Professional Documents
Culture Documents
CIDG
Audiotape
¼" Open Reel (c. 1935 1980s)
2" Open Reel (Late 1950s 1980s)
1" Open Reel (Early 1950s 1980s)
½" Open Reel (1950s 1980s)
Continuous Loop Cartridges (Cart) (1959 late 1990s; popular use, 1950s – 1970s)
Compact Cassette (1963 present; popular use, 1970s 1990s)
8Track (1964 – early 1980s)
Microcassette (1969 present)
Digital Audio Tape (DAT) (1987 – mid 2000s)
Digital Compact Cassette (DCC) (1992 – late 1990s)
Related Notes
Magnetic Audio Playback
Audiotape Base Materials
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Dates
c. 1935 – 1980s
Common Size(s)
Tape width: ¼"
Reel diameter: 2"; 3"; 5"; 7"; 10.5"
Description
Quarterinch open reel audio is the earliest type of magnetic tapebased recorded sound format.
The tape is composed of magnetic particles, binder, and a base of either acetate, paper, polyester,
or PVC. The quarterinch size, which was the standard width of open reel tape until the 1950s, is
the most common open reel tape width, particularly among amateur recordings. Cellulose acetate
was the most common tape base during the 1940s and 1950s. Acetate bases can be differentiated
from polyester bases by conducting a quick light test. Hold the reel up to a light source if light
"pipes" through, the base is most likely acetate. Reel size can vary, measuring from 2 or 3 inches to
10.5 inches in diameter (14inch diameters are also possible), with 5, 7, and 10.5 inches being the
most common sizes found in archives. The tape width is approximately ¼".
Composition
Magnetic tape (acetate, paper, polyester, or PVC) on a hub or reel
Deterioration
Quarterinch open reel audio is susceptible to risks associated with age, hardware, and equipment
obsolescence. Like other types of magnetic media, it is prone to risks such as mold, binder
deterioration, physical damage, signal dropouts, and, in the case of acetatebased tapes, base
deterioration. Quarterinch tape may be thinner and more fragile than other kinds of tape, and it is
more susceptible to stretching and breaking during playback.
Tapes should be wound tightly and evenly. An uneven tape pack can allow dirt to come in contact
with and abrade the tape's surface and edges. Unevenly wound tapes can cause the tape to warp
and lose its shape, which will affect playback sound quality. Tapes with thinner widths are more
susceptible to information loss when the tape edge is damaged, as magnetic track configurations
are smaller and placed more closely to the tape edge.
Tapes are also prone to blocking or pinning, which occurs when layers of tape adhere to adjacent
layers. Blocking involves large sections of tape adhered together, while pinning involves small
sections. Both blocking and pinning can result in loss of information by damaging the tape layers or
by preventing playback.
Risk Level
Since magnetic media is a dying medium with a limited lifespan, these tapes should be reformatted
based on the content value.
Playback
Reeltoreel audio playback equipment and media are becoming scarce, although there are a few
manufacturers that are still filling the needs of professional audio studios. In order to play back a
tape properly, you must know the tape track configuration and recording speed. In addition to the
proper playback head configuration, playback equipment must have a tape transport able to
support the tape's full width in order to read all the tracks encoded on it. See Magnetic Audio
Playback for more information about tape speed and track configurations.
Background
Patented first in 1928, open reel audiotape was first demonstrated to the public in 1935 in
Germany. After World War II, it began to gain worldwide popularity and was further developed in
the US by Ampex and EMI. Quarterinch was the most common and affordable open reel width.
Quarterinch open reel tapes were used in home recording and other semipro and consumer
markets. Prior to digital technology, ¼" open reel tape was considered the standard audio
preservation medium. As analog tape and equipment are obsolete, digital capture has become the
archival standard.
Storage Environment
While some base variation for this format is possible, polyester is by far the most common, and
guidelines are given assuming a polyester base. If nitrate or acetate base is suspected, colder
storage is necessary. Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
The container should support the reel by the hub in order to both preserve the tape pack and
prevent distortion of the tape. Use unslotted reels if possible. Acidfree archival holddown tape
should also be used to secure loose ends of the open reel tape.
Whenever feasible, replace original cardboard containers as they are typically nonarchival (i.e.
acidic) and have little or no hub support. An enclosure must be truly clean to protect the fragile tape
surface. Dust and dirt abrasions can affect sound quality and even render the tape unplayable.
Moldy, damaged, and dirty containers must be replaced.
Storage Orientation
Store all magnetic tape vertically on end, inside its case. Stacking any tape format horizontallyor
even allowing it to lean for too longcan compromise a tape pack and cause warping. Its container
should provide hub support for the reel in order to preserve the pack and prevent distortion. Wood
cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Handling/Care
Never touch the surface of a magnetic tape recording. Handle by the hub instead. Do not pull on
the tape or squeeze the reel flanges. This places stress on the tape, potentially causing distortion
and damage. Never leave media in a playback machine; always return to storage enclosure when
not in use.
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Synonyms
Multitrack recording
24track tape
16track tape
Dates
Late 1950s – 1980s
Common Size(s)
Tape width: 2"
Reel diameter: 3"; 5"; 7"; 10.5"; 14"
Description
Twoinch open reel audio is a magnetic tapebased recorded sound format. The tape is composed
of magnetic particles, binder, and a base of either acetate or polyester. Open reel tapes over ¼"
were typically used in studio production (i.e. multitrack recording). A 2" tape, for instance, might
contain as many as 24 audio tracks.
Acetate bases can be differentiated from polyester bases by conducting a quick light test. Hold the
reel up to a light source: if light "pipes" through, the base is most likely acetate. Reel size can vary,
measuring from 2 or 3 inches to 10.5 inches in diameter (14inch diameters are also possible), with
5, 7, and 10.5 inches being the most common sizes found in archives. The tape width is
approximately 2".
Composition
Polyester or acetate magnetic tape on a hub or reel
Deterioration
Twoinch open reel audio is susceptible to risks associated with age, hardware, and equipment
obsolescence. Like other types of magnetic media, it is prone to risks such as mold, binder
deterioration, physical damage, signal dropouts, and, in the case of acetatebased tapes, base
deterioration.
