Adjusting tape heads

A tape recorder will only achieve optimal sound results with optimally
adjusted tape heads
In addition to good technical knowledge, a number of special measuring devices as well as some
measuring and reference tapes are required for optimal adjustment of the tape heads.

We must urgently advise against adjusting the tape head alignment if there is any suspicion. An
arbitrary attempt at adjustment only leads to inadequate and poorer results and, in the worst case,
can also lead to irreparable damage to the tape heads.

The following adjustments are made to achieve the best possible sound head setting:

1. Adjustment of the head gap vertical position

2. Fine adjustment by phase position
3. Adjustment of the track height
4. Adjustment of the flatness
5. Adjustment of the wrap angle
6. Fine adjustment

1. Head gap vertical position azimuth coarse

The perfect height reproduction of a sound recording depends on the vertical position of the
playback head. A playback head with an extremely close head clearance gives the best results. A so-
called combo head, which is used in simpler devices with a slightly larger head distance, always
represents a compromise.

Sound heads of all kinds are usually located on a movable, spring-mounted mounting plate, the so-
called wobble plates, or they are suspended in a headrest bridge. The fine adjustment is made by
means of adjusting screws and can be adjusted in all directions: tilting to the left or right, tilting
forwards or backwards, turning up or down, turning around the central axis. The swash plate or head
holder can be, for. B. independently adjust by vibration or during transport of the tape machine. It is
therefore only advisable to check the setting of the tape head regularly.

In the case of cassette recorders with

separate recording and playback heads,
when you switch to "rear tape", you will
immediately notice a loss of height due to an
incorrectly set playback head. Typically, you
will only notice mismatching errors in a
combo head unit when you are playing a
sound recording on another tape machine.
Sound head - top and front view

Always follow the service instructions for your tape recorder to find out where the adjusting screw
for adjusting the head gap vertical position is located on the playback or combination head. Mostly it
sits to the right of the tape head, behind the respective tape head in the direction of tape travel.

In principle, the adjusting screw for the vertical position of the head gap is secured with a drop of
paint so that unintentional adjustment is avoided.
This threadlocker is usually loosened by a slight turn of the adjusting screwdriver.

Now insert an adjustment tape, the tape heads should have been carefully demagnetized
beforehand. If you want to be particularly thorough, rewind your adjustment tape onto an empty
spool with the largest possible diameter. Use a spool the same size as the winding spool. In this way
you achieve optimal synchronization values and thus a particularly fluctuation-free display on the
measuring device.

1. Wind and unwind the adjustment tape several times so that the tape windings are optimally
adapted to the tape guide height of the device. During the pre-adjustment, the maximum
pointer deflection is set, not a specific voltage value. A good millivoltmeter or a tube voltmeter
is required for pre-adjustment.
2. Connect the measuring device to the measuring output specified in the service documents, this
is usually the normal device output Line OUT, implemented as cinch, DIN or XLR sockets,
depending on the make of the tape machine.
3. After the tape machine and millivoltmeter have been properly connected, the adjustment tape
is played after the tape heads, tape guides and pressure shaft have been demagnetized
beforehand.
4. First the left channel is measured. The adjustment screw for the vertical position of the
playback or combination head is now carefully adjusted until the millivoltmeter shows a
maximum pointer deflection and at the same time sounds bright and sharp when listening to
the measurement tones (usually 10,000 Hz).
5. In the now optimal vertical position of the head gap, the pointer of the millivoltmeter should
remain almost immovable at a certain value. If this is not the case, something is wrong. Either
the head is badly worn or the adjustment has not been made precisely enough. A
synchronization error, a worn pressure roller or an insufficiently set measuring range can also
be the cause.
6. To avoid measurement errors, we recommend listening through loudspeakers or headphones
at a low volume. Caution: Never use headphones at high volume, this can lead to severe
hearing damage!
7. The right channel is now measured. If everything is correct, the measured value should be
displayed even if the position of the playback head is unchanged. With many simple stereo
heads of older tape machines it is possible that the two superimposed columns do not have
exactly the same azimuth angle and then have to be adjusted to a “compromise”.

