168 Sentences With "tape deck" | Random Sentence Generator

"You know this?" he says, pointing to the tape deck.

If you still have a tape deck, check its jacks.

She was going to push the button on the tape deck.

I had a double-cassette tape deck, so I could make mixtapes.

The tape deck spat out songs in a language we didn't know.

Mr. Eatherly said he lost his recording equipment, even an analog tape deck.

If you ever owned a car from the '80s, you had a tape deck.

You wouldn't necessarily guess it, but it's the sound of a malfunctioning tape deck.

Was car radio on or music just in my son's portable tape deck, earphones.

"She had a tape deck, a desk, and a microphone," Caplinger says of the setup.

Official showcaseWhat: If you're still rocking a tape deck, odds are you've heard of Holodeck Records.

Ballfinger had previously shown one of its tape deck machines last year at an audio show.

He pushed "All Eyez on Me" into the tape deck and turned it up very loud.

I wore a Rackmount dual tape deck on my body with the aid of a duct-taped guitar strap.

Robocalls have been around since at least the 2999s, when someone first thought to attach a tape deck to a phone.

It kept a roof over my head and books in my backpack (and De La Soul tapes playing in that tape deck).

The B-side (tracks 4-6), which I performed with a tape deck, looper, and drum machine, relies more heavily on random chance.

It could just be part of the sound mix, but it could also be the sound of a tape deck beginning to record.

A friend fed his body of work into the cassette tape deck on the bus that took us to and from school every day.

The company will sell four different models of the tape deck (the M22015H22017, M22012H3, M063H1, M063HX), and each will have its own unique features.

Someone loaded a cassette by the local singer Ahmed al-Tellawi into a tape deck, and the poll workers and Hossein began to dance.

Fucking LIfetime floats between cerebral clatter, distorted samples, and tape-deck acoustics—different angles from which to articulate love and longing and painful past addictions.

It is the equivalent of that tape deck adapter we used to have to use to get our Sony Discmans to work in our cars.

I was probably passing love notes back and forth with a caucasian crush when the teacher's creaky tape deck finally reeled into the iconic speech's climax.

There's also an optional "Retro pack," for an extra $15 that includes a tape deck input and FM transmitter to connect the Dashbot to older vehicles.

The system stored its programs on audiocassettes and, every three hours, overheated and reset; since Efros didn't have a tape deck, he learned to code fast.

Cam's tape deck top was hard to miss at LAX this week -- so we did some digging to find out which designer was behind the swag.

In the screener I watched, there's a very clear and audible click just before the voiceover begins, one that sounds like a button on a tape deck.

Right now he's busy singing along to a tune he's playing on an old cassette tape deck while Sadie shows me around a room at the back.

She will always have a perm, there will always be Billy Joel in the tape deck, and we will always have two hours of errands to run.

I could care less for any shock of the new, so the Ramones behind a rope or in a car-tape deck is all the same to me.

Now, for Pi Day (March 14), music software programmer Canton Becker has crafted a million-hour song based on Pi that unfolds generatively on a virtual tape deck.

"Discurso" is truly mixed media, with its baker's table covered in corn masa, a tape deck at one end, and balaclavas hanging from coil cords beside the table.

I remember him taking it out of the mailbox, getting into the car, putting it into the tape deck, hitting play, and then when this song came on.

But what I'm really excited about here is that in the scene with the tape deck, we're finally starting to gesture toward the frame narrative of Atwood's book!

They've decided to use this autonomy to throw a party and make some money, which all falls into place when they acquire a Grandmaster Flash tape deck at an electronics store.

If you're buying a dedicated, all-in-one tape deck or record player built for digitizing your old music, then you might get a dedicated software tool to go with it.

That company, the suit says, developed a campaign in which the sleek Juul device was shown alongside obsolete technologies like a massive cellular phone or a boombox with a tape deck.

Among them: a magnetic coding system that works akin to the head of a tape deck, a solution relying on a motion picture camera, and a system relying on microwave identification.

I remember dancing on New Year's Eve because someone got their hands on a tape deck and declared there was no reason we couldn't ring in the New Year just like everyone else.

You can hear the track streaming below, but it seems almost criminal to listen to this 80s-synth-tastic masterpiece on anything but a tape deck (while grooving in a hot pink windbreaker).

Another option: If you were alive and listening to music in the 90s, you might have one of those old CD changer/dual-tape deck/AM-FM megasystems in a parent's attic or in storage.

Every sound is pushed to the front of the speakers—the high notes overloading the original microphone that went to the tape deck and then went to Basinski's MacBook and now comes out of the speakers.

The T4 robot looks like a stack of marshmallows, with a tape deck belly, a set of soft headphones, and a Chauncey Gardiner charm — emphasized by both his gentle pace and the houseplant he holds dear.

WAV rip of a new R.E.M. song — that I then played through two cruddy computer speakers with a microphone hooked up to my dad's tape deck sandwiched in-between, just to have the song on a cassette.

It doesn't feel radically removed from the music they were making before, nor from that of their peers, but it lends a tentative gentleness to the proceedings, like a malfunctioning old tape deck, sputtering along at a slower speed.

