What is Mastering for Cassette
Quick Answer:
Mastering for Cassette tape is the process of creating a distribution-ready sequence of songs, that can be recorded onto the cassette medium. The process of mastering for cassette depends heavily on the tape type that will be used, as it affects distortion, frequency response, and the sequencing of tracks.
Mastering for Cassette in Detail:
The cassette tape has made an unexpected comeback.
As physical mediums such as vinyl have come back into the limelight, a cassette driven music culture has experienced a resurgence.
Although the newfound popularity of cassette hasn’t matched that of vinyl, it has offered artists the potential for a great source of revenue.
For many touring bands, merch sales are their primary source of revenue
Considering that streaming services such as Spotify and Apple offer roughly .003 USD per stream, creating a cassette for approximately $2 and selling it for $5 is an exciting prospect for many indie artists.
Although convenient, digital streaming has limited artist's ability to make money from their music.
When you couple that with the way cassettes shape any signal recorded onto it, there’s no doubt why artists wishing to emulate sounds of the past would turn to the medium.
That’s why it’s so important to give listeners an experience that they will enjoy.
Getting a Great Master for Cassette:
To create a proper master for cassette, the first thing that needs to be considered is the type of tape your songs will be recorded onto. Choosing a tape type may not be as simple a process as you might think.
Each type has specific characteristics that lend itself to certain genres. Some are more budget friendly, and some are more popular for consumer grade playback. All of these factors and others need to be taken into consideration prior to the actual mastering process, as again the tape type heavily influences the mastering process.
With that in mind, let’s take a look at the 3 primary tape types. We’ll discuss what makes each unique, the process behind mastering for this specific tape type, and how this all relates to your potential album release.
But first, let’s dive into some technical terms that are highly relevant to mastering for cassette and subsequent cassette duplication. These are hysteresis, bias, and saturation.
Hysteresis:
Saturation occurs at high levels of amplitude. Distortion also occurs at lower amplification levels.
This is the memory of magnetic tape.
As signal is recorded onto tape it affects the magnetic particles of the tape. Once these particles have been moved in a particular order, they can be played back as the signal that was recorded onto it.
The only issue this creates, is when a new signal is recorded over it. Essentially, depending on the tape type and the strength of the previous signal or signals, some of the older signal will remain on the tape.
This occurs due to the non-linear manner with which magnetic tape responds to incoming signal. Low energy, high frequency waves, typically have difficulty displacing previously recorded signal. Subsequently the previously recorded signal will interfere with the newly recorded signal.
The remedy for this phenomenon is called bias.
Bias:
Notice the 3 bias settings on this TEAC Tape machine
Bias is a high energy, high frequency signal that counteracts the effects of hysteresis. Prior to the new signal being recorded, bias, or an ultrasonic, high frequency signal is recorded onto the tape.
This causes the breakage of stagnant tape particles, in turn allowing the new signal to be recorded without interference.
Subsequently, a “clean” recording and playback of the new signal is possible.
How Hysteresis and Bias Relate to Cassette Tape:
Each tape type is made of different magnetic particles. As a result each one has varying degrees of hysteresis and requires differing forms of bias to correct hysteresis.
As we look into each tape type, we’ll discuss the materials used to create the tape, the bias used to counteract hysteresis, and what this means for any consumers of the tape cassette.
Just as importantly, these factors will play a huge role if you plan to duplicate the cassettes yourself.
Saturation:
Saturation occurs when a signal’s input is no longer matched by its output in a linear manner. All mediums can saturate in one way or another, including tape. With tape saturation, the signal has no more magnetic particles onto which they can record the signal.
As a result, the signal will be both distorted and compressed. Depending on the tape type, the signal’s frequency response, and the amount of saturation, this effect can be either pleasant or detrimental to the listenability of your cassette.
Tape Types:
Tape Type 1:
This can be considered the “classic” tape type, since it was the first to be manufactured and popularized.
Made of gamma ferric oxide, “ferric tape” as it’s often referred to, is a popular option amongst many tape enthusiasts and a great place to start for cassette distribution. You may also find it labeled as "Normal Bias" tape.
It’s chemical composition lends itself to a warmer recording, with an attenuated high frequency range. A louder signal can be recorded onto the tape without distortion, meaning that the overall integrated LUFS of the signal can come close to that of a digital recording. Also it should be noted that Tape Type 1 has a greater amount of hiss, due to a lower signal-to-noise ratio.
This means a hotter signal will need to be recorded to the tape to cover up this noise.
A higher LUFS may be needed to cover the noise floor of type 1 tape.
