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By Simon Langford

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When multi-track tape recorders came into the world (courtesy of a company called Ampex in the 1950s) a few more options became available to the creative (and patient) engineer. On the surface there doesn’t seem to be any more flexibility, because editing of a multi-track tape in the way it had previously been done still involved cutting sections of the entire tape (across all the tracks at once) to do the edits. The advantage with a multi-track tape is that individual tracks could be copied to another tape and then copied back over after the edits had been done—so it was time-consuming, but definitely possible.

It wasn’t all positives, though, as the splicing and editing ability that both analog multi-track machines and DASH machines possessed was now gone. Given that the tape was enclosed within the cassette and the cassette itself inserted into the recorder, there was simply no way of editing in the way that people had been used to before, even if the underlying technology (as in the DASH systems) had allowed it. Hard-disk recorders were dependent on storage space, and, in the early 1990s, this was, as we have seen, still prohibitively expensive.

So in this regard they served as a very easy transition into digital recording. Most of the editing techniques that editors already used could still be applied. The only thing that 35 was different was that it was a digital signal being recorded rather than an analog one. One fundamental advantage of digital recording is that there is a much lower noise level on recorded signal, which means that multiple tracks layered up would be a great deal cleaner and clearer than a comparable analog recording.

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