For a few seconds, until Lyndsey clicked the play button of a tape deck, and the sound of an Agatha Christie audiobook filled the room, we remained motionless and silent, drinking in the absolute black—the blackness of a lone spelunker, miles underground, with her headlight off. ♦

Late last year, Tim Daly and I sat with Ferris around a pristine vintage tape deck in New York's historic Battery Mastering Studios to hear the Voyager Golden Record master tapes, stored for 40 years in an underground bunker until Sony Music's intrepid archivist Matt Kelly located and retrieved them for our project.

And you forget that you're going to die, or at least you don't care, because these gathered samples and tape-deck experiments were dead in their own way anyway—the sounds and the subjects might not be material anymore—but they feel alive now because you're hearing them, and that has to count for something.

This way, the 114-year song can fit in just one gigabyte of space, which is mostly comprised of the digits of Pi. The virtual tape deck was also a solution to a built-in quirk of browsers such as Chrome, Safari, and Firefox—users must click on a webpage to trigger a sound.

The white noise is still throbbing, but the familiarity of the piano is all that matters, so that's all you hear, and you have to close your eyes again because it feels too real to be coming out of these speakers in this room, out of a tape deck that's chewing up the tape a little more with every loop.

I was only 14 but could recognize the signs: the ambiguous errand that required us to drive into Chicago from our suburb; the unusually tight grip on the steering wheel; the uncomfortable sigh as he turned off the tape deck (Talking Heads if I was lucky, Bob Seger if I was not); and — more than anything else — the acute sensation that I was going to vomit.

While the various generations of the old guard—your Voivods, your At The Gateses, and now, your High on Fires—continue to corner the market on media attention and reap a vast percentage of metalheads' overall affection, it's also a better time to be young and in a metal band than any other time outside of perhaps the early 80s (assuming you had a tape deck and stamp hookup).

The end result would be that, sometimes, the second tape deck would gradually drift further and further from the first.

As in the past, the band was backed by a tape deck playing drum tracks or a metronome in lieu of a full rhythm section.

One might functionally decompose this into speakers, amplifier, a tape deck and a front panel. Later, when a different model needs an audio CD, it can probably fit the same interfaces.

The brothers started recording songs, using a tape deck borrowed from a local businessman. Deciding that they needed to get a record deal, they drove up to EMI's pressing plant in Middlesex, but were redirected to Manchester Square, London where on that same day without an appointment they met producer George Martin. Martin decided not to sign them, but the brothers recognised that Martin only took the meeting as they had a portable reel-to-reel tape deck, and told them that they were the first artists to do that. The brothers returned home and, in 1963, converted an existing farmhouse into a recording studio by investing in an 8-track tape deck and lining it with pig feed bags to create sound deadening.

It was recorded all analog and live on a two-inch tape Sony MCI JH24 tape deck through a Trident board at Old Soul Studios in Catskill, New York. It was mixed by John Holbrook.

Released on October 5, 2010, Skyzoo's collaborative EP with Illmind titled Live from the Tape Deck was a free-form showcase of his lyricism. Unlike Skyzoo's debut album The Salvation, there largely aren't deeply personal themes in Live from the Tape Deck. The album is a collection of "raw" hip hop with a cohesive backdrop. With this project, the two artists planned to bring what hip hop veterans such as Eric B. & Rakim, Gang Starr, EPMD, N.W.A and A Tribe Called Quest brought by having one producer with one sound and one theme.

A Fisher Electronics record player and tape deck, without speakers Fisher Electronics was a United States company specialising in the field of hi-fi electronics. The company and the name was bought by Japanese electronics conglomerate Sanyo in 1975.

He also took up beat-making using a simple tape deck as the center of his studio. During these teenage years he "stayed in the basement alone" in order to train himself to produce beats with his growing record collection.

He had a circuit board with a chip on it, a DuMont TV set, a Panasonic cassette tape deck and a keyboard. He said, 'This is an Apple computer.' I said, 'You've got to be joking.' I dismissed the whole idea.

In 1956 he became interested in audio engineering and Magnetic Tape Recording and decided to try it as a business. He used a modified Ampex 601 tape deck to record his first performance, a Girl Scout round-up in the middle of the Idaho forest.

Ella attempts to light Melanie on fire, but is unable to as she is soaked from the rainstorm outside. As a last resort, Ella attempts to inject Melanie with one of Geoffrey's pentobarbitone syringes, but Allan diverts her attention when he summons the strength to move his hand and engage his tape deck. The romantic music summons Ella to cuddle close to him. When Ella is under Allan's head, Allan bites her in the neck and kills her by thrashing his head back and forth in a violent manner, snapping her neck before finally relinquishing his bite and throwing her corpse into his tape deck.

BSR also made tape recorder mechanisms. Bang & Olufsen used BSR's TD2 tape deck in their Beocord Belcanto from 1962. During 1975, with the help of Pico Electronics, BSR started the manufacture of a new upmarket turntable called the ADC Accutrac 4000 at its Garratts Lane factory in Cradley Heath.

The car cassette adapter allowed motorists to plug in a portable music player (CD player, MP3 player) into an existing installed cassette tape deck. In the early 21st century, compact digital storage media – Bluetooth-enabled devices, thumb drives, memory cards, and dedicated hard drives – came be accommodated by vehicle audio systems.