Tapes should be wound tightly and evenly. An uneven tape pack can allow dirt to come in contact
with and abrade the tape's surface and edges. Unevenly wound tapes can cause the tape to warp
and lose its shape, which will affect playback sound quality.
Tapes are also prone to blocking or pinning, which occurs when layers of tape adhere to adjacent
layers. Blocking involves large sections of tape adhered together, while pinning involves small
sections. Both blocking and pinning can result in loss of information by damaging the tape layers or
by preventing playback. Other issues for many polyesterbased tapes are printthrough, sticky shed
syndrome (binder hydrolysis), and soft binder syndrome. Vinegar syndrome is a concern for many
acetatebased tapes.
Risk Level
Since magnetic media is a dying medium with a limited lifespan, these tapes should be reformatted
based on the content value.
Playback
Reeltoreel audio playback equipment and media are becoming scarce, although there are a few
manufacturers that are still filling the needs of professional audio studios. In order to play back a
tape properly, you must know the tape track configuration and recording speed. In addition to the
proper playback head configuration, playback equipment must have a tape transport able to
support the tape's full width in order to read all the tracks encoded on it. See Magnetic Audio
Playback for more information about tape speed and track configurations.
Background
Open reel audiotape was developed in Germany during the mid1930s. After World War II, it began
to gain worldwide popularity and was further developed in the US by Ampex and EMI. Open reel
formats with larger tape widths (½" and above) and recorded at faster speeds (7½ ips and above)
are most commonly found in broadcasting and highquality production environments. Although
introduced in the late 1950s, twoinch open reel audiotape did not come into widespread use until
the 1960s. 16track was the solitary configuration up until the early 1970s when 24track recordings
appeared. The 2inch open reel audiotape was used in professional multitrack recording
applications.
Storage Environment
While some base variation for this format is possible, polyester is by far the most common, and
guidelines are given assuming a polyester base. If nitrate or acetate base is suspected, colder
storage is necessary. Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
The container should support the reel by the hub in order to both preserve the tape pack and
prevent distortion of the tape. Use unslotted reels if possible. Acidfree archival holddown tape
should also be used to secure loose ends of the open reel tape.
Whenever feasible, replace original cardboard containers as they are typically nonarchival (i.e.
acidic) and have little or no hub support. An enclosure must be truly clean to protect the fragile tape
surface. Dust and dirt abrasions can affect sound quality and even render the tape unplayable.
Moldy, damaged, and dirty containers must be replaced.
Storage Orientation
Store all magnetic tape vertically on end, inside the case. Stacking any tape format horizontallyor
even allowing it to lean for too longcan compromise a tape pack and cause warping. Its container
should provide hub support for the reel in order to preserve the pack and prevent distortions. Wood
cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Handling/Care
Never touch the surface of a magnetic tape recording. Handle by the hub instead. Do not pull on
the tape or squeeze the reel flanges. This places stress on the tape, potentially causing distortion
and damage. Never leave media in a playback machine; always return to storage enclosure when
not in use.
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Synonyms
Multitrack recording
8track tape
16track tape (less common as 1")
Dates
Early 1950s – 1980s
Common Size(s)
Tape width: 1"
Reel diameter: 3"; 5"; 7"; 10.5"; 14", uncommon
Description
Oneinch open reel audio is a magnetic tapebased recorded sound format. The tape is composed
of magnetic particles, binder, and a base of either acetate or polyester. Acetate bases can be
differentiated from polyester bases by conducting a quick light test. Hold the reel up to a light
source—if light "pipes" through, the base is most likely acetate.
While tape width is constant at approximately 1 inch, reel size can vary, measuring from 2 or 3
inches to 10.5 inches in diameter. More rarely, 14 inch diameters are also possible. 5", 7", and
10.5" reels are the most common sizes found in archives. Open reel tapes over ¼" were typically
used in studio production (i.e. multitrack recording). 1" audiotape, for instance, might contain 8
tracks or as many as 16 audio tracks. Audio recordings on 1" open reel audiotape are often
mistaken for videotape.
Composition
Polyester or acetate magnetic tape on a hub or reel
Deterioration
Oneinch open reel audio is susceptible to risks associated with age, hardware, and equipment
obsolescence. Like other types of magnetic media, it is prone to risks such as mold, binder
deterioration, physical damage, signal dropouts, and, in the case of acetatebased tapes, base
deterioration.
Tapes should be wound tightly and evenly. An uneven tape pack can allow dirt to come in contact
with and abrade the tape's surface and edges. Unevenly wound tapes can cause the tape to warp
and lose its shape, which will affect playback sound quality.
Tapes are also prone to blocking or pinning, which occurs when layers of tape adhere to adjacent
layers. Blocking involves large sections of tape adhered together, while pinning involves small
sections. Both blocking and pinning can result in loss of information by damaging the tape layers or
by preventing playback. Other issues for many polyesterbased tapes are printthrough, sticky shed
syndrome (binder hydrolysis), and soft binder syndrome. Vinegar syndrome is a concern for many
acetatebased tapes.
Risk Level
Since magnetic media is a dying medium with a limited lifespan, these tapes should be reformatted
depending on the value of the content.
Playback
Reeltoreel audio playback equipment and media are becoming scarce, although there are a few
manufacturers that are still filling the needs of professional audio studios. In order to play back a
tape properly, you must know the tape track configuration and recording speed. In addition to the
proper playback head configuration, playback equipment must have a tape transport able to
support the tape's full width in order to read all the tracks encoded on it. See Magnetic Audio
Playback for more information about tape speed and track configurations.
Background
Open reel audiotape was developed in Germany during the mid1930s. After World War II, it began
to gain worldwide popularity and was further developed in the US by Ampex and EMI. Open reel
formats with larger tape widths (½" and above) and recorded at faster speeds (7½ ips and above)
are most commonly found in professional broadcasting and recording environments. Although
developed in the early 1950s, oneinch open reel audiotape did not come into widespread use until
the early 1960s.