Noise reduction is an option in many tape players; however, the need for this should be avoided, as attenuating the high end of a Type 1 tape might cause a muddy signal, due to its already unbalanced frequency response.
Type 1 tapes are by far the most affordable and common type of tape, so understanding how to make your music sound great on them is definitely advantageous.
It costs roughly $1-2 for each cassette, meaning that if you have the means to duplicate these tapes, you can create a great source of revenue for you or your band.
The Mastering Process for Type 1 Tape:
When mastering for Tape Type 1, three things are particularly important:
1. Frequency response
The master will most likely need to have an accentuated high frequency range to combat the attenuation the tape type will cause, if a balanced response is desired.
2. Signal-to-Noise Ratio
The master being fed into tape type 1 will need to be louder to cover the noise created from a lower signal-to-noise ratio, and to avoid the need for noise reduction during playback.
A Louder Signal Required for Saturation
The master will need to push the signal to the point of gentle saturation to generate harmonics and gentle compression.
If implemented correctly, all of these factors will create a recording that sounds great.
If you’re looking for a tape that changes the sonic characteristics of your recording - one that perhaps makes your recording sound classic, and introduces the analog warmth many artists go for, then this is a great option.
Tape Type 2:
Notice that tape type 2 requires a higher frequency bias to combat hysteresis.
Tape type 2 is the 2nd most popular, and the 2nd tape type to be introduced to consumers chronologically speaking.
It’s created using chromium dioxide, and is often referred to as “chrome” tape. It is also typically labeled as "High Bias" tape.
Unlike Tape Type 1, chrome tape can more easily reproduce higher frequencies, making it suitable for genres more often characterized by their high frequency response.
With that said, Type 2 has a more difficult time reproducing lower frequencies, and can sound thin in comparison to Tape Type 1.
Overall Tape Type 2 can record at louder levels; however, unlike tape type 1, saturating this tape type can cause unwanted and unpleasant high frequency distortion.
It costs roughly $4 per cassette, making this a viable option for any band looking to expand their merchandising.
The Mastering Process for Type 2 Tape:
When mastering for Tape Type 1, these two things are particularly important:
1. High Range Frequency Response:
Because Tape Type 2 can easily reproduce higher frequencies, their level needs to be kept in mind. Although I wouldn’t immediately recommend attenuating the high end, if saturation is a desired effect, then high end attenuation may be needed.
An excessively amplified high frequency range will lend itself to harsh distortion, especially when the tape is fed a signal that brings it to the point of saturation.
A Deesser decreases the risk of high end distortion on a Type 2 Tape.
2. Low Range Frequency Response:
As stated above, tape type 2 attenuates the lower frequencies. It’s important to amplify these frequencies slightly to counteract any attenuation they may experience.
Furthermore, a low harmonic generator will help to restore any lost fundamental frequency by generating and amplifying the 1st, 2nd and 3rd order harmonics. This may be a good option if you expect listeners to play back your cassette on a speaker system with a limited low frequency range.
Low order harmonics cause the psycho acoustic effect, or a perceived fundamental - even when it isn't present.
Tape Type 4:
You may be wondering what happened to tape type 3. Although it did exist, it never became a popular cassette type for multiple reasons. With that in mind, understanding it in greater detail may not be helpful, as you most likely will not have your songs mastered for this format.
Most of you probably won’t have your songs mastered for tape type 4 either, but it is still a relatively popular format, so let’s look into what makes it unique, and the best approach for mastering when using it.
Type 4 uses metal particles instead of an oxide like type 1 and 2, and is often referred to as “metal tape.”
It improves the overall frequency response, both high and low, as well as the dynamics. Just as importantly, it reduced the amount of high frequency distortion that came with tape type 2, making it perfect of highly detailed recordings.
Naturally, with these improvements came a higher price tag. At roughly $10 a cassette, these may not be the best option for a band looking to even out the cost of touring or playing out.
It should be noted that although tape type 4 offers the best sonic playback, some tape decks don’t allow for tape type 4 playback, due to the unique bias it requires during the recording and duplication process.
Notice the bias adjustment on the lower right. This adds flexibility to playback and recording.
Many consumer grade tape decks cannot create a bias high pitch enough for Tape Type 4. Because of this technical limitation, only high end tape decks are created with the equipment and specifications needed for type 4 playback and duplication. In turn this creates another cost-to-entry barrier between your music and your fans.
The Mastering Process for Type 4 Tape:
Because these tapes can handle both low and high frequencies, the master can be similar to that of a typical CD or digital master.
