At the testing stage, we had opinions such as “When high register instruments are playing above a certain range, it tended to become a sweeter tone, or sometimes could be heard as if the volume was getting smaller.” When we tried to figure out what was happening, we found that among the distortions occurring within the filters, higher harmonics above 20 kHz were eliminated and therefore, unheard. Our idea was to combine 4 second order filters and a single order first filter, combining for a total of 9 stages, necessary to filter out above 20kHz. “If steep filters were used to eliminate these higher frequencies all at once, a lot of distortion could happen. These several new digital editing functions were designed by innovative engineers with an unfettered mind and clear purpose, and it came to happen.” It had made it possible to prevent an audible drop-out, and since we had learned how to engage a digital crossfade at the editing point, it was easy to achieve a clean result. Using a method called interleaving, we had managed to record the data by scattering it around in various areas of the tape, so that even if the sound has been destroyed where the tape had been cut, data could be brought back intact from somewhere else on the tape, not impacted by the tape splice. As a result, we had to introduce the processing circuit needed for direct tape splice editing in the PCM-3324. So, we had no option other than making it possible. Editing with direct cutting of the tape was impossible with the devices from other manufactures at that point, but there was no way to find a place in recording studios unless both analog- and multi-track recorders could be used in the same way. But then, what was being pointed out was that “It couldn’t be used in actual recording unless it had a function to handle direct tape splice editing.” It had to have a clean sound, even after the knife-spliced tapes were connected back together. “Around 1979, Sony had developed the first PCM-3324 digital multi-track recorder, and we tried to bring them to recording studios.
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