	Tape Machine alignment
	The alignment procedure set out below is a generic set. The aim is to be able to apply these steps across all pro analogue tape machines using a standard MRL full track test tape. The tape incidentally, is a 320 nWb/m test tape used in most pro studio through out the world. It is also important to remember that there are other test tapes e.g. 180, 200 and 250 naWb/m which can be used for a variation on the calibration procedure set out below. There is also another issue that is often over looked when aligning using a Full-track tape, and that is the phenomena of 'Fringing' (a pronounced boost of the lower frequencies caused by the gap between the tape tracks on the play back head giving a false bass response), this can very between tape machine manufactures and for more detail you would have to consult the makers manual. For this alignment I avoid this problem by not using the test tape to align the bass frequencies, rather to leave till the record procedure where the full track tape is no longer needed.

Tape Machine alignment

The alignment procedure set out below is a generic set. The aim is to be able to apply these steps across all pro analogue tape machines using a standard MRL full track test tape. The tape incidentally, is a 320 nWb/m test tape used in most pro studio through out the world. It is also important to remember that there are other test tapes e.g. 180, 200 and 250 naWb/m which can be used for a variation on the calibration procedure set out below.

There is also another issue that is often over looked when aligning using a Full-track tape, and that is the phenomena of 'Fringing' (a pronounced boost of the lower frequencies caused by the gap between the tape tracks on the play back head giving a false bass response), this can very between tape machine manufactures and for more detail you would have to consult the makers manual. For this alignment I avoid this problem by not using the test tape to align the bass frequencies, rather to leave till the record procedure where the full track tape is no longer needed.

Tape status	Tone selected	Action to be taken and desk status
Input	1k from desk	Switch machine to CAL and align input (on record card) to 3Db on VU, Remove CAL switch to normal Reading should now be 0Db on VU
Repro	16k from tape	Select REPRO on master. Monitor from desk Tracks 1 and 24 for correct PHASE
	1k from tape	Play back test tape, align LEVEL on Repro card to 0VU
	10k from tape	Play back test tape, align TREBLE on Repro card to 0VU
	50Hz from tape	With full-track Test tapes this is something we could simply leave to the end of record.
Sync	1k from tape	Switch master to SYNC head Play back test tape, align Level on SYNC card to 0VU
	10k from tape	Play back test tape, align Treble on SYNC card to 0VU
	50 Hz from tape	At this point if using a full track MRL test tape we can leave this to the end.
Record bias	10k from desk oscillator	Desk status - ‘select Master ready group’ Arm all tracks to be aligned, Switch TAPE MASTER to REPRO Locate record PAD on tape or blank tape, ZERO counter Hit REC + PLAY, align record BIAS for 1.5 VU OVER bias
Record	1k from desk oscillator @ 0VU	Arm all tracks to be aligned, Switch TAPE MASTER to REPRO Locate record PAD on tape or blank tape, ZERO counter Hit REC + PLAY, align record LEVEL for 0VU
	10k from desk @ 0 VU	Arm all tracks to be aligned, Switch TAPE MASTER to REPRO Locate record PAD on tape or blank tape, ZERO counter Hit REC + PLAY, align TREBLE on RECORD card for 0 VU
	50hz from desk @0VU	Arm all tracks to be aligned, Switch TAPE MASTER to REPRO Locate record PAD on tape or blank tape, ZERO counter Hit REC + PLAY, align bass on Repro card for 0VU
SYNC	50 HZ from REC PAD	Disarm ALL tracks, switch to SYNC head on ‘TAPE MASTER’ Locate to zero, Play back recorded 50 HZ align BASS on SYNC card