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turn the volume down to 4 o'clock. . . . The volume is now 4 o'clock . . .", and so on.
You can play this back several times with different settings of the amplifier controls to decide on the best combination for recording and playback. A similar procedure will determine the optimum microphone distance and the best setting of the tone controls. These two factors are to some extent interdependent. If you speak very close to the microphone, the lower frequencies are emphasised. You can sometimes off-set this by adjusting the tone control. Try to adjust all your recordings, speech or music, so that you can play them back successfully with a single setting of the volume and tone controls.
Remember that the apparent tone quality on playback depends partly on the volume. Speech which is satisfactory at low volume may well sound boomy at the higher volume you use for accompanying films. So do your playback tests at this volume.
When you have found the best settings of the controls for a particular purpose, it is a good plan to make a note of them. Then you can use them on future occasions without the necessity for further experiment.
These settings become part of the "know-how" you will soon acquire concerning your*equipment. This should also include measures to prevent irritating mechanical mishaps. For example, tape has an unpleasant habit of spilling off the side of a full reel. So learn to hold it in place with the finger of one hand while threading up with the other. Some wire recorders are difficult to thread, but you can facilitate matters by tying a couple of feet of fishing line to the beginning of the reel. In any recorder it is best to take up all the slack before switching on. This will eliminate any snatch which may stretch or snap the tape or wire.
Splicing
On a wire recorder you can repair a break by simply knotting together the two ends. You lose some of the
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