Storage Environment
While some base variation for this format is possible, polyester is by far the most common, and
guidelines are given assuming a polyester base. If nitrate or acetate base is suspected, colder
storage is necessary. Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
The container should support the reel by the hub in order to both preserve the tape pack and
prevent distortion of the tape. Use unslotted reels if possible. Acidfree archival holddown tape
should also be used to secure loose ends of the open reel tape.
Whenever feasible, replace original cardboard containers as they are typically nonarchival (i.e.
acidic) and have little or no hub support. An enclosure must be truly clean to protect the fragile tape
surface. Dust and dirt abrasions can affect sound quality and even render the tape unplayable.
Moldy, damaged, and dirty containers must be replaced.
Storage Orientation
Store all magnetic tape vertically on end, inside its case. Stacking any tape format horizontallyor
even allowing it to lean for too longcan compromise a tape pack and cause warping. Its container
should provide hub support for the reel in order to preserve the pack and prevent distortion. Wood
cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Handling/Care
Never touch the surface of a magnetic tape recording. Handle by the hub instead. Do not pull on
the tape or squeeze the reel flanges. This places stress on the tape, potentially causing distortion
and damage. Never leave media in a playback machine; always return to storage enclosure when
not in use.
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Dates
1950s 1980s
Common Size(s)
Tape width: ½"
Reel diameter: 3"; 5"; 7"; 10.5"
Description
Halfinch open reel audio is a magnetic tapebased recorded sound format. The tape is composed
of magnetic particles, binder, and a base of either acetate or polyester, with the latter being more
common among halfinch tapes. Acetate bases can be differentiated from polyester bases by
conducting a quick light test. Hold the reel up to a light source—if light "pipes" through, the base is
most likely acetate.
Reel size can vary, measuring from 2 or 3 inches to 10.5 inches in diameter (14inch diameters are
also possible), with 5, 7, and 10.5 inches being the most common sizes found in archives. The tape
width is approximately ½". Open reel tapes over ¼" were typically used in studio production (i.e.
multitrack recording). A halfinch audio tape may be either 2, 4, 8, or 16track.
Composition
Polyester or acetate magnetic tape on a hub or reel
Deterioration
Halfinch open reel audio is susceptible to risks associated with age, hardware, and equipment
obsolescence. Like other types of magnetic media, it is prone to risks such as mold, binder
deterioration, physical damage, signal dropouts, and, in the case of acetatebased tapes, base
deterioration.
Tapes should be wound tightly and evenly. An uneven tape pack can allow dirt to come in contact
with and abrade the tape's surface and edges. Unevenly wound tapes can cause the tape to warp
and lose its shape, which will affect playback sound quality.
Tapes are also prone to blocking or pinning, which occurs when layers of tape adhere to adjacent
layers. Blocking involves large sections of tape adhered together, while pinning involves small
sections. Both blocking and pinning can result in loss of information by damaging the tape layers or
by preventing playback. Other issues for many polyesterbased tapes are printthrough, sticky shed
syndrome (binder hydrolysis), and soft binder syndrome. Vinegar syndrome is a concern for many
acetatebased tapes.
Risk Level
Since magnetic media is a dying medium with a limited lifespan, these tapes should be reformatted
based on the content value.
Playback
Reeltoreel audio playback equipment and media are becoming scarce, although there are a few
manufacturers that are still filling the needs of professional audio studios. In order to play back a
tape properly, you must know the tape track configuration and recording speed. In addition to the
proper playback head configuration, playback equipment must have a tape transport able to
support the tape's full width in order to read all the tracks encoded on it. See Magnetic Audio
Playback for more information about tape speed and track configurations.
Background
Open reel audiotape was developed in Germany during the mid1930s. After World War II, it began
to gain worldwide popularity and was further developed in the US by Ampex and EMI. Open reel
formats with larger tape widths (½" and above) and recorded at faster speeds (7½ ips and above)
are most commonly found in professional broadcasting and recording environments.
Storage Environment
While some base variation for this format is possible, polyester is by far the most common, and
guidelines are given assuming a polyester base. If nitrate or acetate base is suspected, colder
storage is necessary. Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
The container should support the reel by the hub in order to both preserve the tape pack and
prevent distortion of the tape. Use unslotted reels if possible. Acidfree archival holddown tape
should also be used to secure loose ends of the open reel tape.
Whenever feasible, replace original cardboard containers as they are typically nonarchival (i.e.
acidic) and have little or no hub support. An enclosure must be truly clean to protect the fragile tape
surface. Dust and dirt abrasions can affect sound quality and even render the tape unplayable.
Moldy, damaged, and dirty containers must be replaced.
Storage Orientation
Store all magnetic tape vertically on end, inside its case. Stacking any tape format horizontallyor
even allowing it to lean for too longcan compromise a tape pack and cause warping. Its container
should provide hub support for the reel in order to preserve the pack and prevent distortion. Wood
cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Handling/Care
Never touch the surface of a magnetic tape recording. Handle by the hub instead. Do not pull on
the tape or squeeze the reel flanges. This places stress on the tape, potentially causing distortion
and damage. Never leave media in a playback machine; always return to storage enclosure when
not in use.
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Synonyms
NAB cartridge
4track cartridge
Fidelipac
StereoPak
Dates
1959 – late 1990s; popular use, 1960s 1970s
Common Size(s)
Tape width: ¼" (6.4mm)
Cassette: 133mm × 101mm × 23mm; smaller to larger sizes, less common
Description
Continuous loop cartridge (cart) is a magnetic tapebased recorded sound format, and it is the 4
track precursor to the 8track cartridge. The tape is composed of magnetic particles or pigment,
binder, and a base. Carts are composed of ¼ inch plastic oxidecoated recording tape wound
around a single internal reel and housed in a plastic enclosure. Although carts appear similar to an
8track, they are distinctly different and are identifiable by a fairly large hole in the lower left
backside of the cartridge. Cartridge dimensions are generally 133mm × 101mm × 23mm (NAB A
type) but can be found in both smaller and larger sizes (NAB type B and C) depending upon end
use and tape length.
