95 Sentences With "cassette decks" | Random Sentence Generator

In addition to the body percussion, sound comes from five cassette decks placed (as is the audience) on four sides surrounding Mr. Mriziga.

This was a time long before the internet, when new music used to arrive in the suitcases and Walkman cassette decks of Indonesians returning from overseas.

There are plenty of crazy things at CES that will come to market, things like washing machines that contain secondary washing machines and brand-new boomboxes with cassette decks.

In the '60s and '20083s aspiring preservationists snuck reel-to-reel recorders into venues under battlefield conditions, scaling down to professional quality handheld cassette decks and eventually to DATs.

Schotz's invention, initially sold by a company named Recoton, was one of two technologies being pushed by the electronics industry to bring audio to the cassette decks of yore.

Crosley, the company best known for making those junky $100 turntables you can find at Target or Best Buy, is expanding into a different era of musical nostalgia: cassette decks, via TechCrunch.

" – James Madison , Federalist No. 37 TIME OUT: 'THEY CALL ME BABY DRIVER…' WSJ : "Over time, many other antiquated auto features have been ruthlessly abandoned—hand-crank starters and windows, carburetors and cassette decks.

Before the screens were flat, you were also likely to find prop sets built around a CRT—something that Proptronics sold as late as 2006, along with cassette decks and other home-theater niceties.

Cassette decks with Dolby C also included Dolby B for backwards compatibility, and were usually labelled as having "Dolby B-C NR".

To produce this, the band typically recorded on cheap and older recording equipment, such as cassette decks, in their Low Earth Orbit studio.

As of 2020, Marantz, Teac, and Tascam are among the few companies still manufacturing cassette decks in relatively small quantities for professional and niche market use. By the late 1990s, automobiles were offered with entertainment systems that played both cassettes and CDs. By the end of the late 2000s, very few cars were offered with cassette decks. The last vehicle model in the United States that included a factory-installed cassette player was the 2010 Lexus SC 430.

Cassette decks still produced, after leaving the retail consumer market, were highly specialized professional units. Some of the companies that bought these professional cassette decks were New Century Education Corporation, Beltone, and Terra Technology. V-M also did contract engineering projects for various manufacturers, along with some assembly projects for outside companies. For the December 1976 Christmas Season, V-M assembled an electronic ping pong game for Factory Direct Marketing. V-M filed for bankruptcy in mid July 1977 when a power failure in New York City prevented a wire transfer of critically needed funds.

Etsuro Nakamichi (died November 10, 1982) was a Japanese engineer and founder of Nakamichi Corporation, a high-end audio electronics company based in Tokyo in Japan. The company is most famous for its very high quality sounding cassette decks.

The updated 700ZXL sold for US$3,000, but Nakamichi also offered lower-end cassette decks under US$300. This time marked a peak in the market for cassette recorders, before it lost ground to digital recording media such as CD.

Dual pinch rollers are also used (along with dual capstans) in auto-reverse cassette decks to drive the tape in both directions as needed. In this case, only one pinch roller is pressed against its corresponding capstan at a time.

Revox B 215, 4-motors-Cassettedeck without belts (1985-1992) Nakamichi Dragon cassette deck with azimuth adjustment 1983 - 1993, 1995 (Last Edition) The founder of Revox, Willi Studer, died on March 1, 1996. Cassette decks reached their pinnacle of performance and complexity by the mid-1980s. Cassette decks from companies such as Nakamichi, Revox, and Tandberg incorporated advanced features such as multiple tape heads and dual capstan drive with separate reel motors. Auto-reversing decks became popular and were standard on most factory installed automobile decks. The first Auto Reverse Cassette Deck came from DUAL in Germany in 1974 . The DUAL C 901 .

3M also used the Wollensak brand name on audio tape recorders for many years; the Wollensak recorders were solidly built with all-metal construction. They were among the first manufacturers of cassette decks, as well as 8-track decks for home use.

They are also the company responsible for the Realistic Mach speaker line. A very wide range of products was marketed under the Realistic brand. These included record players, stereo receivers, cassette decks, ham radios, musical synthesizers and a few quadraphonic receivers and shortwave radios.

These symbols are commonly a square for "stop", a vertically pointed triangle with a line under it for "eject", a right-pointing triangle for "play", double triangles for "fast-forward" and "rewind", a red dot for "record", and a vertically divided square (two rectangles side-by-side) for "pause". A typical portable desktop cassette recorder from RadioShack Stereo recorders eventually evolved into high fidelity and were known as cassette decks, after the reel- to-reel decks. Hi-Fi cassette decks, in contrast to cassette recorders and cassette players, often didn't have built-in amplification or speakers. Many formats of cassette players and recorders have evolved over the years.

In the view of Fact Mags Mikey I.Q. Jones, this led to the style of music that would be dubbed "city pop". The genre became closely tied to the tech boom in Japan during the 1970s and 1980s. Some of the Japanese technologies which influenced city pop included the Walkman, cars with built-in cassette decks and FM stereos, and various electronic musical instruments such as the Casio CZ-101 and Yamaha CS-80 synthesizers and Roland TR-808 drum machine. According to Blistein, electronic instruments and gadgets "allowed musicians to actualise the sounds in their heads" and cassette decks "allowed fans to dub copies of albums".

