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Reel-to-reel/open-reel () tape recording is the form of magnetic tape audio recording in which the recording medium is held on a reel, rather than being securely contained within a cassette. In use, the ''supply reel'' or ''feed reel'' containing the tape is mounted on a spindle; the end of the tape is manually pulled out of the reel, threaded through mechanical guides and a tape head assembly, and attached by friction to the hub of a second, initially empty ''takeup reel''. Reel-to-reel systems use a tape that is inches (6.35 mm) in width and normally moves at 7.5 or 3.25 inches (19 or 9.5 cm) per second. This compares to 0.15 inches (3.81 mm) wide and 1.875 inches (4.75 cm) per second for a cassette (although some open reel machines support other speeds as per section below). By writing out the same audio signal across more tape, reel-to-reel systems offer much higher fidelity, at the cost of much larger tapes. In spite of the larger tapes, less convenient use and generally higher cost media, reel-to-reel systems remained popular in audiophile settings into the 1980s. Reel-to-reel tape was also used in early tape drives for data storage on mainframe computers, video tape recorder (VTR) machines, and high quality analog audio recorders, which have been in use from the early 1940s, up until the present. Studer, Stellavox and Denon still produced reel to reel tape recorders in the 1990s, but currently only Nagra, Otari, and Mechlabor continue to manufacture analog reel-to-reel recorders. ==History== The reel-to-reel format was used in the earliest tape recorders, including the pioneering German-British Blattnerphone machines of the late 1920s which used steel tape,〔("Blattnerphone" ), Orbem.co.uk, retrieved 02 February 2014〕 and the German Magnetophon machines of the 1930s. Originally, this format had no name, since all forms of magnetic tape recorders used it. The name arose only with the need to distinguish it from the several kinds of tape cartridges or cassettes such as the endless loop cartridge developed for radio station commercials and spot announcements in 1954, the full size cassette, developed by RCA in 1958 for home use, as well as the compact cassette developed by Philips in 1962, originally for dictation. The earliest machines produced distortion during the recording process which German engineers significantly reduced during the Nazi era by applying a "bias" signal to the tape. In 1939 one machine was found to make consistently better recordings that other ostensibly identical models, and when it was taken apart a minor flaw was noticed. It was introducing an AC signal to the tape , and this was quickly adapted to new models using a high-frequency AC bias that has remained a part of audio tape recording to this day. The quality was so greatly improved that recordings easily surpassed the quality of the best radio transmitters, and such recordings were used by Adolf Hitler to make broadcasts that appeared to be live while safely away in another city. American audio engineer Jack Mullin was a member of the U.S. Army Signal Corps during World War II. His unit was assigned to investigate German radio and electronics activities, and in the course of his duties, a British Army counterpart mentioned the Magnetophons being used by the allied radio station in Bad Nauheim near Frankfurt. He acquired two Magnetophon recorders and 50 reels of I.G. Farben recording tape and shipped them home. Over the next two years, he worked to develop the machines for commercial use, hoping to interest the Hollywood film studios in using magnetic tape for movie soundtrack recording. Mullin gave a demonstration of his recorders at MGM Studios in Hollywood in 1947, which led to a meeting with Bing Crosby, who immediately saw the potential of Mullin's recorders to pre-record his radio shows. Crosby invested $50,000 in a local electronics company, Ampex, to enable Mullin to develop a commercial production model of the tape recorder. Using Mullin's tape recorders, and with Mullin as his chief engineer, Crosby became the first American performer to master commercial recordings on tape and the first to regularly pre-record his radio programs on the medium. Ampex and Mullin subsequently developed commercial stereo and multitrack audio recorders, based on the system invented by Ross Snyder of Ampex Corp. Les Paul had been given one of the first Ampex Model 200 tape decks by Crosby in 1948 and went on to use Ampex eight track "Sel Sync" machines for multitracking. Ampex went on to develop the first practical videotape recorders in the early 1950s to pre-record Crosby's TV shows. Inexpensive reel-to-reel tape recorders were widely used for voice recording in the home and in schools before the Philips compact cassette, introduced in 1963, gradually took over. Cassettes eventually displaced reel-to-reel recorders for consumer use. However, the narrow tracks and slow recording speeds used in cassettes compromised fidelity. Columbia House carried pre-recorded reel-to-reel tapes from 1960 to 1984. Following the example set by Bing Crosby, high-speed reel-to-reel tape recorders rapidly became the main recording format used by audiophiles and professional recording studios until the late 1980s when digital audio recording techniques began to allow the use of other types of media (such as Digital Audio Tape (DAT) cassettes and hard disks). Even today, some artists of all genres prefer analog tape's "musical", "natural" and especially "warm" sound. Due to harmonic distortion, bass can thicken up, creating a fuller-sounding mix. In addition, high end can be slightly compressed, which is more natural to the human ear.. It is common for artists to record to digital and re-record the tracks to analog reels for this effect of "natural" sound. In addition to all of these attributes of tape, tape saturation is a unique form of distortion that many rock, blues and funk artists find very pleasing. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Reel-to-reel audio tape recording」の詳細全文を読む スポンサード リンク
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