Composition
Polyester magnetic tape enclosed in a plastic cartridge
Deterioration
Magnetic tape is susceptible to physical, biological, and chemical risks like stretching, breaking,
dropouts, mold, and binder deterioration. Additionally, carts are subject to binding and tension
problems due to binder lubrication and wind issues.
Risk Level
Continuous loop cartridges are especially susceptible to risks associated with age, hardware, and
equipment obsolescence. Since carts are often found in broadcast and other working
environments, they most likely have been subject to heavy use. Frequent playback wears down the
media and degrades the sound quality over time. This format is especially vulnerable, and it should
be prioritized for reformatting based on an assessment of its content value.
Playback
As carts have been largely replaced by digital technology, the media and its related playback
equipment are largely obsolete. The oldest carts, the Audiovendor, were playable on an open reel
machine. Subsequent cartridges required proprietary playback equipment until 1964, with the
implementation of the National Association of Broadcasters (NAB) audio cartridge standard.
Although most carts resemble a commercial 8track cartridge, they cannot be played back on an 8
track machine. Most carts have tape configurations of mono or twotrack stereo; both
configurations hold a third cueing track. NAB carts have a typical playback speed of 7.5 inches per
second (ips), although playback speed can range from 3.75 ips to 15 ips. Due to the single reel
design, carts cannot be rewound. Fastforward is possible, however, if the playback machine has
the functionality to do so. See Magnetic Audio Playback for more information about tape speed and
track configurations.
Background
Continuous loop cartridges for automatic playback were commercially introduced in 1959. They
were used primarily for broadcasting and home/car entertainment until the late 1990s, when
MiniDisc and other more sophisticated automated broadcast tools became available. Some major
tape manufacturers include Mackenzie Program Repeater, Fidelipac, and Telex "Cart".
Storage Environment
Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
Inert plastic containers are ideal. If housed in a plastic container and you are unsure if it is
acceptable, check the condition of the container. The container is acceptable if it is protecting the
media from dust, pests, and other contaminants; is not shedding or introducing any contaminants
through its own degradation; and, is clean and free of mold or excessive dirt. Anything other than a
hard plastic (e.g. a cardboard slipcover) container means that it is not sufficiently protected and that
it should be rehoused in a clean, inert plastic container.
An enclosure must be truly clean to protect the fragile tape surface. Dust and dirt abrasions can
affect sound quality and even render the tape unplayable. Moldy, damaged, and dirty containers
must be replaced.
Storage Orientation
The best orientation for a cassette is vertical on its end. Cassettes and cartridges, generally
speaking, like to be stored upright on shelves like books. Piling tapes one upon the other tends to
stress the cassettes at bottom; this can, over time, cause the plastic housing to warp and even
crack. Allowing cassettes to lean for too long in a suboptimal environment can also lead to
distortion. Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized
aluminum are preferred.
Handling/Care
Engage the record protection mechanism if it has not already been done. Do not attempt to open a
tape cassette or cartridge; this is likely to cause greater damage unless you know what you are
doing. Furthermore, never touch the magnetic tape surface. Keep magnetic media away from stray
electromagnetic fields; avoid devices with a motor or transformer, all of which generate an
alternating magnetic field. Never leave media in a playback machine; always return to storage
enclosure when not in use. For more information about protection mechanisms, see Playback
(/collectionidguide/playback).
Compact Cassette
Compact cassette
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Compact cassette
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Compact Cassettes
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Compact cassette
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Synonyms
Audiocassette
Cassette tape
Dates
1963 – present; popular use, 1970s – 1990s
Common Size(s)
Tape width: approximately ⅛" (3.81mm)
Cassette: 4" × 2½" × ½"
Description
Compact cassette is a magnetic tapebased recorded sound format. The tape is composed of
magnetic particles or pigment, binder, and a polyester base. Cassettes are composed of ⅛ inch
plastic pigmentcoated recording tape wound around two internal reels and housed in a plastic
enclosure. Ferric oxide is the most common pigment; other pigments include chromium dioxide,
metal particle, and metal evaporated tape. Cassette dimensions are approximately 4" × 2½" × ½".
The track configuration is often fourtrack stereo, where tracks 1 and 2 compose "Side A" and
tracks 3 and 4 compose "Side B." Some homerecording enthusiasts may use a fourtrack recorder
to create multitrack recordings. On these tapes, there are four tracks, all recorded in the same
direction.
Composition
Polyester magnetic tape enclosed in a plastic cassette
Deterioration
Magnetic tape is susceptible to physical, biological, and chemical risks like stretching, breaking,
dropouts, improper wind, mold, binder deterioration, and unintended recording. Compact
cassettes with tape lengths of longer than 90 minutes are especially prone to printthrough,
stretching, and breaking as the tape is thinner than shorter length tapes. Frequent playback wears
on the media and degrades the sound quality over time. This medium is especially susceptible to
damage from playback as it may jam in the playback deck and be "eaten," which can cause
crimping and breaking during playback. Internal cassette elements like pads and rollers are
susceptible to damage. Cassette housings can be repaired and replaced in the event of damage.
Risk Level
The lifespan of a cassette is dependent upon numerous factors: the quality of the original tape, the
type and condition of the machine on which it is played, the amount of care the tapes are given,
how often they are played, and how they are packaged. Environmental conditionsespecially heat,
dust, and humiditymay also affect cassettes. As this format is greatly declining in popularity,
media and equipment obsolescence may become a risk; at the present however, both media and
equipment are available in the marketplace. Frequent playback wears on the media and degrades
the sound quality with each playback. The compact cassette medium is not considered an archival
format due to its very limited projected lifespan of 10 to 30 years and due to its various
technological issues. This format is vulnerable, and it should be prioritized for reformatting based
on an assessment of its content value. Standard analog audio cassettes are not suitable for
preservation work under any circumstances.
Playback
Most compact cassettes have a playback speed of 1 ⅞ ips; however, some recorders were
designed to optionally record and play back at 3 ¾ ips for better fidelity. Noise reduction
technologies were developed in order to reduce the noise or tape hiss commonly found on thinner
tapes recorded at slow speeds. Noise reduction technologies most commonly found on compact
cassettes are Dolby (B, C, and S) and dbx (Type II). If a tape has been recorded using noise
reduction, the playback equipment must have corresponding noise reduction capabilities in order to
accurately play back the tape content. Unfortunately, it is often very difficult to determine if a tape
has been recorded with noise reduction without having documentation indicating so. See Magnetic
Audio Playback for more information about tape speed and track configurations.