The following is a list of productions by !llmind, an American hip hop producer.Illmind. Discogs.com. Accessed September 19, 2009. He has had a number of co-written and/or produced singles and studio albums reach the Billboard 200 charts since the mid-2000s, including his 2010 album Live from the Tape Deck.

The 2010 model was the last automobile from any major manufacturer in the United States to ship with a cassette tape deck. Production of the second- generation SC ended in July 2010 after nine years of production, but Lexus was still using them in the Super GT until the 2013 season ended.

In combination with software (or firmware), the adapters can either fully support the original communication protocols, provide partial support or apply proprietary communication protocols. Different solutions allow for letting the C64 access programs stored on another computer or the Internet, and for accessing the C64 disk station and tape deck from other computers.

Retrieved 2 December 2015. Inspired, the twins released their own Show Off- like tape in 2001. Dubbed Pasteboard Animations, it was filmed as a low-fi home video with a tripod-held camcorder, edited on a dual VHS tape deck. Pasteboard Animations was printed by a local production company and sold for $25 per unit.

The chief mastering engineer at Abbey Road was Chris "Vinyl" Blair, who started his career as a tape deck operator. In 1979, EMI commissioned the British jazz fusion band Morrissey-Mullen to record Britain's first digitally recorded single record at Abbey Road Studios.Gramophone AUDIO NEWS: "EMI digital recording" July 1979. Retrieved 19 August 2010.

Spens (born Stanislav Naydenov), is a Bulgarian hip hop artist. He was born in Pleven on October 13, 1975. As a high school student he recorded amateur songs using nothing but a synthesizer and tape deck. After graduation in 1994, he moved to the capital city of Sofia to pursue studies in computer information technologies.

Apart from Sony, only BASF and Agfa introduced their own ferrrichrome cassettes. These expensive tapes never gained substantial market share, and after the release of metal tapes they lost their perceived exclusivity. Their place in the market was taken over by superior and less expensive ferricobalt formulations. By 1983, tape deck manufacturers stopped providing Type III recording option.

M100 engine in a 300 SEL 6.3 The 300 SEL 6.3 was an extremely luxurious vehicle for its era. Standard features included air suspension, ventilated 4-wheel power disc brakes, power windows, central locking and power steering. Air conditioning, power sunroof, audio tape deck, and rear window curtains, writing tables, and reading lamps were available as options.

It was recorded on a tape deck at an early rehearsal session. Despite the length of the track it was playlisted on Xfm London. Hogarty was also part of the Phantom Engineer project with David Keenan and Bill Wells. Collaborations with Future Pilot A.K.A. then followed, and were released on Beggars Banquet Records and also on Earworm records.

Renick included a spoken-word introduction about the song on the cassette so that Reitman would know why he was given the song. Reitman found a tape deck, listened, liked the song and placed the original introduction and song from the cassette midway through the credits. Reitman stated that the song has a do-it-yourself authenticity.

Model Eight Radio Model 41 Reel-to-Reel Tape Deck KLH is an audio company founded in 1957 as KLH Research and Development Corporation in Cambridge, Massachusetts, United States, by Henry Kloss, Malcolm S. Low, and Josef Anton Hofmann originally to produce loudspeakers.Dritsas, David. "Audio's Dedicated Servant. (Henry Kloss; Kloss Video Corp.)", Dealerscope: The Business of CE Retailing, January 2001, v43 i1 p28.

When a key is pressed, a tape connected to it is pushed against a playback head, as in a tape deck. While the key remains depressed, the tape is drawn over the head, and a sound is played. When the key is released, a spring pulls the tape back to its original position. A variety of sounds are available on the instrument.

WOR was worried about some of Nebel's guests or callers using profanity on the air. Nebel used one of the first tape delay systems in radio, giving engineers a chance to edit any unacceptable language before it was broadcast. In 1956, engineer Russell Tinklepaugh invented the system Nebel used. He built a modified Ampex 300 tape deck with an additional set of heads.

On March 4, 2020 Somewherecold Records announced a global distribution deal had been signed with American company The Business. In July 2020, the record label released a Various Artists compilation for the benefit of the American Civil Liberties Union featuring thirty-four exclusive songs from such artists as Anders Brørby, Aidan Baker, Tape Deck Mountain, Robert Scott Thompson, Yellow6 and The Corrupting Sea.

MMC lets a sequencer send Start, Stop, and Record commands to a connected tape deck or hard disk recording system, and to fast-forward or rewind the device so that it starts playback at the same point as the sequencer. No synchronization data is involved, although the devices may synchronize through MTC."Glossary: MIDI Machine Control (MMC) ". sweetwater.com. Sweetwater Sound. n.d. Web.

Instead of using BASIC it used a proprietary language called PeCos 1. APF Imagination Machine was a computer module released in 1979 for $599. When combined with the M-1000 console it became a computer. The module added RAM, BASIC, a 53-key typewriter keyboard, and a dual-track cassette tape deck with 1500 baud rate for digitally recorded tape programs.

Keen to make use of the new recorders as soon as possible, Crosby invested $50,000 of his own money into Ampex, and the tiny six-man concern soon became the world leader in the development of tape recording, revolutionizing radio and recording with its famous Ampex Model 200 tape deck, issued in 1948 and developed directly from Mullin's modified Magnetophones.

