![]() ![]() ![]() |
![]() |
|
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
![]() ![]() ![]() The Vidtronics audio sweetening system, Electrodyne console, two and four track Ampex ATR's, and supporting equipment. This system was used to sweeten many network shows and commercials.
![]() ![]() ![]()
![]()
The crank is used to adjust synchronization by speeding up, or slowing down the ATR. The synchronizer in the VTR (EECO 900) used identical time code on the ATR and VTR to synchronize the two audio track.
![]() TAV's sweetening room circa 1970. The 8-track 3M recorder was state of the art as was the EECO time code reader and synchronizer.
Typically, sound from the edited master video tape was transferred to the 8-track recorder for sweetening, and
then relayed to the master tape.
|