Background
Invented in 1962, the compact cassette was introduced by Philips to the public in 1963. It gained
popularity in the mid1970s and prevailed until the mid1990s when CDs and other digital formats
began to supplant it in the marketplace. The compact cassette is still used to record and distribute
music in limited arenas.
Storage Environment
Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
Inert plastic containers are ideal. If housed in a plastic container and you are unsure if it is
acceptable, check the condition of the container. The container is acceptable if it is protecting the
media from dust, pests, and other contaminants; is not shedding or introducing any contaminants
through its own degradation; and, is clean and free of mold or excessive dirt. Anything other than a
hard plastic (e.g. a cardboard slipcover) container means that it is not sufficiently protected and that
it should be rehoused in a clean, inert plastic container.
An enclosure must be truly clean to protect the fragile tape surface. Dust and dirt abrasions can
affect sound quality and even render the tape unplayable. Moldy, damaged, and dirty containers
must be replaced.
Storage Orientation
The best orientation for a cassette is vertical on its end. Cassettes and cartridges, generally
speaking, like to be stored upright on shelves like books. Piling tapes one upon the other tends to
stress the cassettes at bottom; this can, over time, cause the plastic housing to warp and even
crack. Allowing cassettes to lean for too long in a suboptimal environment can also lead to
distortion. Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized
aluminum are preferred.
Handling/Care
Engage the record protection mechanism if it has not already been done. Do not attempt to open a
tape cassette or cartridge; this is likely to cause greater damage unless you know what you are
doing. Furthermore, never touch the magnetic tape surface. Keep magnetic media away from stray
electromagnetic fields; avoid devices with a motor or transformer, all of which generate an
alternating magnetic field. Never leave media in a playback machine; always return to storage
enclosure when not in use. For more information about protection mechanisms, see Playback
(/collectionidguide/playback).
8-Track
8track cartridge multiple views
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8track cartridge multiple views
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8track cartridge multiple views
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8track cartridge
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Inside of an 8 track cassette
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filthy 8track cartridge
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Synonyms
Stereo 8
8track tape/cartridge
Dates
1964 – early 1980s
Common Size(s)
Tape width: ¼"
Cassette: 5¼" × 4" × ⅘"
Description
The 8track cartridge (or Stereo 8) is a magnetic tapebased recorded sound format that was used
exclusively for commercially releases. As a result, its content is likely not unique. The tape is
composed of magnetic particles or pigment, binder, and a polyester base. Ferric oxide is the most
common pigment; other pigments include chromium dioxide, metal particle, and metal evaporated
tape. Cartridge dimensions are generally 5¼" × 4" × ⅘" with a tape width of ¼".
Composition
Polyester magnetic tape enclosed in a plastic cartridge
Deterioration
As with other magnetic media, 8tracks are susceptible to physical, biological, and chemical risks
like stretching, breaking, dropouts, improper wind, mold, and binder deterioration. The format is
also especially susceptible to tape binding due to lubrication loss and jamming in the playback
machine.
Risk Level
8track media and playback equipment are long obsolete. Most recording companies discontinued
the release of 8track media by the early 1980s. As compact cassettes became more popular, the
manufacture of playback equipment began to decline in the mid to late 1970s.
Playback
8track tapes require formatspecific equipment for playback. 8tracks are recorded at a speed of
3.75 ips. The audio is recorded and played back in twochannel stereo with a tape track
configuration of eight tracks, each in its own channel going in the same direction, making 4 sides.
Since the tracks are so thin and close together and because the playback heads move between the
pairs of tracks, the heads often become misaligned. When this misalignment occurs, echoes of
adjacent tracks may be heard during playback. See Magnetic Audio Playback for more information
about tape speed and track configurations.
Background
The Stereo8 cartridge, more commonly known as the 8track tape or 8track, was developed by
Bill Lear in 1964. It evolved from the Muntz 4track and Fidelipac cartridges. It gained its earliest
popularity in the mid1960s with RCA/Victor releasing commercial music on the format and Ford
installing optional 8track players on some of its automobiles. 8tracks were used mostly for
commercial releases. It was a popular format from the mid1960s through the early 1980s.
Storage Environment
Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
Inert plastic containers are ideal. If housed in a plastic container and you are unsure if it is
acceptable, check the condition of the container. The container is acceptable if it is protecting the
media from dust, pests, and other contaminants; is not shedding or introducing any contaminants
through its own degradation; and, is clean and free of mold or excessive dirt. Anything other than a
hard plastic (e.g. a cardboard slipcover) container means that it is not sufficiently protected and that
it should be rehoused in a clean, inert plastic container.
An enclosure must be truly clean to protect the fragile tape surface. Dust and dirt abrasions can
affect sound quality and even render the tape unplayable. Moldy, damaged, and dirty containers
must be replaced.
Storage Orientation
The best orientation for a cassette is vertical on its end. Cassettes and cartridges, generally
speaking, like to be stored upright on shelves like books. Piling tapes one upon the other tends to
stress the cassettes at bottom; this can, over time, cause the plastic housing to warp and even
crack. Allowing cassettes to lean for too long in a suboptimal environment can also lead to
distortion. Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized
aluminum are preferred.
Handling/Care
Engage the record protection mechanism if it has not already been done. Do not attempt to open a
tape cassette or cartridge; this is likely to cause greater damage unless you know what you are
doing. Furthermore, never touch the magnetic tape surface. Keep magnetic media away from stray
electromagnetic fields; avoid devices with a motor or transformer, all of which generate an
alternating magnetic field. Never leave media in a playback machine; always return to storage
enclosure when not in use. For more information about protection mechanisms, see Playback
(/collectionidguide/playback).