Some dealer-installed options included: gold finish kit, gold finish exhaust tip(s), gold finish wheel center caps, 6-disc in-dash CD changer, tape deck, fog lights, wing spoiler, alarm system, sunroof visor, car cover and accessory chrome wheels. 2001–2002 Accord EX coupe (U.S.) In Australia, the 6th generation Accord went on sale in December 1997, and was initially imported from the USA.

FFWD is an eponymous album by FFWD - Robert Fripp, Thomas Fehlmann, Kris Weston, and Dr. Alex Paterson. The title is also a play on the abbreviation often used on the fast forward control of a tape deck or CD player, also referenced in the "double-arrow" graphic used on the cover. The album peaked at #48 in the UK Albums Chart in August 1994.

It was released on cassette on June 23, 2017 and on vinyl LP on August 11, 2017. The vinyl version is a deluxe edition featuring Bates' original score from the film. Marvel and Doritos partnered for their Rock Out Loud campaign to create "a custom-designed, limited-edition series of Doritos bags featuring a built-in cassette tape deck-inspired player that plays" Awesome Mix Vol.

Astraltune, also known as the Astraltune Stereopack, was a personal stereo player created by Roy Bowers that appeared on the market in Reno Nevada on September 1, 1975. The tape deck fit into a padded sleeve and was worn on the chest using a harness. The headphones hung under the chin rather than over the head. Controls were protected by a zippered flap that faced upwards.

Although the band recorded Apollo 18 primarily as a duo, its production is musically sparser than that of previous releases. The album's associated tour, the Don't Tread on the Cut-Up Snake World Tour 1992, was the band's first to utilize a live backing band, rather than a tape deck playing backing tracks. Linnell later noted that this led to much more complicated and deliberate rehearsals.

It had a retail price of $1395. ;Buyout The company was bought by Pioneer Electronics, and Bob Carver founded Carver Corporation in 1979. Pioneer added a high end cassette-tape deck designed in house and CD players designed by Kyocera to the Phase Linear line. By that time the company was in decline due to the increasing cost of research and development, and the departure of Carver.

They played music on demand without commercials. They also offered the opportunity for high fidelity listening before home high fidelity equipment became affordable. The invention of the portable radio in the 1950s and the portable cassette tape deck in the 1960s were key factors in the decline of the jukebox. They enabled people to have their own selection of music with them, wherever they were.

Replicator was an American noise rock band from Oakland, California, United States. The band consisted of Conan Neutron (electric guitar/vocals/tape deck operation), Ben Adrian (bass guitar/vocals/keyboard), and Chris Bolig (drums). The band was joined by Todd Grant on rhythm guitar for live performances in later years. The band members were advocates of the DIY punk ethic, as popularized by bands such as Fugazi and The Minutemen.

The 464 was popular with consumers for various reasons. Aside from the joystick port, the computer, keyboard, and tape deck were all combined into one unit that attached to the monitor via 2 cables. The monitor also contained the power supply unit which powered the whole unit via one wall plug. It did not have very many wires and was simple to install for even the most inexperienced user.

Digital control data was sourced via an RCA or XLR-type audio connector at the rear of the unit. AVL's proprietary "ClockTrak" (a biphase digital timecode similar to, but incompatible with SMPTE timecode) was sourced from the control channel of a multitrack analog audio tape deck. The timed list of events in the Eagle was synchronized to the ClockTrak. Later versions of PROCALL included the option of using SMPTE timecode.

Cones grew up in San Antonio, Texas in a musical family. His grandmother sang in the Glenn Gray Orchestra; his mother performed as part of The Cones Sisters. When he was 8, Cones started taking guitar lessons and manipulating the family tape deck to make multi-level tracks at home. As he started writing songs and singing in bands, he'd go into a local studio to record his music.

In 2012, Hildebrand moved from Toronto to New York. Brian Vu joined the label later that year, helping expand the roster and the label's scope. For most of the label's lifespan, Hildebrand would dub each cassette tape on his stereo tape deck, a several-day process he was still using after the 20th release. Finally in the fall of 2013, he purchased a cassette duplicator for the label.

Earth Moving is the first album on which Oldfield used PRS guitars, having previously used Gibson guitars. Synthesizers on the album include a Fairlight Series III and various instruments made by Roland and Korg (including an M1). The album was recorded using an Atari 1040ST with C-Lab Notator software, a Harrison Series X console, a Studer A8800 tape deck with Dolby SR noise reduction, an Ampex Grand Master tape and ATC SCM200 monitors.

The compact pieds-à-terre included a wall of appliances and cabinets built into one side, including a kitchen stove, a refrigerator, a television set, and a reel-to-reel tape deck. A bathroom unit, about the size of an aircraft lavatory, was set into an opposite corner. A large circular window over the bed dominated the far end of the room. Optional extras such as a stereo were also originally available.

The improved signal to noise ratio is available no matter which tape deck the tape is played back on, and therefore HX-Pro is not a noise-reduction system in the same way as Dolby A, B, C & S, although it does help to improve noise reduction encode/decode tracking accuracy by reducing tape performance non-linearity. Some record companies issued HX-Pro pre-recorded cassette tapes during the late 1980s and early 1990s.