Cassette tapes can also be recorded multiple times (though some solid-state digital recorders are now offering that function). Today, cassette decks are not considered by most people to be either the most versatile or highest fidelity sound recording devices available, as even very inexpensive CD or digital audio players can reproduce a wide frequency range with no speed variations. Many current budget-oriented cassette decks lack a tape selector to set proper bias and equalization settings to take best advantage of the extended high end of Type II [High Bias] and Type IV [Metal Bias] tapes. Cassettes remain popular for audio-visual applications.

At first, within the bankruptcy, V-M Corporation was regulated by the Bankruptcy Court, and had to obtain permission for all activity, especially manufacturing. Customers had to prepay for any manufacturing or services performed, since V-M could not use the creditors' money. V-M projects done, while under Bankruptcy Court supervision, included reworking 20,000 turntables for Thompson Electronics of France in 1978 and 1979. V-M also manufactured Model 270-6 monaural record changers, and a number of cassette decks for New Century Education Corporation, Beltone, and Terra Technology. (Assembly of cassette decks continued through the calendar year of 1989.) All manufacturing ceased by September 1979 when the bankruptcy auction occurred.

The 1000 and 700 series decks had tape bias settings for normal bias (IEC TYPE I) and high bias (IEC TYPE II). Competitor cassette decks offered Ferri Chrome (IEC TYPE III) whereas Nakamichi chose not to do so. The settings for the normal and high bias were labeled as EX and SX respectively.

Although the vast majority of such players eventually sold were not Sony products, the name "Walkman" has become synonymous with this type of device. Cassette decks were eventually manufactured by almost every well known brand in home audio, and many in professional audio, with each company offering models of very high quality.

The inclusion of logic circuitry and solenoids into the transport and control mechanisms of cassette decks, often referred to "logic control," contrasts with earlier "piano-key" transport controls and mechanical linkages. One goal of using logic circuitry in cassette decks or recorders was to minimize equipment damage upon incorrect user input by including fail-safes into the transport and control mechanism. "By the provision of a logical circuit in the control circuit for a magnetic recorder, even when the keys of the key board are actuated in any desired sequence, the magnetic recorder and its associated devices can be promptly and precisely controlled without causing any damages thereon." Such fail-safe behavior was described in a review by Julian Hirsch of a particular cassette deck featuring logic control.

Sanyo LA3430 - PLL FM MPX stereo demodulator with pilot canceler for car stereo use MPX filter is a function found in analogue stereo FM broadcasting and personal monitor equipment, FM tuners and cassette decks. An MPX filter is, at least, a notch filter blocking the 19 kHz pilot tone, and possibly higher frequencies in the 23-53kHz and 63-75kHz bands.

Hacker made many mono record players, most of which could be converted to stereo with the purchase of a matching amplified loudspeaker; the GP15 Cavalier, GP42 Gondolier and GP45 Grenadier being commonly encountered examples. They also made a number of radiograms, and later music centres with matching loudspeakers and badge-engineered cassette decks from Japanese manufacturers including Sanyo and Nakamichi.

The technology seemed promising for analogue audio recording; however, very thin ME layers were too fragile for consumer cassette decks, the coatings too thin for good MOL, and manufacturing costs were prohibitively high. Panasonic Type I, Type II and Type IV ME cassettes, introduced in 1984, were sold for only a few years in Japan alone, and remained unknown in the rest of the world.

At first, electronics companies were somewhat leery of working with a supplier that got its start making motors for toy cars. But one after another, brand name manufacturers chose the quality and price of the RF-510G, and the Mabuchi brothers helped bring affordable Japanese radio cassette decks, portable headphone stereo CD players, and numerous other products in the audio visual field, to consumers across the world.

Several factors led to the rise of cassette culture. The development of the cassette tape recording format was important - the improvement of tape formulations and availability of sophisticated cassette decks in the late 1970s allowed participants to produce high-quality copies of their music inexpensively.Produce 1992, p.4-5. Also significant was the fact that bands did not need to go into expensive recording studios any longer.

Dolby C first appeared on higher-end cassette decks in the 1980s. The first commercially available cassette deck with Dolby C was NAD 6150C, which came into the market in around 1981. It was also used on professional video equipment for the audio tracks of the Betacam and Umatic SP videocassette formats. In Japan the first cassette deck with Dolby C was the AD-FF5 from Aiwa.

Also offered was a third less costly deck the 700ZXE auto tuning cassette deck. A more expensive 1000ZXL Limited was also offered, with the same specifications as the 1000ZXL but with a gold plated face. Other Nakamichi cassette decks are the Cassette Deck 1 and the Cassette Deck 1 Limited. Like the 1000ZXL Limited, the Cassette Deck 1 Limited is more expensive than the Cassette Deck 1.

Audiophiles turned away from Elcaset and towards high-end compact cassette decks from companies like Nakamichi, which began making very high-quality tape decks using the compact audio cassette in late 1973, even three years before the Elcaset was released. The tapes they made could be played on any compact cassette machine. Also, the Elcaset machines were expensive. Elcaset began a fast fade-out in 1978.

As a part of the Digital Revolution, the ongoing development of electronics technology decreased the cost of digital circuitry to the point that the technology could be applied to consumer electronics. The application of such digital electronics to cassette decks provides an early example of mechatronic design, which aims to enhance mechanical systems with electronic components in order to improve performance, increase system flexibility, or reduce cost.

The 9-5 had various comfort features both as standard and cost options over the years. While early models frequently had dash mounted cassette decks, CD changers were standard features on many cars and in-dash satellite navigation was also available. Factory-fitted phone kits were similarly optional. Many models featured leather or part-leather upholstery and both front and rear heated seats were also available.

