this video literally explained what the dolby button on my 2001 mazda mpv's media stack did. wow.

It's amazing how much this channel has improved over the course of a few years. The content has always been excellent, but the filming, delivery, and production quality have really come a long way since this video was uploaded. Thanks!

Dude this stuff is GOLD! You earned a new sub after the VHS video! You present technical content in a very intelligent form without boring the viewer. You're VERY well spoken and don't ever drift off the conversation, yet still have a hint of dry humor. I love this!

Bring that Dolby C recording down to half speed and lay some Japanese mall sounds on it and you've got a vaporwave summer hit

Even as a musician/engineer, this is the most lucid and straightforward description of 'Dolby B'. More power to your channel !

You should do a video on the RIAA curve and how it solved the problems of recording high fidelity sound to records and helped establish the 33 1/3 rpm standard. Keep up the good videos!

The companding in Dolby noise reduction is more complex than just setting an equalizer. The companding is accomplished by varying the volume of the desired bands *_depending on how loud they are!_* That means it _changes over time._ The Dolby playback circuitry has to sense when to change the volume to match the amount of change during the making of the tape. That's the real reason for the Dolby sign on the level meter, record levels need to be set to match the preset playback settings. A mismatch can sound like there is a pumping or breathing effect to the sound.

What a shame we didn't have videos like this to tell you all about Dolby when we needed it the most!

The remarkable ease with which you explain these sometimes difficult to understand subjects never ceases to amaze me. Definitely appreciate your work!

Only 320 likes in four months? This channel must not be widely known yet. Nice vids! More people will notice them in time.

This video is SO GOOD! Having your voice being fed through the actual mechanisms is so informative. Showing the actual effect of the EQ in "real time" illustrates everything in such a clear way. And then the alliteration? GOLD, JERRY! GOLD!

Note that a similar system called "pre-emphasis" is used in FM radio, because the noise induced by the transmission lies in the higher parts of the spectrum. The trebles are boosted before transmission then put back to the normal level. On varions wireless audio systems (cordless phones, microphones, headphones etc...), companding is used to overcome the noise that would affect the quieter parts of the signal, by using nonlinear amplifiers.

I hope to see many more videos like this one, and I wish you many thousands of subscribers.

Before Dolby Labs, Ray Dolby started out at Ampex on the team that developed the first widely-successful video tape recorder, the 2-inch quadruplex Ampex VR-1000. The development of the first commercial video recording (quadruplex) would be another fascinating episode. Keep up the good work.

I was a hardcore audio tape guy for ages, and always used Dolby. Until now I never knew much about how it worked, I just knew it did. One of these days I need to find a decent USB tape player so I can transfer some of my old stuff into digital.

Dolby is much more than as explained in this video. While it does alter the equalization during record and playback, it is applied dynamically depending on the level of the content. Most tapes that resulted in poor results with Dolby were the direct result of the levels being set incorrectly, and low quality tapes being used. In addition most lower priced cassette decks produced excessive hiss, even without a tape, due to the poor design of the player.

I've just bought a Sony cassette deck and this has answered all of my questions. Thank you.

I'm really enjoying all of your videos. Your cadence is very pleasant and easy to listen to for long periods. The presentation is easy for anyone to understand as well. Love it! Question: have you considered making a video on the ADAT format?

I was born in 1990, and in factory car cassette decks, it says Dolby B NR on almost every tape door or on the audio unit itself. For instance when I was a kid, when my dad had the 1997 Nissan Quest with the factory cassette player, there is a sound difference when the Dolby button was pressed and illuminated, while the tape played. But when he had the 2001 Honda CR-V Special Edition, I didn't notice much of a difference during tape playback with or without the Dolby B NR.

A companion technology to Dolby for professional pre-processing for mastering was the first baby steps in DNR tech... digital noise reduction. The first studio units were starting to show up in 1978. The circuit was actually so simple that we built one for the college radio station. You directly couple an analog to digital converter with a digital to analog converter. That will take out 40-60 percent of extraneous noise and tape his from field recordings so you can get a clean master for broadcast. It was great for local, next day, broadcasts of away sporting events.

Dolby B is essentially the reverse of RIAA equalization, in which bass frequencies are attenuated during recording to better fir them on a record groove and boosted during playback to compensate. I'd love to see a companion video on this. It would be great if you could also include a section on why ceramic cartridges don't require the RIAA bass boost. (I've studies this in detail, but this was back when vinyl was still the mutt's nuts, so my memory is a bit rusty. Something about ceramic cartridges being inherently less sensitive to higher frequencies.)