The duo return home and are scolded by their parents. They are then sent to the headteacher’s office the next day for phoning the school and pretending to be their parents. In the episode “Thorpe Park” Simon passed his driving license and received his first car which he immediately hated due to its bright yellow colour and tape deck. He reluctantly accepted the car and took a road trip to Thorpe park with his friends.

Ceephax's music from 1997 to 2002 and beyond used mainly vintage (especially Roland) drum machines and synthesizers such as the TB-303. This music was often recorded onto a cassette tape deck. The music was released on vinyl records and cassette tape on underground labels such as Breakin' Records, Lo Recordings and Firstcask. This primitive Acid House aesthetic and methodology countered the growing popularity of the computer music and compact disc releases of the time.

The AG-HPX170 can be thought of as the AG-HVX200A without a tape deck. The camcorder employs the same imaging section as the AG-HVX200A, and is similar to it in terms of physical appearance, layout of controls and functionality. Compared to the AG-HVX200/200A, the AG-HPX170 is smaller and about 1.6 pound lighter. The lens thread size is reduced from 82mm to 72mm, and field of view is wider.

Sebasstian produced a Kill Switch...Klick demo tape recorded solo in his studio apartment on a four track tape deck. The cassette demo received airplay on Seattle's newly reformatted KNDD 107.7-FM. The End, as KNDD was now called, embraced local artists like college radio stations of the day. The End, as well as the University Of Washington's radio station KCMU, would both play key roles in Kill Switch...Klick becoming one of the Northwest's best known electronica acts.

A cassette demagnetizer is a device that removes the magnetic field that is built up from the use of audio cassettes in a cassette deck. Maxell cassette type demagnetizer HE-44. Over time, the passage of magnetically-charged cassette tape over the metallic parts of the tape deck will impart a magnetic polarity that can impair the ability of subsequent tapes to record accurately. Cassette demagnetizers (sometimes known as degaussers) were developed to remove this polarity.

Additionally, Marvel partnered with Doritos for their Rock Out Loud campaign to create a custom "limited-edition series of Doritos bags featuring a built-in cassette tape deck-inspired player that plays" Awesome Mix Vol. 2 and can be recharged. The custom bags were available to purchase on Amazon.com, with Doritos also hosting Rock Out Loud pop-up recording booths in New York and Los Angeles where fans could sing the songs from Awesome Mix Vol.

Mr. Rasmussen owns a collection of master reel to reel tapes from the 1950s and 1960s. These tapes are played on a modified Studer A80 Reel to Reel tape deck to listen to products as they are being designed, in order to achieve a final product with the desired sound. Gryphon products are designed and built by Gryphon Audio Designs at the factory in Ry, Denmark. Service is accomplished by Gryphon Audio Designs at their facility.

Unique Recording Studios was a five-room recording studio operating near Times Square in New York City from 1978 until 2004. Founders and co-owners Bobby Nathan and Joanne Georgio-Nathan installed the first Otari 24-track tape deck in New York. The studio was known for its extensive collection of synthesizers, which attracted Steve Winwood, who jammed for many hours in the process of creating his multi-Grammy winning album Back in the High Life (1986) at Unique.

Tracks 1–9 date from 1964–1965 and were recorded on an old mono Ferrograph quarter-inch Reel-to-reel audio tape deck. These tracks formed a demo tape that landed Harper his first record contract. Track 10 is a re-recording of a part of that demo tape and became the B-side of Harper's first single. Tracks 11 and 13 became Harper's second single, while track 12 was a single contender which didn't make the cut.

He received a few gratuities (tape deck, Christmas gifts) from Mr. Tait. No evidence was found that he was bribed, but he violated 945.735-14(a)(1), which prohibits employees from accepting gifts from those doing business with the Department. :(b) FBI employees provided goods and services to him as described above. This arguably violated 18 U.S.C. 641 (conversion of government property to his own use), (prosecution barred by the statute of limitations), and 28 C.F.R. §45.735-16 (misuse of federal property).

Tape recordings of the drums were then heavily treated and manipulated with Ableton Live plug-ins. Lastly, the band layered samples onto select portions of the drum recordings to accent or shape the finished tone. Lead vocalist-guitarist Ezra Koenig and bassist Chris Baio Pitch shifting proved a major component of recording the album. For tracks such as "Step", drums were recorded on a Varispeed Tape deck set to a lower speed so that they would play back faster and more high pitched.

Love Ends Disaster! formed whilst at University in Loughborough and Nottingham. After recording their first pop demo with two swinging microphones and an Alba tape deck in a Victorian meat warehouse in Nottingham, they were picked up by Denial Records, the record label behind the first studio recordings of Bloc Party. Two critically acclaimed and successful EPs followed, Stories For The Dislocated and Faster, Faster, drawing comparisons with Talking Heads, British Sea Power, The Only Ones, Radiohead and Sonic Youth.

The album debuted at number 2 in the UK behind Dr. Dre's Compton during the week of 14 August 2015. On the Billboard 200, it debuted and peaked at number 69 the week of 29 August 2015, before leaving the chart completely. It additionally charted within the top 40 of several additional territories, surpassing what Tape Deck Heart achieved previously. The record debuted at number 7 in Germany before dropping to number 34 the next week and leaving the chart.

