music industry · Tips

Digitizing analogue tapes: why and how

There are vast amounts of recordings out there that in some cases are musical or historical treasure troves. Labels that go back beyond 30 years or so might have material that is just begging to be either re-mastered for streaming or fully remixed for commercial release. As Ben Schwag, a producer that is currently digitizing work performed by Johnny Guitar Watson, Sly Stone and George Clinton says, “Is the time right for a 90s revival? If so, the recordings are most likely packed away on tape somewhere in a storage room.”

Schwag notes a number of reasons that people ask to digitize and/or restore magnetic tapes:

  • To make your music assets available in a digital format (Spotify, advertising etc)
  • The need to be able to mix or otherwise re-use them (if a revival happens, it’s important to be able to act quickly)
  • The need to properly archive them
  • The need to preserve the recordings in a format that is less fragile than magnetic tape.

But before starting, here are some important steps you need to plan.

Digitizing magnetic tapes: the quick guide for better results

Loading a tape on a 3M 24-track recorder
Loading tapes on a 24-track recorder

1. Assess the Tape Condition: Before starting the digitization process, take a good look at each tape. Look for physical damage. Mould, dirt, or sticky residues can affect playback and sound quality. Additionally, check for any signs of degradation, such as oxide shedding.

2. Clean the Tapes: Use a specialized cleaning solution and a lint-free cloth to gently wipe the tape surface. Ensure that you don’t damage the tape or erase any data when you do this.

3. Prepare the tapes: Older tapes more often than not suffer from some degree of “sticky shed syndrome”, when the recorded surface risks being scraped off the tape when you play it. “Baking” is a technique used to address this. The tapes are placed in a temperature-controlled oven, the heat stabilizes the tape’s binder, temporarily allowing proper playback and transfer of the data on the tape surface.

4. Digital Transfer: To fully restore magnetic tapes, we recommend that you transfer the audio content to a digital format. Connect the tape deck to a high-quality audio interface or converter and use professional-grade software to capture the audio in a lossless format such as WAV or FLAC. Ensure proper calibration and adjustment to achieve accurate reproduction. Proceed with care, as some tapes can only be played once.

5. Noise Reduction: One common issue with older magnetic tapes is the presence of background noise, hiss, or hum. Use noise reduction tools, such as spectral editing or adaptive filtering, to minimize unwanted noise while preserving the original audio quality.

6. Equalization and Dynamic Range Control: During digitization, equalization can help correct any frequency imbalances or tonal inconsistencies in the source audio. Use parametric equalizers to adjust frequencies selectively and enhance the overall tonal balance.

7. Deal with Dropouts and Errors: Magnetic tapes sometimes suffer from dropouts or errors that result in gaps or glitches in the audio. Use specialized software to repair these through interpolation or error concealment.

8. Metadata and Documentation: As part of the digitization, don’t forget to document all the relevant metadata associated with the tapes. This includes information about the recording, such as artist, date, and location, as well as details about any restoration techniques applied.

9. Storage and Preservation: Once the restoration is complete, make sure that the tapes go back into proper storage and preservation. You might also want to make backups of the restored audio files to prevent loss due to hardware failure or accidental damage.

Producer Ben Schwag addressing a conference audience.
Producer Ben Schwag

3 Hats Music runs a studio based in Brussels that features an extensive range of language formats and equipment. The team includes people that have worked with artists as varied as Curtis Mayfield, Johnny Guitar Watson and 2 Unlimited.

Full details about tape digitization can be found on the digitization page of 3 Hats. For more information call Ben Schwag directly on +32 488 41 7272

music business · music industry · Music2Deal.com

Michel Zgarka (Ambassador of Music2Deal) is talking about Hitlab

Michel Zgarka, President – HITLAB

Within the next few weeks HITLAB will launch an international Digital Emerging Artist Competition (DEAC) in partnership with some of the leading companies of the music industry including streamers, telcos, labels. Multi-platforms and our major multi-talented shareholder AKON.