I rarely used the noise reduction. Sure it got rid of the fuzz but it also muffled the sound. Edit: I should watch the video before commenting hehe.. I wasn't recording properly. Nice to know the way around the muffle.

I know this video is old but explains Dolby NR in a simple way that almost anyone can understand, the key off this presentation is practical examples. Good Job! No wonder you have 2.24 M subs

While talking about Dolby and cassettes, I guess you also could have mentioned Dolby HX Pro, which is not a noise reduction system, but used widely on cassette decks for optimising the bias level during recording.

Thank you, first time I EVER understand how noise reduction works!

Funny... I cannot hear that cassette noise. So then I remenber: "Ho yeah, my tinnitus!" . . Yup, this thing "sings" louder than that annoying cassette tape hiss, (that I still remember from the old times). But with regards to the tinnitus... well, like my doctor says: "Just forget about it". . . And then he adds: "But if for some reason, some day you can't forget about it anymore, then come back here, I will prescribe you some anti-anxiety pills to help you forget about it". . . So yeah, here is my piece of advice: "Stay away from tinnitus". If you can.

Your channel has made me so nostalgic. Would spend hours listening to my music watching the tape go around. Staring at those pumping lights. Wondering what those switches did. Feeling Techy-As-Fuck just pretending I knew their function. Keep them coming....

Obviously your videos are amazing, but what I really love is the understated deadpan comedy. So many other videos have over-the-top slapstick, but your subtle comedy is refreshing and doesn't detract from the info being presented. Well done!

Back when Dolby was popular, I was just starting my interest in audio electronics. I made many recordings with cassettes on my Dads Technics tape deck (it was a mid 70's model that did type I and II tapes, and only Dolby B). Like many here in the comments section, I prefered to keep Dolby off. However, now that I'm in my 30's, and have been able to get back into high end audio equipment, I find that I prefer the Dolby when it comes to pre recorded tapes at least. An example; I recently bought a NOS Bon Jovi - New Jersey cassette (1988 album). It was recorded on what appears to be Metal (type IV) tape. It has Dolby HX Pro (a system that should work perfect with my Bang & Olufsen Beocenter 9000's cassette deck), but no Dolby NR. I compare that tape to my mid 90's cassette of Weird Al's "Even Worse" album that is type I tape WITH Dolby B NR, and to me, the Weirs Al tape wins in that sound test. Sad really. I think Dolby B was a great thing, but cheap consumer decks didn't have it, and that was the eventual fall of it, and all music formats really. It's my theory that record companies want to push the album out to as many consumers as possible, and since the vast majority have cheap systems, with sub par amps, speakers, ect. The majority of the media is meant to play best on those systems. It really sucks for people like me who really enjoys music, and has put a lot of time and effort into my music listening set ups. /rant

Dolby A came out just as multitrack recording was really taking off. Many of the best recordings of the late 60's onward would have been impossible without it. Take 1968's triple-Grammy winning Switched-On Bach. Recorded on an 8 channel recorder back when synthesizer keyboards could not play chords, this meant recording each line of music to a single track, mixing the filled tracks down to free them up then doing it all over again. Without Dolby A's noise reduction this track bouncing would have increased the background noise until the tape was unuseable. Instead it won the 1970 Grammy for Best Engineered Album.

Noise reduction is still used today, though not to reduce noise from the recording media itself. "Intelligent" systems is used to remove any unwanted noise from the source: Wind noise from outdoor recordings, hum from guitar amplifiers, pops from singers blowing too much into the microphone, hiss from electronic instruments, etc. I record electronic music in multitrack and even though I don't notice the noise from a keyboard on a single track it will certainly become noticeable if I record 16 tracks each with a thin layer of noise that is added up 16-fold.

This is one of the best channels I've discovered in a very long time.

Take a look at how FM radio is run through a preemphasis system at the transmitter and then a deemphasis in the tuner/receiver. This is how most of the early Dolby was designed in the prototype tape machines. I used Dolby B, C, and DBX in the Radio stations I worked at. DBX was the best for Broadcast work since it processed the whole frequency range of the tape at (normally) a 2 to 1 compression ratio and then expanded it by 1 to 2 on playback.

It's a wonder nobody came up with it sooner -- it's almost a natural extension of the RIAA curve used on vinyl. (The RIAA curve is also reason #247 that vinyl does *not* sound better than digital, but that's an argument for another time and place.)