The success of the Cannonball recording propelled Reice Hamel into national attention and he was nominated for a Grammy Award for recording excellence. This was the first Grammy Awards and he was the first engineer to be nominated. After all the success Reice Hamel went back to the work bench and improved his electronic circuits. Ampex Corporation, the maker of his tape deck, used him as a field test engineer to improve the design of tape decks during that era.

JPT Scare Band is an American rock band. It took its name from its members first initials and their "scary" acid rock sound. Although the band did not release their first album until the early 1990s, they had formed in the early 1970s and made numerous recordings on a reel to reel tape deck in a basement. Songs from the album, Sleeping Sickness, went into fairly heavy rotation on FM stations WFMU and WNYU in New York, which played a role in lifting JPT up from obscurity.

Dolby HX-Pro was invented in 1980 and patented in 1981 (EP 0046410) by Jørgen Selmer Jensen of Bang & Olufsen. B&O; immediately licensed HX-Pro to Dolby Laboratories, stipulating a priority period of several years for use in consumer products, to protect their own Beocord 9000 cassette tape deck. Magnetic tape is inherently non-linear in nature due to hysteresis of the magnetic material. If an analogue signal were recorded directly onto magnetic tape, its reproduction would be extremely distorted due to this non-linearity.

Around late-1973, he experimented with an EMS Synthi Hi Fli guitar synthesizer. He sometimes used a wah-wah pedal and a variable control treble-booster for sustain, and Moog Taurus bass pedals were used in solo parts during concerts. He also had a modified Aiwa TP-1011 tape machine built to supply echo and delay effects; the tape deck was also used as a pre-amp. Other effects that Blackmore used were a Uni-Vibe, a Dallas Arbiter Fuzz Face and an Octave Divider.

In 2017, The Mack World Sessions was released, containing 18 tracks recorded between 2000 and 2006. Dutch record label, MECSMI, released the 'That's My Word' mixtape, hosted by DJ Tape Deck King, via DatPiff and YouTube on August 20, 2018. On November 25, 2018, 'That's My Word' posthumously won Mixtape of the Year at Bout Dat Online's Audio Dope Awards. This marked the first time Mack had won an award since "Flava In Ya Ear" won Single of the Year at the 1995 Source Awards.

The SuperMac acquisition netted Radius the Cinepak video compression CODEC, which was still supported by most encoders and almost all media players by the early 2000s. The acquisitions continued with Pipeline Digital and its professional time code and video tape deck control software. The advent of Macintosh computers with PCI expansion slots in 1995 saw the end of vendors that made expansion cards exclusively for Macintosh computers. With minor tweaks and new firmware, PC expansion card vendors were able to produce expansion cards for Mac OS computers.

He was also responsible for "nearly single-handedly invent[ing] many of the engineering methods used in modern recordings, from microphone placement and cabling to board and tape deck tricks." NAMM Oral History Program, Interview with Roland Janes, 15 July 2013. Retrieved October 22, 2013 In 1960 Janes and Riley formed their own label, Rita Records, and had a hit with Harold Dorman's "Mountain of Love". He left Sun in 1963 and opened his own studio, Sonic Recording Service, where he produced records by Jerry Jaye, Travis Wammack, and others.

Inside, the interior of the Grand One is mostly stock, except for new upholstery (the stock seats of the Grand One were re- wrapped in a modern gray leather-and-microfiber-suede with bright blue accent stitching), and a plaid headliner. Retro touches, such as the factory AM/FM radio with cassette player that has a cassette tape sticking out of the tape deck, an Audiovox car phone, and an original Nintendo Game Boy on the rear seat are eminent on the Grand One, paying tribute to the Jeep Grand Cherokee's history.

Roger Nichols was born in Oakland, California. His father was a U.S. Air Force B-47 pilot; as a result the Nichols family lived in various spots in the U.S. for the first eleven years of his life. In 1957 his family settled in Cucamonga, California, where Nichols attended High School. One of his classmates was Frank Zappa; Zappa would drop by Nichols' house to "play guitar, and we would do multiple passes of guitars and bounce them together" on Nichols' first recording device, a reel-to-reel tape deck using quarter inch tape.

Faced with a dilemma of what to do for a rhythm section, Mulligan decided to build on earlier experiments and perform as a pianoless quartet with Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums (later Mulligan himself would occasionally double on piano). These early live dates were recorded by Richard Bock on a portable reel-to- reel tape deck. Bock along with Roy Harte would soon after, start the Pacific Jazz label and release Mulligan's records. Mulligan's first recording sessions in Los Angeles were produced by Bock for Pacific Jazz.

Further evidence that supports this as being the earliest possible airing date was the Technics tape deck that he most likely used to record the song on, which was manufactured in 1984 as well. To get clean recordings of songs he purposefully did not include presentations of radio hosts, which is why the air date and the name is unknown. Sometime in 1985, Darius created his own mixtape playlist consisting of the unknown songs in his collection. The playlist was titled Unknown Pleasures after a Joy Division album.

