenticity and creative purposes.
Repro
Repro mode models the sound of tape recording through the record head and playback through the reproduction head, plus all corresponding machine electronics.
Input
Input mode emulates the sound of the Ampex ATR-102 through the machine electronics only, without tape sonics. This is the scenario when the machine is in live monitoring mode but the tape transport is not running.
Thru
Thru is a processor bypass control. When Thru is enabled, all controls are inactive, emulation processing is disabled, and resource usage is reduced. Thru behavior is similar to that of the OFF position in the POWER control, except that the Meters are still active in Thru mode. In this state, the Meters indicate signal levels at the input of the plug-in prior to processing.
Secondary Controls
The secondary controls view is toggled by clicking the Open button beneath the AMPEX label.
Crosstalk
This button enables or disables Crosstalk. Crosstalk is the amount of signal bleed between the left and right channels. Crosstalk sonics can vary based upon the Tape Speed and Head Width parameters, however the amount of crosstalk does not vary with these settings.
The Crosstalk level is not adjustable.
Wow & Flutter
This button globally enables or disables the Wow & Flutter effect.
Wow and Flutter are "undesirable" pitch modulations induced by the mechanical
components of the tape transport. Wow is a by-product of capstan irregularities, while
flutter is a by-product of tape stretching and sticking. Both can be effectively used for
creative purposes.
Wow usually refers to very low frequency fluctuations, while Flutter refers to faster
fluctuations.
The Wow & Flutter level is not adjustable.
Auto Cal
The Ampex ATR-102 has individual calibration controls for adjusting sync (record) EQ, reproduction (playback) EQ, and record bias, which are used to compensate for the inherent non-linearities of tape systems. On the hardware, these controls are typically adjusted to calibrate the system for optimum response compensation due to tape nonlinearities whenever the tape formula, tape speed, emphasis EQ, or head width are changed.
When the Auto Cal (Automatic Calibration) ON button is clicked, the calibration EQ and bias controls are automatically adjusted to their "flat" calibrated position for the currently active Tape Formula, Tape Speed, Emphasis EQ, and Head Width. The Auto Cal ON LED illuminates green when the calibration parameters (Shelf EQ, HF EQ, Repro HF, Repro LF, and Bias) are in their calibrated position.
Auto Cal is OFF by default. When Auto Cal is ON, the calibration parameters (Shelf EQ, HF EQ, Repro HF, Repro LF, and Bias) change values whenever Tape Formula, Tape Speed, Emphasis EQ, or Head Width is modified. When Auto Cal is OFF, the calibration parameters do not change values when Tape Formula, Tape Speed, Emphasis EQ, or Head Width is modified.
Important: Any calibration settings made manually are lost when Auto Cal is activated. Consider saving manual settings as a preset before activating Auto Cal. After Auto Calibration occurs, the automatically adjusted parameters can be modified to any other value if desired. If a calibration parameter is adjusted while Auto Cal is ON, the ON LED illuminates in red instead of green, indicating that the system is no longer in the calibrated state. If the moved controls are subsequently returned to their original position, the LED will return to its green state, indicating the unit is back in calibration.
Tip: To return any of the individual calibration controls to their "flat" (calibrated) position, click the label text adjacent to the control (or, simply switch Auto Cal off and on to return all calibration controls to their "flat" position).
Hiss & Hum
This is a global enable control for the Hiss & Hum effect. When Hiss & Hum is enabled, a preset level of noise is added, depending on the tape speed.
The Hiss & Hum level is not adjustable.
Transformer
This switch enables and disables the transformer circuit of the Ampex ATR-102.
For an overview of this feature, see Modeled Transformer.
Record EQ
The Record EQ controls (HF EQ and Shelf EQ) are applied in the tape recording circuit and affect tape saturation characteristics. They compensate for common residual HF loss due to bias optimization and system filtering, and affect HF content in the signal prior to the tape non-linearity.
HF EQ
HF EQ provides high frequency emphasis in the signal recorded to tape.
Shelf EQ
Shelf EQ is another control (in addition to HF EQ) provided to compensate for tape nonlinearity. Although adjustment of this control is not part of the Ampex factory calibration procedure, it can be used for customized manual calibrations or creative purposes.
Repro EQ
The Repro EQ controls (Repro HF and Repro LF) are post-head controls for tape playback calibration. They affect the signal coming out of the tape circuitry in both Repro and Sync modes.
The Repro EQs are used as filters to shape the frequency response of the system in maintaining a flat response and enable compensation for any tape frequency loss or head wear.
Repro HF
Repro HF adjusts the tape playback high frequency content when Path Select is set to Sync or Repro.
Repro LF
Repro LF adjusts the tape playback low frequency content when Path Select is set to Sync or Repro.
Bias
This control adjusts the amount of bias in the record signal. Bias is defined as an oscillator beyond the audible range applied to the audio at the record head, allowing for adjustment of the record behavior. Ideal bias voltage settings provide maximum record sensitivity and low distortion. Intentionally overbiasing is a common technique especially for "tape compression" which produces a warmer, gently saturated sound. Underbiasing can also be used to add distortion and other nonlinear responses, similar to gate chatter or cold solder joints; extremely low voltages may even cause audio to drop out entirely.
Bias voltage, HF/Shelf EQ, and Emphasis EQ (CCIR, NAB, AES) all work together to provide a linear response to the recorded signal. The "flat" (calibrated position) is determined by tape speed, tape formula, emphasis EQ, and head width.
Tape Speed, Formula, and Emphasis EQ settings
This table includes all the combinations of tape speed, head width, tape formula, and Emphasis EQ available in Ampex ATR-102.
Speed (IPS) |
Head Width |
Form. 1 |
Form. 2 |
Form. 3 |
Form. 4 |
Emphasis EQ |
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30 |
1" |
250 |
456 |
468 |
GP9 |
AES* |
30 |
1/2" |
250 |
456 |
900 |
GP9 |
AES* |
30 |
1/4" |
250 |
456 |
900 |
GP9 |
AES* |
15 |
1" |
250 |
456 |
468 |
GP9 |
NAB |
15 |
1" |
250 |
456 |
468 |
GP9 |
CCIR |
15 |
1/2" |
250 |
456 |
900 |
GP9 |
NAB |
15 |
1/2" |
250 |
456 |
900 |
GP9 |
CCIR |
15 |
1/4" |
250 |
456 |
900 |
GP9 |
NAB |
15 |
1/4" |
250 |
456 |
900 |
GP9 |
CCIR |
7.5 |
1/4" |
250 |
456 |
35-90 |
111 |
NAB |
3.75 |
1/4" |
250 |
456 |
35-90 |
111 |
NAB |
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When the tape speed is 30IPS, the NAB and CCIR indicators are both powered off to indicate that AES emphasis EQ is used.