The 1986 Nakamichi CR-7, a new flagship deck that was manufactured alongside the Dragon, had a unidirectional transport with manual azimuth controls. By 1988, development of high-end cassette decks had ended. These models were a concession to a small number of enthusiasts; too few to make any profits. Their value as halo drivers for selling low-cost consumer decks quickly eroded with the spread of digital technologies.

It was very successful at the time, though bulky and inconvenient to use. There was a pause at the end of each track as the program changed. The compact cassette, although physically much smaller than the 8-track cartridge, became capable of good sound quality as the technology developed, and longer cassette tapes became available. Cassette decks (not portable) were introduced for home use, and this encouraged the production of pre-recorded music cassettes.

Their early, pre-WImP work involved semi-performance-based, Situationist-style conceptual, experiential, and prank-based art. Notable endeavors included site-specific installations and modifications within the Disneyland theme park. The collective would alter the park's attractions by leaving battery-powered cassette decks playing soundtracks and recordings they had created. They also affixed incongruous items to the scenery within rides and removed and cataloged "liberated" park elements as artifact-like art pieces.

Instead, the cassette decks included two narrow- band filters tuned to the two frequencies. During a read, the output of one or the other of these filters would be asserted as the bits were read off the tape. These were sent as digital data back to the host computer. Because the tape was subject to stretching and other mechanical problems that could speed or slow transport across the heads, the system used asynchronous reads and writes.

Simple voice recorders and earlier cassette decks are designed to work with standard ferric formulations. Newer tape decks usually are built with switches and later detectors for the different bias and equalization requirements for higher grade tapes. The most common, iron oxide tapes (defined by the IEC 60094 standard, as "Type I") use 120 µs equalization, while chrome and cobalt- adsorbed tapes (IEC Type II) require 70 µs equalization. The recording bias levels also were different.

Many Casio keyboards can be run on both mains electricity and battery power. Some Casio keyboards were integrated into other electronic audio equipment, including AM/FM radios and cassette decks. This list includes some of the instruments' basic specifications and is not exhaustive. Casio keyboards from the 1980s and 1990s are used by electronic musicians and sound engineers to achieve an authentic lo-fi sound and some modify them by circuit bending to extend their sound palettes.

Starting off with cassette decks and pro-sumer equipment, his studio evolved over the years. At the point that it is featured in the book Behind The Beat,Gingko Press; illustrated edition (November 15, 2005) the photo shows an Adat-XT and an Allen & Heath GS3000 alongside his MPC-3000. This appears to be taken shortly after OST was completed. In 2004, shortly before his first feature in Remix Magazine, he acquired a Neve 5316 (Baby-V).

Music he once recorded on with two cassette decks, cheap electric guitars and even cheaper drum computers – a wild mix of The Cure, Wire, Hüsker Du, Joy Division/New Order and similar bands. A few of these recordings were re-recorded for THE HAPPY SUN, but the majority of the part is made up of completely new songs. Co- producer Bernd Heinrauch describes the music as „psychedelic-shoegaze- seventies-rock“, which is anything but far from the truth.

While its cassette decks were particularly well known, the company is also credited with audio innovations, such as self-centering record players, high-end DAT recorders, and ultra-compact slot-loading CD changers. In the 1950s, Nakamichi developed one of the first open reel tape recorders in Japan under the Magic Tone brand. In 1957, it developed and made its own magnetic tape heads, as well as launching the Fidela 3-head Open Reel Stereo Tape Deck. Because of its experience in manufacturing magnetic tape heads and equipment, in 1967 the company started making tape decks for a number of foreign manufacturers including Harman Kardon, KLH, Advent, Fisher, ELAC, Sylvania, Concord, Ampex and Motorola. From 1973, Nakamichi started to sell high-quality stereo cassette decks that benefited from the mass market's move away from reel-to- reel tape recorders to the cassette format. The Nakamichi 1000 and 700, made in the mid-1970s, had three heads, a dual capstan drive that reduced wow and flutter, and Dolby-B noise reduction to improve the signal to noise ratio.

The advantage disappears when a two- head deck replays tapes recorded on equipment with an unknown absolute azimuth error. Azimuth errors, or tape skew, affect cassette decks much more than reel-to-reel tape recorders running at higher speeds. A cassette deck claiming a frequency response up to 20 kHz must have an azimuth error less than 6' (arc minutes). Above this threshold, losses in high-frequency response steeply rise; at 20' the head is practically unable to reproduce any treble.

The GL trim included power steering, cloth interior, cloth seats, a digital clock, door pocket, a 4 speaker cassette radio, body cladding and 14 inch alloy wheels. Deluxe and standard models had steel wheels, 2 speaker cassette decks, and vinyl interiors, however deluxe models received full width side steps and bucket front seats. Dual AC was standard on all wagon models. The pick up variant was available in 11-seater high side pickup form and later in chassis cab configuration.

In 1981, JVC introduced a line of revolutionary direct-drive cassette decks, topped by the DD-9, that provided previously unattainable levels of speed stability." JVC DD-9 Cassette Deck Review", HiFi Classic, webpage: . During the 1980s JVC briefly marketed its own portable audio equipment similar to the Sony Walkman on the market at the time. The JVC CQ-F2K was released in 1982 and had a detachable radio that mounted to the headphones for a compact, wire-free listening experience.