A CD is a 16 bit, 44.1kHz Digital file
Recording a master onto these tapes will result in the lowest noise, and the highest output, with a balanced frequency response.
Which Tape Type to Choose:
The new Tascam 202MKVII, allows for the reading and writing of type 1 and type 2 tapes.
This depends on your budget and the budget of your listeners. It also depends on the sonic characteristics you wish to achieve by recording your music onto a cassette.
If you want a cassette that sounds warm, and gives your music a classic feel, while maximizing your cost-to-profit ratio, then tape type 1 is the best option.
If you require high frequency detail, but have to remain within a certain budget, then tape type 2 should be your choice.
And if you want a cassette that sounds as close to a digital master as possible, and you and your fans don’t mind paying a little extra for the sonic quality, tape type 4 is definitely the route you should take.
What You Need to Know for Tape Duplication:
So now we know that the tape type you choose truly dictates the type of master that will take place. Any engineer will need to account for the frequency response, the point of saturation, and the signal-to-noise ratio when creating a master for cassette.
But what about tape duplication, and what role do Bias and Hysteresis play?
Well, if you plan to duplicate the tapes yourself, as many artists do, you will need to know which bias to choose during the process.
Tape Type 1 requires Tape Type 1 Bias (or Normal Bias).
Tape Type 2 requires Tape Type 2 or Chrome Bias (or High Bias).
Tape Type 4 requires Tape Type 4 or Metal Bias.
It’s really that simple. Just make sure you are using the bias associated with the tape type you choose. The bias types should be clearly labeled on any tape deck. Of course, if you intend to duplicate a specific tape type, ensure that your tape deck offers the bias for that tape type.
You also have the option to outsource the work to a distributor. This can range from roughly $200 for 100 label and case free type 1 cassettes, to $600 for 100 type 1 cassettes with cases and artwork included.
But for any of you choosing to duplicate the cassettes yourself, if you are duplicating onto formerly used cassettes, bias will be essential to sonic quality of your production.
The Best Way to Create Your Cassettes:
Many tape decks offer tape to tape duplication. Meaning that you can record your tape from another tape, and so on and so forth.
Cassette duplication devices used to create the majority of distributed cassettes.
However, this will no doubt result in signal degradation over time, as the magnetic particles from your master tape shed.
Magnetic tape particles fall off in various degrees during every playback.
On the back of your tape deck, you will most likely notice a line input. Using your digital master as the source, send the signal to the tape deck to record the cassettes, one at a time.
This way the master signal is always the same, no degradation takes place, and you can keep your tape record levels the same.
If you record your cassettes in this way, your cassettes will sound great, and consistent from copy to copy.
Of course, be sure to use the same tape type, ideally from the same manufacturer.
Be sure to sequence your tracks to create roughly the same time on both tape sides.
If you have excess free space on a tape after all of your songs have been recorded, you can open the cassette and cut any excess blank tape out and then reconnect it using special tape. This way listeners don't have an awkwardly long silence at the end of your album.
Conclusion:
Although mastering may not be your first thought when considering duplicating your cassette, it will no doubt improve the quality of your production.
That’s why consulting a mastering engineer prior to duplicating your mix is so incredibly important. Having someone who knows the format you’re duplicating, and can create a master tailored to that medium will make your fans glad they bought your cassette.
Knowing the sound you want to achieve as well as the budget for creating your first or next batch of cassettes is crucial for creating the perfect master.
With that in mind, know which tape type you want to duplicate before beginning the mastering process.
To get a sample of your mix mastered send it to us here: www.SageAudio.com/register.php
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Review by Joel S.
If you're looking for great mastering, Sage is where you need to be. I've been working with Sage for years - they do an amazing job and are really easy to work with.
They actually care about your project and want it to sound its best just as much as you do. I'm always excited to get a song or project back from mastering. I've tried many mastering companies, and Sage is by far the best.
If you're serious about your music, it's worth checking them out; you won't be disappointed - they make your mixes sound balanced and professional.
They also offer mixing feedback to help improve your mixes and mixing and mastering education courses to help improve your sound. Shout out to Sage Audio! you can't go wrong - like I said, if you're serious about your music, this is your studio.
Review by April K.
I've been getting my masters done by Sage Audio for the past 4 years now, and I've tried multiple places in my 15 years in the music business. Sage Audio is the only one that has given me the quality I love!
Their mastering membership is an excellent deal for anyone looking for professional mastering and full customer service. Also, I never had an issue with submitting new mix versions for remastering or asking for too many revisions - they have always been very respectful about remastering new mixes and making any adjustments I wanted. I'm staying with Sage, no need to look further! Best masters out there!
