There are a few ways, but what I do is this: Did this for JETHRO TULL/Aqualung. The tape came to DCC for the Gold CD and 180 vinyl series (after a wait of 7 long years) from Ian Anderson personally. He called me in the middle of the night at home and told me he was (at long last) sending the tapes and they would be here soon. Two days later, in a dumpy old carton, they arrived, British mail! Yikes.. Discovered soon that the song "Aqualung" had a giant tape stretch in it, lasting at least 4 seconds. Sigh. So, what to do? Got the old US CD (made from the USA EQ'd cutting dupe) and also the actual dupe reels from Warner Bros. Records and copied over the bad section onto some old Agfa tape in Dolby A stretched (to match the masters), spliced it in to the original, mastered the song and then put back in the tape stretch for the next guy to worry about. Why didn't I leave it in? Well, I patched a damaged master one time like that and the owners didn't like it at all so, learning that, never helped 'em out that way again, unless they asked (nicely). Patching is the way to save old and damaged tapes. If most of the tape can still be used, it is worth patching rather than just using a safety or EQ'd dupe tape. Of course, if you're just issuing a digital version and not cutting a record from analog, you can fix by editing in the system. But to actually cut a proper record from the analog tape, it needs to be fixed. I can still hear the patch when I play the DCC Aqualung but I doubt anyone else could (it's in the section where his voice sounds like it's over the telephone, give a listen). We had to EQ the safety patch to match the original reel, and that included doing it Dolby A (which I hate). Was complicated but after waiting seven friggin' years for the tapes, nothing would stop us using them to cut our 180 gram vinyl release without a digital in-between step..