Cassette tape adaptors have been developed which allow newer media players to be played through existing cassette decks, in particular those in cars which generally do not have input jacks. These units do not suffer from reception problems from FM transmitter based system to play back media players through the FM radio, though supported frequencies for FM transmitters that aren't used on commercial broadcasters in a given region (e.g. any frequency below 88.1 in the US) somewhat eliminates that problem.

In 1984, he moved to the province’s capital, the city of Groningen. It was around this time that Lester became interested in early street and hip-hop culture. He began graffiti writing under the ‘tag name’ Catch. Lester later produced rap music using so called tape loops, cassette decks and turntables before moving into digital samplers and sequencers. In 1986, he formed the group ‘Definitely Def’ with Andy Godderis. In 1989, Eugen Walker joined the group to become ‘Utile Connection’ (or U.C.).

SIO was developed in order to allow expansion without using internal card slots as in the Apple II, due to problems with the FCC over radio interference. This required it to be fairly flexible in terms of device support. Devices that used the SIO interface included printers, floppy disk drives, cassette decks, modems and expansion boxes. Some devices had ROM based drivers that were copied to the host computer when booted allowing new devices to be supported without native support built into the computer itself.

A side benefit of the Dragon's complex, five-motor arrangement was that the transport, except for the tape counter, did not use belts or springs. The Dragon's discrete – mechanically, electrically and magnetically independent – heads were rated for 10,000 hours of replay or recording. To prevent early formation of a wear groove, which usually destroys the left channel audio, the heads were pre-slotted at the tape edges. This standard feature of reel-to-reel studio recorders had never been used in cassette decks before.

The 1000ZXL and 700ZXL had full metal capability as well as normal and high bias abilities and had built-in computers for calibrating the decks to a specific tape. These built-in computers were known as A.B.L.E. for Azimuth, Bias, Level, and Equalization. The user would use this function (activated by an "Auto Cal" button) to optimize the deck to a specific brand of tape to get best recording results from every cassette. Hence the 1000ZXL and 700ZXL were known as computing cassette decks.

A key element of the cassette's success was its use in in-car entertainment systems, where the small size of the tape was significantly more convenient than the competing 8-track cartridge system. Cassette players in cars and for home use were often integrated with a radio receiver. In-car cassette players were the first to adopt automatic reverse ("auto-reverse") of the tape direction at each end, allowing a cassette to be played endlessly without manual intervention. Home cassette decks soon added the feature.

Stack of historical AKAI machines Akai's products included reel-to-reel audiotape recorders (such as the GX series), tuners (top level AT, mid level TR and TT series), audio cassette decks (top level GX and TFL, mid level TC, HX and CS series), amplifiers (AM and TA series), microphones, receivers, turntables, video recorders and loudspeakers. Tape recorder GX-630D Many Akai products were sold under the name Roberts in the US, as well as A&D; in Japan (from 1987 after a partnership with Mitsubishi Electric), Tensai and Transonic Strato in Western Europe. During the late 1960s, Akai adopted Tandberg's cross-field recording technologies (using an extra tape head) to enhance high frequency recording and switched to the increasingly reliable Glass and crystal (X'tal) (GX) ferrite heads a few years later. The company's most popular products were the GX-630D, GX-635D, GX-747/GX-747DBX and GX-77 open-reel recorders (latter featuring an auto-loading function), the three-head, closed-loop GX-F95, GX-90, GX-F91, GX-R99 cassette decks, and the AM-U61, AM-U7 and AM-93 stereo amplifiers.

Gunn also stated that he had completed the final draft of the script. Benicio del Toro, who portrayed the Collector in the first film, expressed interest in portraying the character again, despite Marvel not contacting him about the sequel; Gunn explained that the Collector "just didn't fit" into Vol. 2. In early February, comedian Steve Agee was revealed to be in the film. Prop master Russell Bobbitt had difficulty finding the cassette decks that had been used in the first film, and all of the Sony Walkman headsets they sourced for the sequel were broken.

Sharp Corporation produced a karaoke party system, HK-Z20, with double cassette decks, one for synchronizing/recording and one for continuous playback. This model became a popular device and had been exported to other countries. One long-running popular device from the 1990s has been the MagicSing, a plug and play microphone that houses about 2000+ songs and with extendable song chips in it and connected directly to a TV unit. This device also provides singing scores, and later models (some now known as WOW MagicSing) have a recording feature.

Free-to-Air and Subscription broadcasters often have a statutory requirement to keep a record of all programs that are emitted. This may be for legal or other compliance purposes—or simply good commercial sense to 'have proof' of events in event of a contrary claim. Traditionally compliance recordings were made to long-play video-cassette decks, using three 8-hour tapes per day per channel. The unreliability of moving tapes & heads, along with the move to centralcasting and distributed playback requirements, has made this method virtually impossible to maintain in the current operational climate.

The shop is now owned by and managed by Roy's son Paul Wilkins, who together with Chris Hugill used to run the UK distribution arm of B&W;, B&W; Loudspeakers UK Ltd. They also acted as the UK distribution of the aforementioned Aura range of electronics, and Nakamichi, regarded as the world's foremost manufacturer of compact cassette decks and associated electronics. The 1967 P1 was the first commercial speaker from B&W.; The cabinet and filter were B&W;'s own, but the drivers came from EMI and Celestion.