In spite of large investments in the industry, artificial Intelligence in music is still underdeveloped, but it does absolutely have the potential to transform A&R.  At least, that’s what HITLAB – a company quietly making in-roads in this field – is suggesting.

The Montreal-headquartered digital media and artificial intelligence company claims to be ‘revolutionizing the way entertainment content is discovered, produced and consumed’.

The company’s Music Digital Nuance Analysis (DNA) tool is a patented technology that the company claims is able to predict the potential success of new and unknown songs and recommend playlists to music fans.

“WE are A MAJOR TOOL FOR AI-DRIVEN A&R AND EMERGING TALENT DISCOVERY.” 

MICHEL ZGARKA, HITLAB

“Our patented AI powered tech uses “musical pattern extraction and state of the art signal processing to isolate music attributes and transform them into quantifiable mathematical equations”.

What this means is that the software is enabled to create unique signatures for each song (which consists of 83 parameters, according to studies HITLAB had done by universities) and then, by mining the data, DNA can find songs that hold similar signatures.

Hitlab’s recommendation’s system’s conclusions are based on actual sound attributes – as opposed to other systems, which use metadata.

How this works in practice, explains HITAB President Michel Zgarka is that the company’s algorithms can identify what a Top 100 song is in any given country, or “whatever type [of song] we feed the machine”.

“It will compare any song that is presented by a songwriter or a producer, and they’ll be able to get a rating quickly of that song against whatever information we have, or data available, to compare it with,” he explains.

“It will rate that song and the producer will be able to fine tune their song to get better ratings, and they’ll know where they stand as an opportunity.

“So this could be done very quickly and it provides an opportunity for producers, or publishers or so on, to quickly identify a series of songs that could be successful in one list or another.”

HITLAB has also developed a mobile application called Can-U-Sing (CUS), a vocal scoring app that allows users to sing well-known songs and see how well their version stacks up against the original.

The app uses patent pending vocal analysis technology, and according to the promo video (see below), evaluates musical elements like the ability to hold rhythm, melodic precision and vocal technique.

The promo video also states that “recordings can be submitted to contests where singers can win cool prizes and,” – now this is where it gets really interesting – “get noticed by major record labels“.

“The innovative technology used in Can-U-Sing makes it a fantastic audition tool for singing competitions, eliminating the need for costly physical auditions,” writes HITLAB on its website.

In terms of real life implementation of its tech, one case study HITLAB lists on its website is a partnership with the Boston Red Sox, which resulted in the ‘CanUSing Your Way to Fenway Park’ contest, which offered the winner the chance to sing the national anthem at the stadium.

Finalists and the winner were chosen by collecting recordings and filtering performances using HITLAB’s app.

In April last year, HITLAB Media, a subsidiary of HITLAB Inc., signed a long-term co-development and co-production deal with Paris-based production company, WeMake, which is a division of France’s Federation Entertainment.

The partnership will see WeMake and Hitlab jointly produce an ‘original format’ project with the working title ‘Man vs The machine’ – The ‘machine’ being HITLAB’s patented and Patent Pending technology CanUSing and DNA tech.

“We are extremely excited to be able to provide proprietary technologies that can revolutionize the way labels and artists interact with their fan base, as well as the discovery process of new talent.

“Furthermore, our technologies have the possibility to be integrated in different segments of the entertainment industry and we are looking forward to explore the TV market as well, as HITLAB develops international properties for both the theatrical and broadcast media.”

Looking to the future, Zgarka  states that HITLAB wants “to be a major tool for AI driven A&R,” and suggests that its software can help A&R professionals, rather than render them obsolete.

“We are a service provider, We don’t want to replace the human,” insists Zgarka.

“With our AI, instead of having to listen to 1,000 songs or more a year, we can [analyse] 100,000 in 1 hour, which will be [cut] down to maybe 100 – making sure I get the cream of the crop.”

Links:

Michael Zgarka on Music2Deal

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