I haven’t posted much in the way of pre-recorded cassettery from 1984, so to make amends here’s a classic, Made in England, chromium dioxide product from that very year.
All the hallmarks of the period are there. The proud boast of “CHROME TAPE” on the front of the inlay – essential info in the early to mid eighties when hi-fi credentials lay at the forefront of audio cassette marketing. The “CHROME – FOR QUALTY” C-logo appears on the cream paper label, as does the “DOLBY SYSTEM”-accompanied Dolby logo, which prevailed on casings before the text was phased out to leave only the double-D symbol.
The programme – Peter Katin Plays Chopin at the Maltings, Aldebrugh, captures brilliant, live-to-an-audience performances on a beautifully rich and sweet-sounding piano, including…
Polonaise in F sharp minor (Op. 44)
Nocturne in D flat (Op.27)
Fantaisie in F minor (Op.49)
Movements 1, 2, 3 and 4 of Sonata No. 3 in B Minor (Op.58)
It’s a programme that demands both chrome media and Dolby noise reduction.
During some soft passages, the playing doesn’t register on the level meters at all. It would be impossible for a standard ferric tape with no Dolby to preserve the nuance of that without hiss competing with the piano for attention. Even when a Type I ferric doesn’t have technical issues it’s inherently noisy. But I would argue that this chrome cassette, released by Pickwick International under the branding Contour Red Label, easily manages to outperform a vinyl record for minimisation of background noise. It’s very impressive indeed.
At the other end of the spectrum, the loud passages push the level meters up to the maximum safe reading for chrome, and you hear some very fine treble definition in the instrument.
I know this is going to offend the sensibilities of classical purists, but I would have preferred some compression on the recording to reduce the drastic dynamic range. Just to bring the soft playing up a little in volume, whilst ensuring that the loud still remained in distortion-free territory. The variations in tonality would preserve the effect of light and shade even with a reduction in range for the actual volume. It works on radio and TV, and I think we’re more used to hearing recorded classical music that way now.
But that’s a matter of taste. Technically, this is a flawless audio cassette, from the heyday of the medium. Light coloured, opaque casing, proper paper label, and a stunning masterclass in world-class piano.
Tape Tardis 