Vinyl LPs in Walsall Hospital Radio's record library Walsall Hospital Radio had two studios, a record library and a computer room. The main studio, Studio 1, was equipped with twin Citronic CD players, twin Denon cassette decks, two Technics record turntables, three Sony MiniDisc players, a computer playout system, a Sherwood radio tuner and a Broadcast Series EELA SBM mixing desk. There are three microphones connected to the mixing desk and seating for three. The studio also has a television mounted on the ceiling, used primarily for accessing weather reports through Teletext.

Studio 2 was a backup studio, normally used only if there was a technical problem with Studio 1. It has a smaller Partridge Electronics mixing desk suitable for one person and was equipped with twin Denon CD players, JVC cassette decks, Sony Minidisc players and a Technisc turntable. Studio 2 also houses two computer servers on which the bulk of the station's digital music library was held. There are three computers in the studio's computer room, one being a modern flat screen model and the other two being significantly older.

On suitable audio equipment, cassettes could produce a very pleasant listening experience. High-end cassette decks could achieve 15 Hz-22 kHz±3 dB frequency response with wow and flutter below 0.022%, and a signal-to-noise ratio of up to 61 dB (for Type IV tape, without noise-reduction) . With noise reduction typical signal-to-noise figures of 70-76 dB with Dolby C, 80-86 dB with Dolby S, and 85 - 90 dB with dbx could be achieved. Many casual listeners could not tell the difference between compact cassette and compact disc.

As radios became tightly integrated into dashboards, many cars lacked even standard openings that would accept aftermarket cassette player installations. Despite the decline in the production of cassette decks, these products are still valued by some. Many blind and elderly people find the newest digital technologies very difficult to use compared to the cassette format. Cassette tapes are not vulnerable to scratching from handling (though the exposed magnetic tape is vulnerable to stretching from poking), and play from where they were last stopped (though some modern MP3 players offer savestating electronically).

Patented on March 29, 1988, a cassette tape adapter is a device that allows the use of portable audio players in older cassette decks. Originally designed to connect portable CD players to car stereos that only had cassette players, the cassette tape adapter has become popular with portable media players even on cars that have CD players built in. Today, it is primarily used for vehicles without auxiliary ports built into their stereo systems. For vehicles with AM/FM systems but no cassette playback, FM transmitters are recommended.

In 1985, Nakamichi attempted to develop the Dragon marque into a premium sub-brand and released the Nakamichi Dragon-CT turntable, but no cassette decks named Dragon ever followed the original model. Manufacturing and aftermarket servicing of azimuth-sensing heads and transports was too expensive and too difficult, even for the company that invented them. After the Dragon, Nakamichi released only one NAAC- equipped model, the TD-1200 car stereo. The 'junior' line of Nakamichi autoreversing decks that was released from 1983 to 1985 used unidirectional transports that physically flipped the cassette but lacked azimuth correction.

With the development of magnetic tape in 1951, Nakamichi felt his company could develop and refine the technology of recording heads. Within a few years his company developed an open-reel tape recorder, and in 1957 the Japanese public was introduced to an open reel recorder under the FIDELA brand name. The company he founded subsequently went on to develop some of the world's best cassette decks, including the world's first 3-head cassette deck. At one point in the mid 1960s the company manufactured tape decks for a number of foreign companies including Ampex, Harman Kardon and Motorola.

Krankel said the goal was for the music to feel simultaneously analog and digital, "so that it's nostalgic without being set in a specific time in the past". Rohrmann combined digital recording techniques and plugins with analog ones, running some sounds through old cassette decks and reel-to-reel tape. The shortwave radio Alex uses in the game was created by recording sounds through a World War II-era radio set. Much of the music was not scored to specific scenes, but for certain moods; Rohrmann estimated 90% of the songs in the completed game were identical to his original demo recordings.

Some cassette decks have a switchable "subsonic Filter" feature that does the same thing for recordings. A crossover network is a system of filters designed to direct electrical energy separately to the woofer and tweeter of a 2-way speaker system (and also to the mid-range speaker of a 3-way system). This is most often built into the speaker enclosure and hidden from the user. However, in bi-amplification, these filters operate on the low level audio signals, sending the low and high frequency components to separate amplifiers which connect to the woofers and tweeters respectively.

A potential disadvantage of AGC is that when recording something like music with quiet and loud passages such as classical music, the AGC will tend to make the quiet passages louder and the loud passages quieter, compressing the dynamic range; the result can be a reduced musical quality if the signal is not re- expanded when playing, as in a companding system. Some reel-to-reel tape recorders and cassette decks have AGC circuits. Those used for high-fidelity generally don't. Most VCR circuits use the amplitude of the vertical blanking pulse to operate the AGC.

Advent cassette decks Dolby B uses volume companding of high frequencies to boost low-level treble information by up to 9 dB, reducing them (and the hiss) on playback. CrO2 used different bias and equalization settings to reduce the overall noise level and extend the high frequency response. Together these allowed a usefully flat frequency response beyond 15 kHz for the first time. This deck was based on a top-loading mechanism by Nakamichi, then soon replaced by the Model 201 based on a more reliable transport made by Wollensak, a division of 3M, which was commonly used in audio/visual applications.