Carl Michael von Hausswolff (born 1956) is a composer, visual artist, and curator based in Stockholm, Sweden. His main tools are recording devices (camera, tape deck, radar, sonar) used in an ongoing investigation of electricity, frequency, architectural space, and paranormal electronic interference. Major exhibitions include Manifesta (1996), documenta X (1997), the Johannesburg Biennial (1997), Sound Art - Sound as Media at ICC in Tokyo (2000), the Venice Biennale (2001, 2003, and 2005), and Portikus, Frankfurt (2004). Von Hausswolff received a Prix Ars Electronica award for Digital Music in 2002.

A typical cassette adapter uses a single-sided writing tape head (similar to the recording head on a traditional tape deck) connected to a stereo minijack connector with a cord. The cord is connected to the device's output (or headphones) port and the electrical signal is converted into a magnetic signal by the head. This magnetic signal is then received by the tape deck's reading head, converted back into an electrical signal, and amplified by the sound system. Because most cassette adapters use a single-sided head, they only work in one direction.

Returning to Australia in 1987, Doyle regularly performed on the club circuit. From 1991 to 1993, he was a member of the Ram Band in Melbourne, providing vocals, played bass and keyboards. He appeared with The Ram Band on the "Living Legends Live Benefit Concert" Filmed and Recorded at The Palace Entertainment Complex St Kilda in May 1992. Four original songs written by John van Boxtel and recorded by Doyle on his 4-track tape deck at his home in 1991 are the last known original new song demos he performed.

The vaporwave Internet meme amplified notions of self-referential irony and satire in hypnagogic pop. David Keenan's original Wire article incited a slew of hate mail that derided the "hypnagogic pop" label as the "worst genre created by a journalist". As the movement's popularity grew, the analogue lo-fi aspirations of Pink and Ferraro were taken up by "groups with names like Tape Deck Mountain, Memory Tapes, Memory Cassette – and turned into cliché." Both chillwave and vaporwave had been conceived as tongue-in-cheek, hyperbolic responses to such trends.

Cartwright describes Bart's voice as easy to perform compared with other characters. The recording of the shorts was often primitive; the dialog was recorded on a portable tape deck in a makeshift studio above the bleachers on the set of The Tracey Ullman Show. Cartwright, the only cast member to have been professionally trained in voice acting, described the sessions as "great fun". However, she wanted to appear in the live-action sketches and occasionally showed up for recording sessions early, hoping to be noticed by a producer.Cartwright, pp. 43–50.

Quayle stated, "There is absolutely no reason for a record like this to be published—It has no place in our society." Quayle's motivation came in light of the murder of a Texas state trooper Bill Davidson, who had been shot by Ronald Ray Howard after he had been pulled over. Howard was driving a stolen vehicle while songs from 2Pacalypse Now were playing on the tape deck when he was stopped by the officer. The family of Davidson filed a civil suit against Shakur and Interscope Records, claiming the record's violent lyrics incite "imminent lawless action".

Greta senses danger and begins to cry for her father, who enters the room and finds Buzz gone, and everything appearing to be normal. Later still, Billy finally makes his preparations for his demonic ascent to power, and, wearing tribal face paint, sacrifices his sister Greta in exchange for power by dropping a tape-deck into her bath tub. Now armed with his new abilities, Billy took on the name Harm, a sociopathic young man determined to become the world's greatest murderer. His parents are unable to control the young man, and are in fact terrified of him.

Otari MX-80 24-track with 2-inch reels There are a wide variety of tape recorders in existence, from small hand-held devices to large multitrack machines. A machine with built-in speakers and audio power amplification to drive them is usually called a "tape recorder" or – if it has no record functionality – a "tape player", while one that requires external amplification for playback is usually called a "tape deck" (regardless of whether it can record). Multitrack technology enabled the development of modern art music and one such artist, Brian Eno, described the tape recorder as "an automatic musical collage device".

Seetoo began playing the violin at age two and a half. Seetoo's mother was a pianist and his father was a violinist who taught at the Shanghai Conservatory. He grew up during China's Cultural Revolution (1966–76) and had to practice with the windows closed because Western music was forbidden. His father was able to purchase, at great expense, a Telefunken reel-to-reel hybrid tube and transistor based tape deck so he could copy any of the recordings that were circulated underground. “No one knew how to fix it, so I learned how to fix it myself.

Commodore 64 disk/tape emulation and data transfer comprises hardware and software for Commodore 64 disk & tape emulation and for data transfer between either Commodore 64 (C64), Commodore (1541) disk drive or Commodore (1530 Datasette) tape deck and newer computers. There are a large variety of adapters for C64 disk/tape emulation and data transfer, and an even larger variety of compatible software. Many of the adapters interface with the original serial bus disk drive plug or the C2N tape. Others connect to either the user port or the cartridge expansion port using either standardized RS232 interfaces or proprietary adapters.

His father buys him an old small, yellow Fiat Cinquecento Hawaii - Simon, Jay, Neil and others think the car is inadequate and dislike the colour, and mock the fact that it has a tape deck. The car's passenger-side door is ripped off due to Jay opening the door and it colliding with a pole whilst having an argument with Simon when he was reversing at Thorpe Park. However, in "Caravan Club", the door has been replaced with a red one. Simon has been attracted to his childhood friend Carli D'Amato since they were eight years old.