2. Fine adjustment of the phase position

The head clearance setting is now too imprecise for stereo tape machines. An additional fine
adjustment per phase is required. To do this, the two stereo channels must be coupled to one
another. Now repeat the adjustment of the head gap vertical position again very slowly and very
carefully. Even the smallest changes to the adjusting screw lead to a considerable change in the
displayed measured value.

If the adjustment is very precise, the measuring device has a pronounced maximum with an almost
fluctuation-free display of the measured values.

After the optimal azimuth, the vertical position of the sound head must now be adjusted. To be on
the safe side, the frequency response part of a measuring tape will now be played back and
measured. This determines whether there are phase-dependent level drops at high frequencies in a
mono circuit. If there are no significant level losses or larger, periodic pointer fluctuations on the
millivoltmeter up to 15,000 Hz, it can be assumed that the device has a good monofrequency
response.

Incidentally, the in-phase fine adjustment has such tight tolerances that tapping the side of the
sound head with your finger is enough to produce a significant change in the measured value.

Exact fine-tuning is important because when playing back a stereo recording in mono, it is ensured
that high frequencies are fully preserved. If the setting is inaccurate, phase shifts can occur, which
can manifest themselves in treble losses or other sound distortions. In stereo playback, the exact
phase position is responsible for the localization accuracy and a good resolution of the stereo
panorama as well as for the transparency of the sound image. Perfect phase relationships are
particularly important for artificial head and master recordings in record production.

3. Adjustment of the track height

All sound tracks must be in a precisely defined position on the magnetic layer. The position of the
audio tracks is precisely defined in the IEC 94 standard, part 6. (Formerly DIN 45511).

Mono full track (studio machines)

 Total width of the magnetic tape 6.3 mm

 Width of the sound track 5.9 mm
 Width of the band edge measure 0.2 mm each

Stereo broad gauge (studio machines with so-called butterfly heads)

 Total width of the magnetic tape 6.3 mm

 Width of the sound tracks each 2.6 mm
 Width of the separating track 0.75 mm
 Width of the band edge each approx. 0.15 mm

Two-track mono and stereo machines

 Total width of the magnetic tape 6.3 mm

 Width of the sound tracks each 2.0 mm
 Width of the separating line 2.0 mm
 Tape edge dimensions approx. 0.2 mm each

Quarter-track mono, stereo, and four-channel machines

 Total width of the magnetic tape 6.3 mm

 Width of the sound tracks each 1.05 mm
 Width of the separating track approx. 0.6 mm
 Tape edge dimensions approx. 0.06 mm each
 From the upper edge of the belt to the lower edge of the
belt, track 3, exactly 4.5 mm.

In stereo mode, tracks 1 and 3 are used, and in the opposite direction, tracks 2 and 4 are used.
Insert a clear leader, then rewind and rewind the transparency several times to adjust it to the tape
height guides. Remove the head carrier cover and the front cover so that the head mirror can be
easily seen from the front of the tape machine.

The track height of the tape heads is always set to the

height of the tape guides, never the other way around.
Under no circumstances should the tape guides be
adjusted in order to correct errors in the tape head
adjustment.

Now observe the passing transparent tape as it runs

through the tape guides. If the tape runs neatly through
all tape guides from left to right with no kinks or buckles,
nothing should be changed. Only after this control of the
tape guide does the actual inspection of the tape heads
take place.

Now the head mirrors are observed through the passing transparent tape. There are millings at the
top and bottom of the head gap, which are made for reasons of progressive head wear. These
millings are now used for orientation. The tape should run
exactly in the middle between the upper and lower millings. The
crack in the head itself cannot be seen.