I've been recording with cassette tapes ever since I was little and never took the time to understand how Dolby NR works... You are excellent at presenting this information, I really enjoy your videos. Thank you so much

Great work - really enjoyed this, not only for the detailed technical information you provide, but because of your delivery! Keep em' coming!

Love the layman's term breakdown, good presence. Been watching a few of your vids all day. you got a sub here

4:30 I disagree. This process is called "preemphasis and deemphasis", not companding as an equalizer does not alter the dynamic range. Companding is the combined use of dynamic compression and dynamic expansion, hence the name companding (compressing/expanding)

Excellent video, and one that caused me to subscribe. I never had an issue with Dolby B noise reduction, if a tape was encoded with Dolby B I played it back with the noise reduction. With one exception, I never noticed the "killing the highs" issues that others have mentioned, but I think a factor in that is that I used good-quality cassette decks with high-quality tapes. The exception was with some cheap pre-recorded tapes.

This was good to know. I never questioned why sometimes when turning on Dolby sometimes made stuff sound better and others just got quite.

Brilliantly well explained - bravo!

"It was recorded in Doubly" ~ Spinal Tap

I was lucky enough to know a guy who invented a completely new way to record on to tape, one which blew Dolby out the water. I'm also one of the few people he ever gave a demo tape to because the method was so innovative. Even the guys at Philips didn't believe him when he demo'd it to them. But I can tell you, you can swap back and forth to the original CD recording and there was no difference between tape and CD. I was in his lab switching between sources trying desperately to find a flaw and there was none. It was the perfect recording method, and it played back in any machine. What did he do next? Invented a method for FM radio that eliminated multi-path noise. The guy was a genius.

Your channel is AMAZING! I love the detail you go into for seemingly tiny and random things!

6:19 Accidental Vaporwave

Cool I got that Technics M218 tape player in the early 1980's it worked really well for 15 years.

When I was a teenager I could have sworn that I couldn't tell a difference between the dolby button and simply turning down the treble. I was right! Partially at least. Now I know the other half of the story. Thank you!

Dolby B was essentially the best for transportable recordings, as you noted: they sound pretty decent when played back with proper Dolby B, but they didn't sound horrible if played back on a machine without it, unlike C or dbx. So you could take the same tape to your audiophile friends or play in a cheap stereo at the beach and not be too disappointed either way. Fun facts: in the '70s, there was a short-lived experiment with Dolby FM, where your favorite major radio station broadcasts were encoded by Dolby B to reduce noise. The later Dolby C was essentially two tweaked Dolby B encoders run in series. dbx (stylized in all lower caps) was also interesting. Matsushita was a huge proponent of the dbx system which explains why most dbx chips have Matsushita logos on them. However, due to its poor sound on incompatible equipment, in addition to a "breathing" sound sometimes associated with dbx recordings, dbx didn't find a ton of consumer use, even with the introduction of (ultimately short-lived) dbx disc-encoded vinyl records. It was common on professional equipment though, and did get a major win in the USA: a flavor of dbx NR was used for sound in the MTS broadcast system (and most chips implementing it were provided by - guess who - Matsushita).

Dolby C sounds a lot lot like a hyper compressed loudness war mastered recording.

It's sad tape is getting thrown away at GoodWill and the Salvation Army. Keep your tapes!

Idk why but.. 5:49 looking at this cassette tape is really nostalgic to me, very satisfying. My parents couldn't afford a camcorder but discovering audio cassette recording was a big part of my childhood. Where the audio recording took place like parties in such, I remember the exact situation in mind and playing the audio in reality it was like a video camera to me (with imagination). Nobody understood the kid with a boombox but that was the only entertainment I fully enjoyed. Didn't mean to throw a story but I simply enjoy your content vid by vid, very glad to be a subscriber.

I heard a story about"The Doors" LP>. As the story I heard goes, this Lp was the first to be mastered from a Dolby mulittrack. I remember as a kid "Light my Fire" was extremely brilliant sounding. Supposedly, the Dolby switch was off when it was mixed to a two track master. Don't know if this is true, but sounds logical t me

I know it's quite a bit more modern, but it would be interesting to see a video on how SRS virtual surround sound works.

Egad, that's so simple! I always wondered how that worked!!