Microcassette
Microcassettes
(/assets/microcassettesscaleucla1500
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Microcassette against a compact cassette
displaying difference in scale (/assets/microcassettewcompactsize1500
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Dates
1969 – present; limited use after 1990s
Common Size(s)
Tape width: approximately ⅛"
Cassette: 1 ⅞" × 1 ¼"
Description
Microcassette is a magnetic tapebased recorded sound format. The tape is composed of magnetic
particles or pigment, binder, and a polyester base. Ferric oxide is the most common pigment; other
pigments include chromium dioxide, metal particle, and metal evaporated tape. Cassette
dimensions are approximately 1 ⅞" × 1 ¼" with a tape width of approximately ⅛".
Composition
Polyester magnetic tape enclosed in a plastic cassette
Deterioration
Since the tape is extremely thin, microcassettes are especially prone to breakage and stretching.
As with other magnetic media, microcassettes are susceptible to physical, biological, and chemical
risks like stretching, breaking, dropouts, improper wind, mold, binder deterioration, and unintended
recording. Frequent playback wears on the media and degrades the sound quality with each
playback over time. This medium is especially susceptible to damage from playback as it may jam
in the playback deck and be "eaten," which can cause crimping and breaking during playback.
Risk Level
The lifespan of a cassette is dependent upon numerous factors: the quality of the original tape, the
type and condition of the machine on which it is played, the amount of care the tapes are given,
how often they are played, and how they are packaged. The environmental conditionsespecially
heat, dust, and humiditymay also affect cassettes. Due to the relative fragility of the media,
microcassettes have a projected lifespan of 210 years. This format is vulnerable, and it should be
prioritized for reformatting based on an assessment of its content value.
Playback
As this format is greatly declining in popularity, media and equipment obsolescence has become a
risk; at present however, both media and equipment are available in the marketplace. While
microcassette recorders often recorded at 15/16 ips, most recorders were able to record at variable
speeds. See Magnetic Audio Playback for more information about tape speed and track
configurations.
Background
The microcassette was introduced to the consumer market in 1969 by Olympus. It offered
recording times comparable to standard audio cassettes but in a compact form. It is used primarily
for voice recording through microcassette recorders and telephone answering machines. This
format may be found in research files and oral history collections.
Storage Environment
Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
Inert plastic containers are ideal. If housed in a plastic container and you are unsure if it is
acceptable, check the condition of the container. The container is acceptable if it is protecting the
media from dust, pests, and other contaminants; is not shedding or introducing any contaminants
through its own degradation; and, is clean and free of mold or excessive dirt. Anything other than a
hard plastic (e.g. a cardboard slipcover) container means that it is not sufficiently protected and that
it should be rehoused in a clean, inert plastic container.
An enclosure must be truly clean to protect the fragile tape surface. Dust and dirt abrasions can
affect sound quality and even render the tape unplayable. Moldy, damaged, and dirty containers
must be replaced.
Storage Orientation
The best orientation for a cassette is vertical on its end. Cassettes and cartridges, generally
speaking, like to be stored upright on shelves like books. Piling tapes one upon the other tends to
stress the cassettes at bottom; this can, over time, cause the plastic housing to warp and even
crack. Allowing cassettes to lean for too long in a suboptimal environment can also lead to
distortion. Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized
aluminum are preferred.
Handling/Care
Engage the record protection mechanism if it has not already been done. Do not attempt to open a
tape cassette or cartridge; this is likely to cause greater damage unless you know what you are
doing. Furthermore, never touch the magnetic tape surface. Keep magnetic media away from stray
electromagnetic fields; avoid devices with a motor or transformer, all of which generate an
alternating magnetic field. Never leave media in a playback machine; always return to storage
enclosure when not in use. For more information about protection mechanisms, see Playback
(/collectionidguide/playback).
8d674fe2ed1159bb2baf2311a5575633.jpg)
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dat cassette with case
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DAT cassettes
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Digital audio tape in inert plastic media
container (/assets/audiodatinertplasticcase1500
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Synonym
DAT
Dates
1987 – mid 2000s
Common Size(s)
Tape width: 4mm
Cassette: 73mm × 54mm × 10.5mm
Description
Digital Audio Tape (DAT) is a digital magnetic tapebased recorded sound format. The tape is
composed of magnetic particles or pigment, binder, and a polyester base. Ferric oxide is the most
common pigment; others include chromium dioxide, metal particle, and metal evaporated tape. The
dimensions of the shell are 73mm × 54mm × 10.5mm with a tape width of 4mm.
Composition
Polyester magnetic tape enclosed in a plastic cassette
Deterioration
The biggest risk to DAT is format and playback equipment obsolescence. The lifespan of the
cassette is dependent upon numerous factors: the quality of the original tape, the type and
condition of the machine on which it is played, the amount of care the tapes are given, how often
they are played, and how they are packaged. Environmental conditionsespecially heat, dust, and
humiditymay also affect cassettes. DAT has known playback problems that are typically related to
mechanical alignment. DAT is not an archival format. These tapes should be given reformatting
priority based on content value.
Risk Level
DAT has known playback problems that are typically related to mechanical alignment.
Playback
DATs must be played back on formatspecific equipment. Since DAT playback equipment is no
longer in production, it may be difficult to playback or provide access to the format. See Magnetic
Audio Playback for more information about tape speed and track configurations.
Background
Digital Audio Tape, or DAT, was developed by the Sony Corporation and introduced in 1987. It was
once the preferred method for live compact recording and studio backup. However, the copyright
amendment of the Audio Home Recording Act of 1992, which levied a royalty on DAT recorders
and media, along with the growing availability and affordability of computer hard drive storage
space contributed to making DAT obsolete by the mid2000s.
Storage Environment
Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
Inert plastic containers are ideal. If housed in a plastic container and you are unsure if it is
acceptable, check the condition of the container. The container is acceptable if it is protecting the
media from dust, pests, and other contaminants; is not shedding or introducing any contaminants
through its own degradation; and, is clean and free of mold or excessive dirt. Anything other than a
hard plastic (e.g. a cardboard slipcover) container means that it is not sufficiently protected and that
it should be rehoused in a clean, inert plastic container.
An enclosure must be truly clean to protect the fragile tape surface. Dust and dirt abrasions can
affect sound quality and even render the tape unplayable. Moldy, damaged, and dirty containers
must be replaced.