Unless otherwise stated in the service instructions, the height,

i.e. the track position of the tape heads, is evenly adjusted using
the front and rear adjusting screws of the tape head carrier
plate or wobble plate. An uneven or even opposite setting of
the two screws inevitably leads to a tilted position of the audio
head.

So that smaller tolerances in the track height do not lead to playback or recording errors, the
separating track of the erase head is basically made slightly wider than that of the recording or
playback head

4. Adjustment of the flatness

If the front and rear adjusting screws of the sound head swash plates are not set to the exact same
value, the respective sound head will be inclined more or less forwards or backwards. As a result, the
moving magnetic tape will not lie flat on the head mirror.

An inclined position of the head mirror means that the upper or lower track is not fully or only
partially in contact with the head gap and therefore dropouts and level losses occur.
 In addition, there is a great risk
that, as the operating time of an
obliquely adjusted sound head
increases, the tape will also
grind it obliquely. A visual check
is carried out by looking at the
head carrier from the side and
using the drive shaft as a
“vertical reference”. This makes
it easy to check whether the
tape head is aligned plane-
parallel or at an angle.

Location of the sound head adjustment screws of a ReVox A77

A good control option is also possible with the help of a grease pencil. Any correction of the sound
head required for flatness is made with the front or rear adjusting screw of the sound head
swashplate. If the flatness is readjusted, it is always necessary to check and adjust the track height
again.

5. The adaptation of the wrap angle

The wrap angle describes the curve with which the tape runs past the tape head. The imaginary
centerline of the head should form an angle of about 90 degrees with the tape at the point where
the tape contacts the head gap.

Tonkopf flatness

The tape not only touches the head gap punctiformly, but touches a larger area of the head mirror
surface. Ideally, the contact area is in the middle of the head gap.

The track height of the tape heads is adjusted in relation to the height of the tape guides. As already
described, the tape guides must not be adjusted under any circumstances in order to correct errors
in the head setting. If one observes the continuous transparent tape as it runs through the tape
guides. If the tape runs cleanly and without problems through all
tape guides, nothing should be changed on the tape guide.

If the sound head is rotated around its axis, so that the head gap
does not lie optimally on the magnetic layer, this also inevitably
leads to a loss of quality. If the 10,000 Hz adjustment tape is
reproduced correctly and without dropouts, this is a good
indication that the wrap angle is correctly adjusted.

In order to be able to check the position as precisely as possible, a so-called fat pen test is carried
out. This is particularly unavoidable when a tape head has to be replaced or renewed. The tape head
in question is lightly coated on its head surface with a soft grease pencil, a so-called tape marker pen.
An old tape is then played in playback mode for approx. 60 seconds. The tape is soiled by the traces
of grease and should therefore be disposed of afterwards.
The area where the tape touched the head mirror has been polished by the tape. Ideally, the head
distance is in the middle of the polished area, if this is not the case, turn the head a little after
loosening the central fastening screw and repeat the grease pencil test. When the correct setting has
been determined, the head mirror is thoroughly cleaned. Then use the adjusting tape to check again
whether the sound head contact is now optimally aligned.
Due to the previous settings, the original
setting of the head gap vertical position
has certainly changed slightly again. For
this reason, the fine adjustment of the
phase position described above must
then be repeated again.

The playback head is now precisely

adjusted and is now suitable as a
reference for further adjustment work.
Finally, secure the adjusting screws on
the swash plate of the playback head
with a drop of varnish.

Head carrier of the ReVox A77

6. Settings on the recording head

Settings on the recording head

 Head gap vertical position coarse

 Head gap vertical position fine
 Track height
 Flatness
 Wrap angle
 Adjust the erase head

For the settings on the recording side, the same adjustment work steps are carried out as on the
playback side. The playback head must be optimally adjusted for this. The playback head serves as a
reference point for further adjustment work. In contrast to a playback head, a recording head cannot
be set with a reference tape or calibration tape; measurement frequencies are recorded here, which
are then scanned and measured by the playback head.
  A frequency generator is now required to generate the required
measurement frequencies.
 Stepless setting of frequencies from (at least) 20-20,000 Hz
(better 10-200,000 Hz)
 Adjustable setting of the output voltage with additional fine
adjustment. 10dB steps are optimal
 The frequency generator should be able to generate sine and
square wave signals

For the adjustment work described below, essentially

only sinusoidal signals are required.