...and that over-emphasis on the treble sound is what I loved back around 1982 when I was recording my first band. I'd record using Dolby, then mix the final, from a TWO TRACK cassette deck, WITHOUT Dolby so that it was crisp and bright.

finnaly, thank you so much! after so many years i finally understand how it works, very interesting and clever

Audio engineers spent great work making sound pleasant to the ears of listeners. Those were the days of discriminating audio fanatics. Today people do not care about sound quality. They are happy with squeaky tiny speakers and boomy loud woofers.

the explanation is not quite accurate. Dolby NR works by dynamically boosting the high frequencies during recording but the amount of boost depends on how loud those existing high frequencies are. If boosted too much they would saturate the tape's ability to record the highs. During playback the amount of high frequency range reduction also depended on amplitude so that the softest sounds received the most downward equalization. The Dolby logo on the meter indicates the sound level at which the Dolby chips is neutral and neither boosts nor reduces the high frequency band. The accuracy of the sound depends on the sensitivity of the tape and many advanced cassette decks offered Dolby level calibration during recording, along with bias and equalization trim.

Nice to see a good old Technics tape recorder. Still using my Technics amp. bought back in 1986

When I owned reel to reel the key on those would be faster tape speed. So that worked but at a sacrifice for time, and it still did not eliminate tape hiss, but since it offered a better dynamic range, which helped. Sadly most commercially bought tapes ran at 3 and 3/4 IPS which is below the 7 and 1/2 ips. Early recordings in studios suffered from that, when boosted up to higher levels, still revealing major tape hiss. Then in the late 70s and early 80s we got Dolby. First for movies, as the stripe audio on movies, also suffered the same hiss and crackle noises as tape. So to improve that, Movies got noise reduction, which for movie theatres meant a huge improvement in sound. In fact, my very first cassette deck was a TEAC with DBX capability. While it was non-standard, it did offer nearly CD quality sound. But I soon learned that to get good sound you did need Chrome or Metal quality tape, to get a good experience. And if you play back a DBX tape on a normal tape deck, it sounds like it was recorded on a cheap tape recorder, and lacking quality. DBX took the process in the other direction. You recorded at LOW Fidelity, and then Expanded both the low and high spectrum, during playback to bring it back to normal, but eliminating almost all of the hiss and noise even when played back at higher volume. Great for taking a high-quality source, for your own personal collection. But there was virtually NO commercial DBX encoded cassettes on the market.

Boy, now I feel OLD! I used cassettes before Dolby......

There is a serious lack of a proper 21st century audiophile tapedeck, for digital archiving, that can playback all the different tape types (proper bias adjustments), let alone Dolby Noise Reduction, so that people can simply enjoy (and preserve) their old cassette tape collections. Play tape one more time, and then have it saved on a thumb drive, on a hard drive, in your iTunes, or saved in a cloud account.

Great video. I always regarded Dolby NR as working on the same principle as the RIAA curve employed on vinyl records. Records are cut with the treble frequencies boosted and the bass frequencies cut. This solves two problems: the boosted treble helps to "mask" surface noise like dust and scratches, and the bass cut enables longer running times, as the side-to-side "groove wiggle" needed to produce bass can be made smaller, thus making it possible to cut the grooves closer and increase running time. As the RIAA curve was standard, and every phono stage worked in pretty much the same way, vinyl never had compatibility issues, and never really required consumers to upgrade their equipment. There was a slight shift when the move from mono to stereo took place, but the EQ curve was the same, and mono records were playable on stereo cartridges. Stereo records could even be played on mono equipment, as long as a stereo cart wired for mono was used. Of course, DBX was arguably a superior system, but it required buying a new decoder and not many records were ever issued on this format. If I remember correctly, the original Dolby A, developed for use in professional recording studios, was developed as a solution to the problems inherent in the growing complexity of studio recording. As far as I know, noise reduction wasn't really used in the 50s and early 60s because it wasn't really necessary. In the early days of studio recording to tape, music was cut mostly live to 1- or 2-track tape. In the case of these machines, the tape could run at 15 to 30 ips and used much wider tracks, both of which generally eliminated problems with bias noise. The Beatles made all their records on 2-track machines until they upgraded to 4-track on A Hard Day's Night. The problems with increasing the number of tracks on a tape is that the tracks become narrower and the bias noise gets louder as the individual tracks are added together. Fast forward to the 90s, and most professional studios had tape machines with 24 track head stacks. 24 tracks on 2" tape = very narrow tracks. 24 tracks of combined bias noise = lots of hiss. Dolby B was one of the technologies that elevated the humble cassette into the realm of near-HiFi. A pretty amazing achievement, given that most tapes were basic Ferric Oxide with narrow tracks running at a very low speed.