Review by Justin G.
Sage Audio is by far the best audio engineering company I've found. I've been with them for 8 years, and it's clear that they set the bar high in regard to mastering services. Their online platform makes it easy to upload tracks and communicate directly with your own dedicated mastering engineer, and their customer service is excellent.
Overall, the sound achieved by Sage Audio engineers is awesome. Their mastering brings out the best in each track - improving clarity, depth, and impact - and they focus on crafting personalized masters that are specific to your needs.
Another thing that sets Sage Audio apart from other mastering services is that the mastering is actually done with your dedicated mastering engineer and not some sort of AI software, and you get full customer service and feedback on your mixes too.
Their commitment to delivering top-tier mastering while maintaining consistent communication shows how much they care about their clients' music. For anyone looking for a personalized online mastering that combines top-level quality with excellent customer service, look no further than Sage Audio.
Review by James T.
The engineers at Sage Audio could not have made my first commercial audio experience any better! Every time I emailed to get a question answered, I worked with the same person consistently.
They know what they are doing; after listening to my masters on numerous systems, I heard my music in a whole new light. My bass and kick were tighter, not muddy, and hit with the "grit" that I intended. My mids and highs were clear, vibrant, and presented well on all stereos and devices.
I could have never achieved this level of quality without their diligent minds and professional know-how! If you are looking to get your project up to a commercial level while meeting a budget, Sage Audio is the place to go!
Review by Rebecca D.
Sage Audio is by far the best mastering service! They are the most professional, kind, and loyal people. Every song they mastered was spot on!
For artists looking to have their music mastered, they have an awesome and affordable mastering membership and are dedicated to making every mix sound like a professional master. Thank you, Sage Audio, for transforming my music!
Review by Daniel S.
The last ten years of my audio mixing career have been plagued by frustration, self-doubt, and compulsive shopping for magic game-changing plugins that can fix my poor mixes... guess what... it was all wasted time and money; I was shooting in the dark.
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I had heard about Sage Audio a long time ago, but at that time, their pricing seemed too expensive - how wrong I was.
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Review by Thomas E.
I am a musician and songwriter with decent recording skills, but I could never get my final mixes mastered to where the EQ, volume, and clarity sounded good on all playback systems without distortion.
I did extensive research on mastering and tried expensive studio headphones, but I never quite "mastered" mastering. It was very frustrating and took way too much time away from my music.
Then I found Sage Audio, and it sounded like just the service I needed at a reasonable price, so I joined their membership.
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In summary, Sage Audio has saved me a lot of time and provided great masters for my songs, way better than I could have ever done! I give them my highest recommendation.
Review by Frank B.
I've been using Sage Audio for a while now and have been very pleased with their professionalism and quality of work!
I'm NOT new to the audio production world and have been mixing and self-mastering for over a decade. I've used Grammy-winning mastering engineers as well as online AI-driven mastering services, so I know the full range of mastering services available to artists and their producers.
What sets Sage apart, IMO, and, in my experience, is that they are very customer-centric and will do almost anything to make the customer happy with their work. An example is a recent master I wasn't 100% happy with because it was too compressed for Classical material. They jumped right on it, giving me another more gently compressed master, which I'm delighted with. This was a NO EXTRA CHARGE. I know from experience that this isn't the norm in this industry, where egos prevail.
An example of Sage's superior work is when a client I'm working with wanted proof that it was better than a well-known, low-cost AI-driven mastering service. While my instructions to both Sage and the online service were close, only Sage had a human to interpret some of the instructions. As a result, the Sage master was considerably LOUDER and had more HEADROOM to boot. You can't ask for much more for a Pop song.
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Give them a shot. I'm sure you'll be pleased.
Review by Dan Y.
Sage Audio has been a lifesaver for me. Mastering was my weakest point, and I only wish I could've found them sooner. I have used their services for the last 6 months and have also recommended them to several of my musician friends. Every track I send comes back sounding brilliant.
I once experimented by mastering one of my songs by myself, by another leading mastering studio, and also by Sage Audio. Sage's master was hands-down the best: clear, loud, yet dynamic, and the overall sound was smooth. I can say with 100% confidence Sage Audio is the best mastering service around.
It's also a pleasure connecting with their team on a personal level; they are very attentive to details and respond fast.
Review by Irene F.
I found Sage Audio when I was searching for a company that could master my original songs. My initial email was responded to in less than ten minutes. I explained my situation, then created an account and uploaded my mix for mastering.