Adjustment of the vertical position of the head gap

Rough preset

Set the frequency generator to 10,000 Hz sinusoidal signal, level approx. -10 dB. Signal on both
channels fed in parallel to Line IN or Aux of the tape machine. Connect both inputs in parallel. Insert
a blank tape and start the tape machine in recording mode. Set the frequency generator so that the
VU meter display on the tape machine shows approx. -10 dB / -15 dB. Switch the tape machine to
tape mode and measure the output level using a connected millivoltmeter.

Now set the recording head to the maximum level with the azimuth adjusting screw, to do this
observe the connected millivoltmeter until the greatest pointer deflection is recognized. A sharp,
fluctuation-free maximum should be set by very carefully adjusting the azimuth adjustment screw of
the recording head. The measured value is displayed with a time delay due to the distance between
the recording head and the playback head. To keep this delay as short as possible, the recording head
is adjusted at the highest speed that can be set on the device.

Fine adjustment according to phase position

Now switch both channels in parallel on the output side. The connected millivoltmeter should now
display the maximum value with as little fluctuation as possible, but this is usually only the case if the
strip material is also good and free of dropouts. The parallel connection of the two channels can be
switched off and on again for checking purposes. In contrast to the stereo circuit, there should now
be almost no level drop in mono (coupled) on the millivoltmeter. Now reduce the input level by a
further 10 dB and set the frequency generator to 16,000 Hz. Again, there should be no noticeable
drop in level. A further fine adjustment can now be made at 16,000 Hz.

Adjustment of the track height

As already described for the track height adjustment of the playback head, the track height of the
recording head is adjusted with the grub screws for the height adjustment so that exactly the same
height as that of the playback head is reached. Here, too, the adjustment is made using the milled
cuts on the upper and lower edge of the pick-up head.

Adjustment according to flatness

The adjustment according to the flatness on the recording head is carried out in the same way as the
adjustment of the playback head. By adjusting the rear grub screw, the head mirror of the recording
head can be aligned parallel to the tape. Another control option is the recording of a 10,000 Hz signal
with measurement by the millivoltmeter in the back-band mode.
Further checking of the adjustment by means of a grease pen test is also recommended in order to
be able to visually assess the alignment of the recording head. If corrections are required, the entire
adjustment should then be repeated again.

Adjustment of the wrap angle

The setting of the wrap angle is also carried out in the same way as the adjustment of the playback
head. First, a recording is made with a 10,000 Hz signal. If the reproduction is not perfect, a grease
pencil test follows. If it turns out that the pick-up head gap is not in the middle, the pick-up head
must be rotated around its axis after loosening the central fastening screw. The entire process is then
repeated here as well until an optimal adjustment has been found.

Adjustment of the erase head

The vertical position of the erase head is largely

unproblematic. However, the track height and
wrap angle must be set absolutely correctly. The
check is carried out visually with the grease pen
test. If the track height of the erase head needs
to be corrected, this is done after loosening the
central fastening screw by placing or removing
thin spacers. If the angle of contact of the erasing
head is not correct, the head must be rotated
accordingly around its longitudinal axis. The track
width of an erase head is larger than the track
width of the recording and playback heads. So there is a reserve in the track height. In the 1 mm wide
quarter track, the erase head spacing is 1.5 mm wide, in the half track the erase head track width is
up to 2.6 mm, depending on the manufacturer. For studio machines and / or tape machines with
butterfly heads, full-track erase heads are usually used.