Storage Orientation
The best orientation for a cassette is vertical on its end. Cassettes and cartridges, generally
speaking, like to be stored upright on shelves like books. Piling tapes one upon the other tends to
stress the cassettes at bottom; this can, over time, cause the plastic housing to warp and even
crack. Allowing cassettes to lean for too long in a suboptimal environment can also lead to
distortion. Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized
aluminum are preferred.
Handling/Care
Engage the record protection mechanism if it has not already been done. Do not attempt to open a
tape cassette or cartridge; this is likely to cause greater damage unless you know what you are
doing. Furthermore, never touch the magnetic tape surface. Keep magnetic media away from stray
electromagnetic fields; avoid devices with a motor or transformer, all of which generate an
alternating magnetic field. Never leave media in a playback machine; always return to storage
enclosure when not in use. For more information about protection mechanisms, see Playback
(/collectionidguide/playback).
(/assets/dccdeepsonic11500
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digital compact cassette top view
(/assets/dcctopviewdeepsonic31500
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digital compact cassette back view
(/assets/dccbackviewdeepsonic21500
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digital compact cassette partially in slip case
(/assets/dccinslipcasedeepsonic41500
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DCC digital compact cassette player with DCC
and case in foreground (/assets/dcctapeswplayer1500
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Synonyms
DCC
Dates
1992 – late 1990s
Common Size(s)
Tape width: ⅛"
Cassette: 4" × 2½" × ½"
Description
Digital Compact Cassette (DCC) is a magnetic tapebased moving image format. The tape is
composed of magnetic particles (chromium dioxide or cobalt doped ferricoxide), a binder, and a
polyester base. DCC uses PASC (Precision Adaptive Subband Coding) compression in order to
store the amount of information required for CDquality sound on an audiotape. The cassette
cartridge and tape width is the same as an analog compact cassette (approximately 4" × 2½" × ½"
with a ⅛" tape). The cassettes look similar to analog audio cassettes except they only have access
holes for the transport hubs on one side. Also, the tape path is shielded by a metal slider similar to
those found on a 3.5 inch floppy disc.
Composition
Polyester magnetic tape enclosed in a plastic cassette
Deterioration
The biggest risk to DCC is format and playback equipment obsolescence. The lifespan of the
cassette is dependent upon numerous factors: the quality of the original tape, the type and
condition of the machine on which it is played, the amount of care the tapes are given, how often
they are played, and how they are packaged. Environmental conditionsespecially heat, dust, and
humiditymay also affect cassettes.
Risk Level
DCC and its associated playback equipment are long obsolete. These tapes should be given
reformatting priority based on content value.
Playback
DCCs must be played back on formatspecific equipment. DCC playback machines were backward
compatible; they supported playback for analog cassettes as well as DCC. See Magnetic Audio
Playback for more information about tape speed and track configurations.
Background
Digital Compact Cassettes (DCC) were introduced in 1992. A fairly popular format in Europe, DCC
was meant to supplant the analog audio tape and to compete with MiniDisc and Digital Audio Tapes
(DAT). Once it lost the "format war" to MiniDisc, Philips discontinued manufacturing DCC tapes and
playback equipment in 1996.
Storage Environment
Allowable Fluctuation: ±2°F; ±5% RH
Ideal
Temp. 40–54°F (4.5–12°C)
RH 30–50% RH
Storage Enclosure(s)
Acidfree enclosures are strongly advised. Each item should have its own enclosure to protect it
from dust, handling damage, and changes in environmental conditions. All storage materials should
pass the Photographic Activity Test (PAT) as specified in ISO Standard 18916:2007 and must be
chemically and physically stable.
Plastic: Polyethylene, polypropylene, or polyester (a.k.a. Mylar D or Melinex 516). No PVC or
acetate.
Paper/Paperboard: Neutral pH, ligninfree, buffered materials recommended.
Inert plastic containers are ideal. If housed in a plastic container and you are unsure if it is
acceptable, check the condition of the container. The container is acceptable if it is protecting the
media from dust, pests, and other contaminants; is not shedding or introducing any contaminants
through its own degradation; and, is clean and free of mold or excessive dirt. Anything other than a
hard plastic (e.g. a cardboard slipcover) container means that it is not sufficiently protected and that
it should be rehoused in a clean, inert plastic container.
An enclosure must be truly clean to protect the fragile tape surface. Dust and dirt abrasions can
affect sound quality and even render the tape unplayable. Moldy, damaged, and dirty containers
must be replaced.
Storage Orientation
The best orientation for a cassette is vertical on its end. Cassettes and cartridges, generally
speaking, like to be stored upright on shelves like books. Piling tapes one upon the other tends to
stress the cassettes at bottom; this can, over time, cause the plastic housing to warp and even
crack. Allowing cassettes to lean for too long in a suboptimal environment can also lead to
distortion. Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized
aluminum are preferred.
Handling/Care
Engage the record protection mechanism if it has not already been done. Do not attempt to open a
tape cassette or cartridge; this is likely to cause greater damage unless you know what you are
doing. Furthermore, never touch the magnetic tape surface. Keep magnetic media away from stray
electromagnetic fields; avoid devices with a motor or transformer, all of which generate an
alternating magnetic field. Never leave media in a playback machine; always return to storage
enclosure when not in use. For more information about protection mechanisms, see Playback
(/collectionidguide/playback).
Full track (monaural): Has one track and one channel; is typically found on ¼" reeltoreel tape
but can pertain to any width tape.
Half track (also known as two track monaural): two tracks are recorded in opposite directions,
with one channel each; is found on ¼" reeltoreel and monaural cassettes.
Twin track (also known as "twotrack" or "twotrack stereo"): Two tracks are found going in the
same direction, with each track as a channel; typically found on ¼" reeltoreel, but can also be
used as a halftrack mono.
Quarter track (also known as fourtrack stereo): Four tracks are found in alternating directions:
the 1st and 3rd tracks comprise "SIDE A" and the 2nd and 4th tracks comprise "SIDE B." Tape
stock is ¼" wide. Note: channel 1 = side A left; channel 2 = side B left; channel 3 = side A right;
channel 4 = side B right.