By this time Willy Studer had retired; in 1990 he sold the company and in 1994 it became a subsidiary of Harman International. New Revox-branded cassette decks sold under Harman management, the consumer H11 and the professional C115,, were in fact rebadged Philips FC-60 / Marantz SD-60 models, and had nothing in common with the Revoxes of the past. Classic flagship decks of the 1980s like the B215, the Dragon or the Tandberg 3014 were discontinued without replacement. Further improvements in cassette sound, if possible at all, required substantial investment in research, but corporate resources were already committed to digital.

9 This was a low-cost terminal, with a one-line display device, which bypassed the need for keypunching. In 1971, Kutt, no longer part of CCI, began planning a machine to support software development in the recently developed programming language APL. APL was best programmed using a custom keyboard and these were very rare at the time. He initially named his design the Key-Cassette; similar in design and concept to Key-Edit, it would offer editing ability and support for either two cassette decks or one cassette and an acoustic coupler to upload programs to other machines.

The treble boost of Nakamichi's cassette decks was well known to the press before the advent of the Dragon; it had been discussed in American journals in 1981 and 1982. The root of the problem was hidden in the language of the IEC standard enacted in 1978 and based on the original, outdated 1963 Philips specification. The standard was written in terms of remanent magnetic flux recorded on tape. Flux, the principal metric of recorded signals, cannot be directly measured; it can only be picked up with a magnetic head, which converts the faint magnetic field into electrical current, losing some energy in the process of conversion.

25 Throughout his life, Dorian Shainin worked to improve the quality and reliability of an array of products, including paper, printing, textiles, rubber, nuclear energy, airplanes, automobiles, cassette decks, space ships, light bulbs and disposable diapers,Rath & Strong Management Consultants, from In This Issue, 1957 Harvard Business Review, "Dorian Shainin" with clients representing over 200 different industries, ranging from the U.S. Department of Defense, Rolls Royce Ltd. and Exxon to Polaroid, Hewlett-Packard, AT&T; and Ford Motor. In total, Shainin advised over 800 companies, 43 of which were among the Fortune 100.Bhote, Keki, The Power of Ultimate Six SIGMA, Amacom, New York, 2003, p.

Size comparison of Elcaset (left) with standard Compact Cassette Elcaset is a short-lived audio format that was created by Sony in 1976 that is about twice the size, using larger tape and a higher recording speed. Unlike the original cassette, the Elcaset was designed from the outset for sound quality. It was never widely accepted, as the quality of standard cassette decks rapidly approached high fidelity. Technical development of the cassette effectively ceased when digital recordable media, such as DAT and MiniDisc, were introduced in the late 1980s and early-to-mid 1990s, with Dolby S recorders marking the peak of Compact Cassette technology.

Wang's first attempt at a word processor was the Wang 1200, announced in late 1971, but not available until 1972. The design consisted of the logic of a Wang 500 calculator hooked up to an OEM- manufactured IBM Selectric typewriter for keying and printing, and dual cassette decks for storage. Harold Koplow, who had written the microcode for the Wang 700 (and its derivative, the Wang 500) rewrote the microcode to perform word processing functions instead of number crunching. The operator of a Wang 1200 typed text on a conventional IBM Selectric keyboard; when the Return key was pressed, the line of text was stored on a cassette tape.

Cassette decks soon came into widespread use and were designed variously for professional applications, home audio systems, and for mobile use in cars, as well as portable recorders. From the mid-1970s to the late 1990s the cassette deck was the preferred music source for the automobile. Like an 8-track cartridge, it was relatively insensitive to vehicle motion, but it had reduced tape flutter, as well as the obvious advantages of smaller physical size and fast forward/rewind capability. A major boost to the cassette's popularity came with the release of the Sony Walkman "personal" cassette player in 1979, designed specifically as a headphone-only ultra-compact "wearable" music source.

Some companies, such as Mobile Fidelity, produced audiophile cassettes in the 1980s, which were recorded on high-grade tape and duplicated on premium equipment in real time from a digital master. Unlike audiophile LPs, which continue to attract a following, these became moot after the Compact Disc became widespread. Almost all cassette decks have an MPX filter to improve the sound quality and the tracking of the noise reduction system when recording from a FM stereo broadcast. However, in many especially cheaper decks, this filter cannot be disabled, and because of that record/playback frequency response in those decks typically is limited to 16 kHz.

The brand began in 1954 under the name realist, but was subsequently changed due to a prior camera trademark, Stereo Realist. The company's most notable products under the Realistic brand included the extensive line of TRC series Citizens Band radio transceivers, which dominated the CB Radio market during the 1970s, and included the Navaho series of CB base station units. A 1977 motion picture entitled Handle with Care was sponsored at the time by Tandy Corporation, in part to showcase the line. Also notable were their 8-track tape recorders under the TR- model line and their compact cassette decks under the SCT- model line.

Tomalski started his broadcasting career on the south west London pirate scene of the 1970s, where he became best known as the host of Roger Tate's Mailbox Show on European Music Radio, later becoming a licensed amateur radio operator with the call sign G6CQF. His maisonette in Mitcham, Surrey was equipped with a broadcast-quality mixing desk and two Nakamichi cassette decks, alongside the high-quality turntables. These were complemented by a collection of several thousand albums, mainly of his favourite genre; soul and funk, but topped up with many chart albums and a few hundred 60s and 70s rock records. He was also a collector of state of the art video equipment.

