February 25, 2011

Technical Information

About Us

Rosemont Media Transfer was started as a hobby and over time as so many people started asking me to do media transfers it was decided to offer the services to the general public. First and foremost, we believe it is important to preserve our recorded heritage. We have transferred many fantastic recordings over the years, many of which would have otherwise been lost or thrown away. People are generally surprised that their recordings have held up so well over time and are thankful they can hear their loved ones again and relive fond memories!

Over the years, we have put together a great selection of equipment that has been chosen to get the best out of your old media!

Technical Questions

1. Which software do you use?
We like Sony’ CD-Architect and Sound Forge software for audio mastering, and Diamond Cut’s sound restoration software. We are constantly amazed how we can improve your old recordings! We remove hiss, background noise and other unwanted sounds and can bring old music to life!

2. Which machines do you use for the transfers?
We have a large collection of later Teac and Tascam reel to reel machines which we repair and maintain. Currently we have a Teac X-10 and X-2000R for newer consumer recordings. We use a Tascam BR-20 modified for 3-3/4 and 7-1/2 speeds for older mono recordings and Tascam 32-2B and 3030s for professional master tapes. One major advantage of the Teac/Tascam machines we use is that they have a closed loop dual capstan drive system that creates tape tension across the playback heads. This is very important for older polyester and acetate tapes that tend to get a bit “wavy”, as the tension forces the tape to contact the playback head better. These tapes played on other decks won’t come out as well. We have Dolby B & C and Dbx type I and II noise reductions available if your tapes are so encoded.

For cassettes, we use a Nakamichi DR-2. Nakamichi decks have a different playback equalization that brings out better fidelity from your cassettes.

For records, we use a classic Garrard 301 direct drive turntable with an SME arm, and we can transfer 33, 45 and 78 rpm records.

3. I’ve heard of Sticky Shed Syndrome. Could my tapes have it?
Sticky Shed Syndrome is a condition that affects certain studio tapes from Ampex and 3M that were manufactured in the 70s and 80s. Ampex tape formulations that suffer from this are Grand Master, 406, 407, 456 and 457 as well as Radio Shack “Concertape” brand that were often rejects from Ampex. Scotch (3M) Tapes affected are Classic, 250, 226, 227, and their 800 and 900 series tapes (although not 996). Some of these tapes were sold to retail consumers. Older tapes do not have this problem.

Believe it or not, one of the lubricate ingredients in early tape manufacture was whale oil. When this was no longer commercially available, substitutes were found that had a serious side effect – they absorbed moisture and turned into a sticky gum over time. When played on a machine, the gum would cause the tape to gradually stick to the heads, making it unplayable. The industry has discovered that baking the tapes to remove the moisture makes them playable again without destroying the recorded signal.

RMT has successfully baked tapes on many occasions. Tape baking is now included in the price. We know which tapes require it, so we are certain not to bake the wrong tape. 

Call us at 1-973-236-1793 or email us at projects @ oldmediatransfer.com is you have any questions!