I let my engineer know what was bothering me in the song and what I would like it to sound like. In a short time, he sent me a notification email to download the master and asked if it was to my liking.
On first listen, it blew me away, as it contained everything I had asked for, and the sound was vibrant, clear, and, quite frankly, perfect. I've been with Sage Audio ever since - they're so easy to work with, friendly, eager to help, and highly professional. I would recommend them to anyone.
Review by Aaron C.
I first used Sage audio 3 years ago to get an album mastered. I hadn't used an outside service for mastering before, so I didn't know exactly what to expect, but I had learned a lot from the Sage Audio YouTube channel and liked the clear, concise way the videos explained various audio principles, so I felt comfortable using their services.
Not only did the masters sound amazing (dynamic, but still as loud as I wanted), but the engineer answered all of my questions and responded to my emails almost immediately.
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As good as their YouTube videos are, I knew this would be a fantastic resource; as a college professor myself, I recognize excellent instruction, and Sage has a knack for breaking down complex processes and demonstrating how plugins work in concise bursts that never overwhelm the learner.
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Review by John G.
I started using Sage Audio to master my songs about three to four years ago - I wish I had found them earlier. Their mastering makes my mixes sound like professional songs, and they're a delight to work with.
Also, they have a very active community of musicians, producers, and engineers, along with mixing and mastering courses - which have provided me with so much useful information. On top of that, the mixing feedback is excellent, and they continually provide thoughtful suggestions, which I've found invaluable for improving my mixes. It's worth checking them out - you will not be disappointed.
Review by Brandon T.
I had Sage Audio master my last 3 albums, and I plan to use them for my next release too. They do an exceptional job of creating balance and clarity for each project, and they are so friendly and helpful when it comes to answering questions and offering suggestions.
Their experience is invaluable, and they have truly insightful feedback when it comes to mixing and mastering. I have tried other companies in the past and came back to Sage to get that professionally polished sound every time.
Review by Ben V.
A few months ago, a friend of mine recommended I try Sage Audio for my final master's. Being a mix engineer myself, I was hesitant at first due to the fact that in the past, when using online mastering, I found that no engineer would care for the track as much as I would.
Knowing the basic rule that you always want to have another set of ears to master anything you've mixed, I realized I had hit a plateau in how far I could take my final master. To my surprise, Sage and the team took my master's to a level I could not reach, both dynamically and sonically.
I'm a full-time artist who is constantly recording, releasing, and traveling. The burden that the Sage team has taken off my shoulders by being a trustworthy mastering service is tremendous.
They have provided me with quick turnarounds while out of the country to meet deadlines for releases and are understanding & receptive when I request changes after hearing a master, even going as far as to follow up with me, confirming that I am 100% happy with the final master, quoting, "I'm not happy unless you're happy."
Another benefit to Sage Audio is their library of mixing and mastering tutorials. Any good sound engineer knows that there are a million ways to reach a rich, dynamic final mix or mastering and that you're never done learning how to engineer. Sage's courses offer a great refresher on fundamentals and a clear understanding of complex techniques to help push you as an engineer.
Cheers Sage, thanks for the excellent service!
Review by Charlie E.
My writing partner and I have recorded and mixed 2 albums and a few singles, the first 2 albums we did were mastered by a different company. The masters were ok, but from that experience, we developed a better and more critical understanding of the mastering process.
Upon preparing to have our 3th album mastered, we did some research and exploration for other mastering options and found Sage Audio - which is where we had our latest album mastered.
We were both very much impressed with the work, the communication, and the willingness to create the exact sound we wanted for the album. We definitely heard a difference in the mastering - Sage Audio masters are clean, clear, and professional.
On top of that, we really enjoyed receiving mixing feedback, which was really helpful for making adjustments to bring the most out of our mixes before sending for mastering. For anyone seeking true audio professionals, I recommend Sage Audio!
Review by Sam V.
Sage Audio mastering engineers are the best I've ever worked with! I've been an Artist, Songwriter & Producer for over 12 years, and believe me, over the years, I've worked with several studios and countless engineers. But since I connected with Sage Audio, those days are over. I took a chance on something new - sent my first mix to see how it would go, and they didn't waste any time lol, they responded the very next day, and the master I got back far exceeded my expectations.
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Review by Ryan B.
I've been using Sage Audio for mastering my tracks over the past year and a half, and they've been great on every front.
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They also have an active community, and their mixing feedback option is super helpful; their suggestions are specific, revealing, and accurate.
I highly recommend them if you're a musician, producer, or mixing engineer who needs that last bit of polish before you release. They're worth every penny.
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