Subscribed recently, some people couldn’t care less about this stuff. They just want to see their t.v. and hear their music. being into audio for the last 15 years and hooked on old tech I couldn’t be more fascinated by your videos. Thanks

Can you do a video on the "Loud" or "Loudness" button on old car stereos? I always wondered why my Dad's old Dodge Duster (complete POS) had one.

Say their first product one more time, I dare ya. Had to slow it down 0.011x to see it. lol one frame only.

Excellent lecture on Dolby! Clarified all the question I had.

I learned more about Dolby and noise reduction in less than 20 minutes than an entire week of seminar with the same subject.

I don't think the hiss noise is generated from the tape. I think the hiss and noise is generated by the tape head. You can check this if you start playing the deck without any tape inside. You will still hear the noise, even though there is no tape inside. Please let me know what you think. Cheers, Vlad

Always left Dolby and Tape Bias OFF back in the day to keep them from messing with the real sound. I don't care if there is a slight, very unnoticeable hiss in the background as long as my highs are not clipped! Dolby was the devil as far as I was concerned. And as far a tape media was concerned, I only used Metal (once it was available). The tapes cost more than the LP I was recording! LOL.

The cassette you showed at the beginning "USA for Africa: We Are The World", I remember it, I used to have one. God that brings back memories.

such well produced , to the point videos . Keep it up , These are great .

You got me laughing with all the sibilance hahahah

Dolby C messes up the stereo image in my opinion even on a Nakamichi deck with metal tape. Dolby B seems fine though!

You really deserve more views, your content is great!

They should play your videos in certain schools and pay you for the right to. You are an excellent teacher. Thank you for your hard work.

Like the phono RIAA companding.

I pressed "like" at 3:30 ;)

The best explanation I've ever heard. New subscriber! Can you make a video explaining the early 80's CD pre-emphasis, which I think worked similar.

it's crazy because i can hear the audio in the video waver in the stereo field once the dolby reduction is on, and i think that might be something to do with the way equalizers work (they're phased based iirc). so cool!

0:42 it sais: Say „Their first product one more time, I dare you“

5:50 Creepy music. O_o Very weird. 6:19 Even _more_ creepy! 😨

A sub-category with regards to Dolby Noise Reduction, when it came to using blank cassettes for home recording purposes, could be with the "bias" that a given cassette deck were calibrated to when using blank cassettes. I've gone through many cassette decks over the past 40 years, from the first being a Pacific Stereo Trans-Audio deck of 1977, all the way up to DENON decks in the year 2000; where I've learned that to get the best fidelity out of the cassette deck, the user needs to test various blank tape brands to discover which one is best suited for recording/playback. In one example, it astounded me how an Onkyo tape deck sounded lousy with TDK cassettes, but sounded great with Maxell. And, surprise of all surprises (sarcasm), a Sony cassette deck sounded best using blank Sony cassettes. People with lower-priced cassette decks, and a lack of available info, were hindered with getting the best fidelity out of their cassette decks; especially so for those users that were budget-minded and bought whatever blank cassette brand that was discounted on-sale. Some of the higher-end cassette deck manufacturers compensated for the fickleness of the blank tape brands with including a knob dial for adjusting tape "Bias." The Bias knob was generally found on three-headed cassette decks; where in the "record mode," the adjustment knob was used.

Alec, catching up as a relatively new follower. I think an interesting video, given the resurgence of vinyl might be of the recording curves used on LPs. I remember my dad's first hifi amp a fairly high end Bogen Amp had an adjustment for a number of curves used to deal with the dynamic range limitations of vinyl, RIAA being the majority but there were others. The other I remember was NAB but I know there were at least four or five other curves used. I recently transferred a 1952 NAB equalization curved recording to digital. I had a 1949 reocording on tape, converted to LP record that used NAB rather than RIAA. Using a equalizer to mimic the other curve rather than RIAA made the sound much more alive. Realizing as a 66 year old who enjoys classic music and jazz of this era it may be limited but your analysis of Dolby me think of this. I remember buying an outboard Dolby unit to use with my first Cassette deck and my open reel recorder. Just a thought.