Dual decks became popular and incorporated into home entertainment systems of all sizes for tape dubbing. Although the quality would suffer each time a source was copied, there are no mechanical restrictions on copying from a record, radio, or another cassette source. Even as CD recorders are becoming more popular, some incorporate cassette decks for professional applications. An assortment of radio-cassette players, aka "ghetto-blasters" or "boomboxes" Another format that made an impact on culture in the 1980s was the radio- cassette, aka the "boom box" (a name used commonly only in English-speaking North America), which combined the portable cassette deck with a radio tuner and speakers capable of producing significant sound levels.

Because of consumer demand, the cassette has remained influential on design, more than a decade after its decline as a media mainstay. As the Compact Disc grew in popularity, cassette-shaped audio adapters were developed to provide an economical and clear way to obtain CD functionality in vehicles equipped with cassette decks but no CD player. A portable CD player would have its analog line-out connected to the adapter, which in turn fed the signal to the head of the cassette deck. These adapters continue to function with MP3 players and smartphones, and generally are more reliable than the FM transmitters that must be used to adapt CD players and digital audio players to car stereo systems.

BASF chrome tape used in commercially pre-recorded cassettes used type I equalization to allow greater high-frequency dynamic range for better sound quality, but the greater selling point for the music labels was that the Type I cassette shell could be used for both ferric and for chrome music cassettes. Notches on top of the cassette shell indicate the type of tape. Type I cassettes have only write-protect notches, Type II have an additional pair next to the write protection ones, and Type IV (metal) have a third set near the middle of the top of the cassette shell. These allow later cassette decks to detect the tape type automatically and select the proper bias and equalization.

This inconvenience contrasted with the earlier common use of cassette decks as a standard part of an ordinary hi-fi set-up. MiniDisc technology was faced with new competition from the recordable compact disc (CD-R) when it became more affordable to consumers beginning around 1996. Initially, Sony believed that it would take around a decade for CD-R prices to become affordable – the cost of a typical blank CD-R disc was around $12 in 1994 – but CD-R prices fell much more rapidly than envisioned, to the point where CD-R blanks sank below $1 per disc by the late 1990s, compared to at least $2 for the cheapest 80-minute MiniDisc blanks. The biggest competition for MiniDisc came from the emergence of MP3 players.

When Advent designed one of the first cassette tape decks for high fidelity, noise reduction was one way to fix problems with the format, along with chrome and high-bias tapes with extended high frequency response. Within 10 to 20 years, the original reel-to-reel high fidelity tape recorders, which did not need noise reduction, were eventually replaced by cassette decks for home use. The dominant "Dolby B" noise reduction scheme was widely accepted because if an inexpensive cassette player lacked the switch, they would just sound brighter, which often offset the dull sounds of cheap players. The signal-to-noise ratio is simply how large the music signal is compared to the low level of the "noise" with no signal.

In some countries, small-scale (Part 15 in United States terms) transmitters are available that can transmit a signal from an audio device (usually an MP3 player or similar) to a standard FM radio receiver; such devices range from small units built to carry audio to a car radio with no audio-in capability (often formerly provided by special adapters for audio cassette decks, which are becoming less common on car radio designs) up to full-sized, near-professional-grade broadcasting systems that can be used to transmit audio throughout a property. Most such units transmit in full stereo, though some models designed for beginner hobbyists might not. Similar transmitters are often included in satellite radio receivers and some toys. Legality of these devices varies by country.

The company acquired electronic equipment manufacturing and radio communication technologies in 1979 through an investment in Cybernet Electronics Corporation, which was merged into Kyocera in 1982. Shortly afterward, Kyocera introduced one of the first portable, battery-powered laptop computers, sold in the U.S. as the Tandy Model 100, which featured an LCD screen and telephone-modem data transfer capability. Kyocera gained optical technologies by acquiring Yashica Company, Limited in 1983, along with Yashica's prior licensing agreement with Carl Zeiss, and manufactured film and digital cameras under the Kyocera, Yashica and Contax trade names until 2005, when the company discontinued all film and digital camera production. In the 1980s, Kyocera marketed audio components, such as CD players, receivers, turntables, and cassette decks.

Both featured an unusual single VU meter which could be switched between or for both channels. The Model 200 featured piano key style transport controls, with the Model 201 using the distinctive combination of a separate lever for rewind/fast forward and the large play and stop button as found on their commercial reel to reel machines of the era. Most manufacturers adopted a standard top-loading format with piano key controls, dual VU meters, and slider level controls. There was a variety of configurations leading to the next standard format in the late 1970s, which settled on front-loading (see main picture) with cassette well on one side, dual VU meters on the other, and later dual-cassette decks with meters in the middle.

The solution (thought by some to be a gimmick) was to automate the manual turnover of tape; in other words eject the tape and flip it around to maintain proper tape head alignment. Nakamichi did this with its RX series. The RX-505 is not a compromise as many assumed but the very best method of maintaining azimuth without using the costly, complex and 'somewhat' fragile NAAC system even though the Akai GXC-65D was the first cassette deck to "actually" use this method where the cassette would flip over instead of the head being rotated but was done in a top-loading fashion as this were cassette decks from the early-mid 1970s. Other products from Nakamichi did not acquire the "Dragon" name but were still notable.

Channel Master's original product was a prefabricated television aerial with hinged elements which would unfold and snap into place; this patented design greatly reduced installation time as existing antenna designs at the time had to be bolted together from multiple pieces by rooftop installers. Later products included antenna rotors, amplified antennas and pocket transistor radios, and rebuilt cathode-ray tubes. After the sale to Avnet, the Channel Master name was used to import and distribute various electronic products, including home and car stereo equipment, turntables, cassette decks, 8-track players, quadraphonic audio, television receivers and scanner radios. In the 1980s, Channel Master was the only second source for General Instrument's Videocipher II module, a building block for satellite television receivers, under a licensing agreement for which Avnet paid GI a million dollars.

