The value given to utilizing an oscilloscope and aligning to an MRL is far too
Firstly, aligning to an MRL ensures proper functioning of the playback device
prior to performing a transfer. A very important thing indeed, particulary in
the realm of preservation.
Secondly, it provides a point of reference for documentation. If you have to
apply an azimuth or level offset how else do you notate it in a meaningful way
without aligning to an MRL? Noting a +3dB offset in reference to a 7.5 ips, 250
nWb/m MRL gives information regarding the degree of the offset and a way of
backtracking to the source from a digital file or repeating it if necessary.
It's an industry standard reference. Without the reference any notation is
arbitrary and meaningless.
I would argue that
1. It is a must that you have an oscilloscope in your studio.
2. Get an outboard scope. Much finer detail and easier to read. I have a dual
2GHz machine and I still prefer the analog to the software. You can certainly
get by with the software scope but my preference is to have an outboard analog
Director of Operations
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[log in to unmask]
From: Goran Finnberg [mailto:[log in to unmask]]
Sent: Thursday, April 01, 1999 4:33 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] oscilloscope
> One other thought--calibrating for azimuth off a test tape is pretty
> useless in an archive situation with all the variations of azimuth in
> the collection.
Yes, a big knob sitting on top of the calibrate azimuth screw so you can twiddle
it EVERY time ANY tape is played is a must.
Any calibration with a calibration tape is useless as the azimuth on the
recorder can be anyplace.
Also test tapes donīt agree as regards azimuth.
The Mastering Room AB
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