Four track (also known as fourtrack quad): There are four tracks, each going in the same
direction and each comprising its own channel. Can be found in ¼" and ½" reeltoreel. These
should be left smoothly wound "tails out" (backwards), according to professional applications
and environments.
Stereo cassette (Phillips, aka "standard format" or "compact cassette"): There are four tracks,
with the 1st and 2nd tracks as "SIDE A" and the 3rd and 4th tracks as "SIDE B." Tape stock is
⅛" wide.
8track stereo cartridge: There are eight tracks, each in its own channel and going in the
same direction, making 4 sides. Tape stock is ¼" wide. Sixteen track is found on 1" and 2" reel
toreel. Twentyfour track is found on 2" reeltoreel.
Description
A rare base material, paper was patented as a medium for recorded sound in 1928 by Fritz
Pfleumer but was not available commercially until 1935. It was most commonly used as a base
layer in North America from the mid1940s to the early 1950s. This paper itself will be dull brown
and faintly blotchy. As it is inherently old (perhaps 60+ years), paperbased magnetic audiotape
can be very fragile. It should be duplicated or digitized whenever possible. Considering its age and
the obscurity of paper tape, paper ranks slightly lower than acetate in terms of reformatting priority.
Acetate
Acetate
Synonym
Cellulose acetate
Dates
1934 – c. 1970
Description
Acetate (cellulose acetate) was the earliest standard of magnetic audiotape recording. It was
developed in 1934 for use with AEG/BASF's new Magnetophon. Acetate audiotape suffered a
temporary decline during World War II and then began a slow, final phaseout after the emergence
of polyester in the 1950s. Manufacture of acetatebased audiotape did, however, continue through
the 1960s. Like acetate film, these tapes can suffer from acetate decay, or "vinegar syndrome," as
well as from shrinkage and brittleness. Unlike acetate film, acetatebased magnetic tapes cannot
be frozen without causing damage to the information layer of the tape; and, acetate decay
therefore cannot be halted. This, in addition to acetate's tensile weakness, is why the PSAP
considers acetatebased tapes to be of the highest priority for reformatting and preservation.
Identification
You can identify acetate tape, particularly those produced postWorld War II, by holding it in front of
a light source. If the tape pack appears to "glow" or pipe light, it is most likely acetate. Note: the
opposite is true for an acetate film pack.
PVC
Synonyms
Polyvinyl chloride
Luvitherm
Dates
1942 – 1972
Description
PVC is a relatively obscure base layer for magnetic audiotape. Coated PVC audiotape was first
developed by BASF in Germany through the independent research of Heinrich Jacque and Rudolf
Robl in 1942. It was produced primarily in Germany mainly by BASF from the 1940s to around
1972, its popularity having ebbed in the 1960s as polyesterbacked tapes rose in favor. Like
polyester, PVC has tensile strength: it will stretch under stress rather than break like acetate.
However, PVCbased magnetic tape is unstable due to inherent plasticizer issues. Under repeated
use, the binder can shed magnetic iron oxide particles through a process called pinholing. Although
PVCbased tape is unreliable, it still ranks between polyester and acetate in terms of preservation
priority.
Identification
It is difficult to distinguish PVC from polyester tape. A PVC tape pack will appear opaque in front of
light like polyester, so the best method of identification is through manufacturer and dating the
media. Beyond BASF, other PVC tape manufacturers might include IG Farben (1940s), Agfa (late
1950s), and 3M (Scotch 311, around 1960). Keep in mind that PVC is relatively rare, especially
outside of Europe.
Abrasion debris reside from playback of PVC
audio tape (/assets/magnetictapeaabrasiondebris
frompvctape1500f4a6563a3eb615f24a370bd9825304bb.jpg)
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Polyester
Synonyms
PET (polyethylene terephthalate)
Mylar
Tenzar
Dates
c. 1953 – present
Description
Developed during the 1950s, polyester is the most common and stable base for audiotape
recordings. Polyester is regarded as the lowest priority for reformatting and preservation. The
polyester plasticizer itself is stable. However, the polyurethane binder typically used to carry
magnetic particles on PET tapes is prone to both "sticky shed syndrome" (i.e. binder hydrolysis)
and the broader condition known as "soft binder syndrome". Degradation of the binder can result in
gummy residues on tape heads during playback. It can also degrade cohesive strength to the point
that the magnetic coating sheds on playback, resulting in absolute loss of recorded information.
This type of deterioration affects many polyesterbased magnetic tapes from the 1970s and 1980s.
Gummy residue left on playback gear from
failing binder material (/assets/magnetictapestickyshedresidue
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Identification
You can identify polyester by placing the tape pack in front of a light source. If the tape pack
appears opaque and you cannot see light through it, it is most likely polyester. Note: The opposite
is true for a polyester film pack.
Resources
Bolnick, D., Johnson, B. (1989, November 15). Audiocassette repair. Library Journal, 114(19), 4346.
Hess, R. (2008). Tape degradation factors and challenges in predicting tape life. ARSC (Association
for Recorded Sound Collections) Journal, 39(2), 240274. Retrieved from:
http://www.richardhess.com/tape/history/HESS_Tape_Degradation_ARSC_Journal_392.pdf
(http://www.richardhess.com/tape/history/HESS_Tape_Degradation_ARSC_Journal_392.pdf)
Paton, C. A. (1998, Spring). Preservation rerecording of audio recordings in archives: Problems,
priorities, technologies, and recommendations. American Archivist, 61, 519546.
Philips Electronics N.V. (1996). Digital Compact Cassette. Philips Sound & Vision.
Stauderman, S. (2003, July 2426). Pictorial guide to sound recording media. Paper presented at the
symposium on Sound Savings: Preserving Audio Collections. Association of Research Libraries,
Austin, TX. Retrieved from: http://www.arl.org/storage/documents/publications/sound
savings.pdf (http://www.arl.org/storage/documents/publications/soundsavings.pdf)
For additional resources, see Audiovisual (General) (/bibliography#avgeneral) and Recorded Sound
(/bibliography#sound).