The video is very basic, and thus a bit inaccurate about how Dolby B works, but at least the general principle is there. For those who didn't like Dolby B because it made dull sounding tapes, the answer is simple: the deck needed alignment. Each tape type was different, and the tape itself changed the high frequency response. Put Dolby around that tape and it did get worse. But a properly aligned machine calibrated to the tape it was using was the trick, and under those conditions Dolby B was reasonably transparent. However, it wasn't a fixed amount of EQ, it changed with level, and the frequency at which the curve "bent" moved with level too. The double D Dolby mark wasn't there as a "not to exceed" limit because Dolby increased recording level, that's completely wrong. That was a calibration mark. A Dolby Level test tape would play a test tone at that mark, which was used for setting the deck up. Dolby didn't change the maximum levels recorded, as the higher the recorded level, the less NR action took place. Dolby C, and S were not generally accepted because they were not compatible with existing Dolby B equipment, and so C and S were never released on pre-recorded tapes. Dolby HX was a great solution to the high level/ high end problem. As you increased level on a cassette its ability to record high frequencies reduced significantly. Dolby HX modulated the bias signal (which was necessary to get undistorted sound recorded on a magnetic medium, but tended to "erase" high end) dynamically, reducing bias when high level/high frequency material demanded better response. It required no decoding, and was compatible with all forms of Dolby NR.

I want to hug him, he looks fun to cuddle

And thus, the loudness wars began here. Thanks for the video.

@Technology Connections I had a cassette deck that had the option to study how the noise was compounded by "listening" at the noise for about 10-20 seconds of the tape. The idea was that each tape was quite homogen regarding the magnetic layer so the deck adjusted itself to best settings to remove hiss. It also was "smart" enough to refuse engaging this system when a low quality cassette was inserted.

A video about HX-Pro?

i dont know, maybe its just my dyslexic ass mixing the sentences together but a little more than a split second gap between sentences would be nice. its all good tho, if quick pacing is your thing, keep doing what your doing and ill keep watching regardless.

As always, a fantastically delivered explanation of pivotal technologies used in the last few decades, with that humor ("sadistic sad sack") that makes it a joy to watch! I think could be a bit shorter. I also saw in the level meter the difference in audio signal output. BTW, what is that mystery text that pops up @ 42 seconds? My challenges (not hard): What is common technology to LP, VD, and LD? ....besides the disk part. :D and how do video qualities compare between the various formats used in the 80's and 90's (beyond VHS and BetaMax) email me for answers and discus. Cheers!

Less than a month ago I finally acquired a fully working tape deck with Dolby S NR. (Sony TC-K615S) I've wanted one of these sense the 90's but it was out of my price range. Unfortunately I don't have any METAL (type IV) tapes any more but using new high bias type II tapes are still very impressive. The entire sound is very clean sounding. I really does sound close to a CD. Any hiss is almost nonexistent. Even the mid and lower frequencies sound clearer. Being able to adjust the recording Bias also helps get the best sound from the tape (along with adjusting the recoding level properly). My only complaint is sometimes (depending on what type of music or sounds you are trying to record), the higher frequencies sound exaggerated and gated when using Dolby C or S. It can loose it's natural sound in my opinion. Also, all these years later, a lot of my Dolby C encoded tapes are craping out. A lot of them now sound faded and the Dolby C reduces the high ends too much causing a pulsing feeling. I didn't see that coming 25+ years ago. Lol. Thankfully most of my good tapes that I archived were not Dolby NR encoded. I've gone digital many years ago but I will never give this old tech I grew up with. It's still a lot of fun to use.

Noise isn't a problem anymore? It wouldn't be if not for the "loudness war" and the tendency of music producers to max out all frequency levels and compress the dynamic range like crazy. It makes 1411kbps CDs sound like 128kbps mp3 or even worse! Thankfully, this stupid trend is fading and it was mostly a problem in the 2000s. You could not even produce vinyl versions of those CDs because the needle would jump off the track!

you could clean the power button on the technics cassete player...

I recently came across your channel and it's now one of my favourites! Your videos are all amazing, thank you for doing what you do :) Is there any chance you could do a follow up to this video explaining the specifics of how each generation of Dolby noise reduction improved on the last? Your explanation in this video of how noise reduction works was excellent, but it's left me wondering how they improved on it.

I HAVE THE SAME TAPE DECK, IT WORKED WELL DURING THE TIME I USED IT, SETTING ITS SPEED AGAINST A CD TRACK, BY PLAYING A FACTORY MADE CASSETTE.

My mother and myself never used DNR because it sounded dull. Didn't mind the hiss.

0:42 Say "Their First Product" one more time, I dare you

Excellent demonstrations. On my old non-Dolby system I adjust the last two graphic equaliser sliders: 1 notch down, 2 notches down.

Thank you. I have always wondered how that worked. I do remember that famous arc setting with the levers do get the best sound.