Audio Electronics, Edition: 2nd ed by J. Hood

By J. Hood

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Sample text

Normally, the frequency response equalisation function will be brought about by frequency sensitive impedance networks in the feedback path of an amplifier element, and a typical layout is shown in Fig. 23. Considering the replay curve shown in Fig. 3, depending on application, tape type, and tape speed. Since the output from the tape for a constant remanent flux will be assumed to increase at a +6 dB/octave rate, this levelling-off of the replay curve is equivalent to a +6 dB/octave HF boost. This is required to correct for the presumed HF roll-off on record, shown in Fig.

It is necessary that the frequency chosen shall be sufficiently higher than the maximum signal frequency which is to be recorded that any residual bias signal left on the tape will not be reproduced by the replay head or amplifier, where it could cause overload or other undesirable effects. On the other hand, too high a chosen bias frequency will lead to difficulties in generating an adequate bias current flow through the record head. This may lead to overheating in the erase head. Within these overall limits, there are other considerations which affect the choice of frequency.

29. As mentioned above, it is common (and good) practice to include a 'muting' stage in the replay amp line, to restrict the audibility of the amplifier noise in the absence of any tape signal. A similar stage may be incorporated in the record line, but in this case the VU or peak recording meter will require to derive its signal feed from an earlier stage of the amplifier. Thus the input signal level can still be set with the recorder at 'pause'. The recording amplifier will be designed to deliver the signal to the record head at an adequate amplitude, and with low added noise or distortion, and in a manner tolerant of the substantial HF bias voltage present at the record head.

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