Philips introduced the Compact Cassette in 1963. The new format was intended primarily for dictation and had inherent flaws – a low tape speed and narrow track width – that precluded direct competition with vinyl records and reel-to-reel tapes. The cassette shell was designed to accommodate only two heads, ruling out the use of dedicated recording and replay heads and off-tape monitoring that were the norm in reel- to-reel recorders. In 1972, however, Nakamichi introduced a cassette deck that outperformed most domestic and semi-professional reel-to-reel recorders. (originally published at AudioEnz, August 5, 2011) Ordinary cassette decks of that period struggled to reproduce 12 kHz on ferric tape and 14 kHz on chromium dioxide tape; the Nakamichi 1000 could record and reproduce signals up to 20 kHz on tapes of either type.

Though spoken recordings were popular in 33⅓ vinyl record format for schools and libraries into the early 1970s, the beginning of the modern retail market for audiobooks can be traced to the wide adoption of cassette tapes during the 1970s. Cassette tapes were invented in 1962 and a few libraries, such as the Library of Congress, began distributing books on cassette by 1969. However, during the 1970s, a number of technological innovations allowed the cassette tape wider usage in libraries and also spawned the creation of new commercial audiobook market. These innovations included the introduction of small and cheap portable players such as the Walkman, and the widespread use of cassette decks in cars, particularly imported Japanese models which flooded the market during the multiple energy crises of the decade. In the early 1970s, instructional recordings were among the first commercial products sold on cassette.

During the 8 bit and 16/32 bit era, copying software was not considered illegal in many countries, and piracy was not perceived as being a crime by the users of home computers (usually young people). Commodore 64 and Sinclair ZX Spectrum software was copied using cassette decks, while IBM PC, Atari, and Amiga software was copied using special programs called disk copiers which were engineered to copy any floppy disk surface byte by byte, often using special, efficient, and advanced techniques of programming and "Disk Track driving" to maintain Floppy Disk read/write head alignment. In the early days of the Amiga platform, about 16 disk copiers were created in a short amount of time (1985-1989) that enabled copying Amiga floppy disks, including Nibbler, QuickNibble, ZCopier, XCopy/Cachet, FastCopier, Disk Avenger, Tetra Copy (which enabled the user to play Tetris while copying disks), Cyclone, Maverick, D-Copy, Safe II, PowerCopier, Quick Copier, Marauder II (styled as "Marauder //"), Rattle Copy, and BurstNibble. Many were legal in many countries until years later.

However, such limitations can be corrected through equalization in the recording and playback amplification sections, and narrower gaps were quite common, particularly in more expensive cassette machines. For example, the RP-2 series combined record/playback head (used in many Nakamichi cassette decks from the 1980s and 1990s) had a 1.2 µm gap, which allows for a playback frequency range of up to 20 kHz. A narrower gap width makes it harder to magnetize the tape, but is less important to the frequency range during recording than during playback, so a two-head solution can be applied: a dedicated recording head with a wide gap allowing effective magnetization of the tape and a dedicated playback head with a specific width narrow gap, possibly facilitating very high playback frequency ranges well above 20 kHz. Separate record and playback heads were already a standard feature of more expensive reel-to-reel tape machines when cassettes were introduced, but their application to cassette recorders had to wait until demand developed for higher quality reproduction, and for sufficiently small heads to be produced.

Pioneer's angled cassette bay and the exposed bays of some Sansui models eventually were standardized as a front-loading door into which a cassette would be loaded. Later models would adopt electronic buttons, and replace conventional meters (which could be "pegged" when overloaded) with electronic LED or vacuum fluorescent displays, with level controls typically being controlled by either rotary controls or side-by-side sliders. BIC and Marantz briefly offered models that could be run at double speeds, but Nakamichi was widely recognized as one of the first companies to create decks that rivaled reel-to-reel decks with frequency response from the full 20–20,000 Hz range, low noise, and very low wow and flutter. The 3-head closed-loop dual capstan Nakamichi 1000 (1973) is one early example. Unlike typical cassette decks that use a single head for both record and playback plus a second head for erasing, the Nakamichi 1000, like the better reel-to- reel recorders, used three separate heads to optimize these functions.

Marino Ludwig, designer of the Revox B77 reel-to-reel recorder, examined the best cassette decks on the market and advised Studer on a course of action. Studer agreed with the proposal and appointed Ludwig chief of the cassette project, on the condition that the reputation of Studer and Revox brands would not be compromised in any way. Studer A721 in Kol Yisrael studio In September 1980, Studer AG presented its first cassette deck, the Revox B710; in 1981 it was supplanted by the nearly identical Revox B710 MKII, which added Dolby C noise reduction. In 1982, the company introduced a professional version, the Studer A710, equipped with balanced inputs and outputs. In the United States, the B710 MKII was priced at $1995, more than the rival Nakamichi ZX7 ($1250) but below the flagship Nakamichi 1000ZXL ($3800 for the base version, or $6000 for the "limited" edition.) The three-head B710 was designed and built to the standards of professional reel-to-reel decks; even its faceplate and controls were borrowed from the B77 recorder.