A Fiat Cinquecento appears in several episodes of the British sitcom The Inbetweeners, in which main character Simon Cooper owns a yellow, fictional model known as a Fiat Cinquecento 'Hawaii' (the car used in filming is an 899cc model). Its appearance and features (including a tape deck and a replacement red side door) are frequently ridiculed by the lads. In March 2011, the car was listed on eBay, in order to raise money for Red Nose Day 2011. In the short-lived American remake of the show, the car was replaced with a Ford Festiva, with the replacement door being coloured blue instead of red.

A Scully four-track 280 tape deck, identical to the model used for Pet Sounds Discussing Spector's Wall of Sound technique, Wilson identified the tack piano and organ mix in "I Know There's an Answer" as one example of himself applying the method. Compared to Spector, Brian produced tracks that were of greater technical complexity by using state-of-the-art four-track and eight-track recorders. Most backing tracks were recorded onto a Scully four-track 288 tape recorder before being later dubbed down (in mono) onto one track of an eight-track machine. Wilson typically divided instruments by three tracks: drums–percussion–keyboard, horns, and bass–additional percussion–guitar.

Cassette demagnetizers of the "cassette" type physically resemble a cassette tape shell but contain circuitry to demagnetize the tape heads of the tape deck. Another type of demagnetizer, the "wand" type can demagnetize anything that it is brought into contact with, including the tape heads and capstans. Nakamichi manufactured a "wand" type demagnetizer in the 1980s. This design had the advantage that it could be used to demagnetize other metal parts of the tape path (not just the actual record/playback heads) however it required careful use (to avoid increasing the magnetization of the heads) and if used too close to actual cassette tapes could inadvertently act as a "bulk eraser".

The basic model originally shipped with 4 kB of RAM, and later 16 kB, in the main computer. The expansion unit allowed for RAM expansion for a total of 48K. Its other strong features were its full stroke QWERTY keyboard, small size, well written Microsoft floating-point BASIC and inclusion of a monitor and tape deck for approximately half the cost of the Apple II. Eventually, 5.25 inch floppy drives were made available by Tandy and several third party manufacturers. The expansion unit allowed up to four floppy drives to be connected, provided a slot for the RS-232 option and a parallel port for printers.

On his 16th birthday, he received a four-track reel-to-reel tape deck and began recording as a one-man band in his parents' basement in suburban Madison, Tennessee. The innovative manipulation of low fidelity recording processes in his early albums defined his general aesthetic. With help from his uncle, he made his official label debut with 1976's Phonography, which was well-received in New York's punk and new wave circles. Although he is best known for "'60s-inspired power pop in the XTC vein," his body of work incorporates a variety of music genres, both popular and experimental, and his records are typically styled after freeform radio.

Two trim levels were offered: the base S and the uplevel XS. The XS had features like a cassette tape deck, higher-grade interior fabric, a tachometer, sliding rear window, and a split 60/40 seatback. Hombres were equipped with the Chevrolet S-series 15 x 7 steel wheels (with 8 directional vents) - the Hombre wheels were painted black (the S10, Sonoma, and Blazer/Jimmy wheels were painted silver) since a majority were equipped with wheel covers with the Isuzu logo. Hombres were also available with the S-10's aluminum wheels with Isuzu center caps. Slow sales resulted in production ending in 2000.

The main technological change for the higher-capacity formats was the addition of tracking information on the disk surface to allow the read/write heads to be positioned more accurately. Normal disks have no such information, so the drives use feedforward (blind) positioning by a stepper motor in order to position their heads over the desired track. For good interoperability of disks among drives, this requires precise alignment of the drive heads to a reference standard, somewhat similar to the alignment required to get the best performance out of an audio tape deck. The newer systems generally use position information on the surfaces of the disk to find the tracks, allowing the track width to be greatly reduced.

The standard method of storing files on tape uses a combination of header and associated data blocks. Both types of blocks are preceded by pilot and synchronization signals, used to accommodate numerous physical variations present such as tape deck speed and distortion arising from tape stretching. Headers have a short size of 19 bytes (1 zero-value flag byte, 17 header information bytes, and 1 checksum byte), where the header information consists of a type byte, a 10-byte filename, a word data block length, and two word parameters. Depending on the type byte, the loader presents one of the follow messages: `Program: ` for programs written in BASIC; `Bytes: ` for machine code, screen dumps, etc.

However, the system had been designed initially for dictation and portable use, with the audio quality of early players not well suited for music. Some early models also had an unreliable mechanical design. In 1971, the Advent Corporation introduced their Model 201 tape deck that combined Dolby type B noise reduction and chromium(IV) oxide (CrO2) tape, with a commercial-grade tape transport mechanism supplied by the Wollensak camera division of 3M Corporation. This resulted in the format being taken more seriously for musical use, and started the era of high fidelity cassettes and players. Although the birth and growth of the cassette began in the 1960s, its cultural moment took place during the 1970s and 1980s.

Ultimately, the Mustang was a huge success, despite being engineered at one tenth the cost of the 1965 Ford Galaxie. Mike Mueller quoted Frey in his 2009 book Mustang: An American Classic as attributing the inspiration for the Mustang to GM's strategy of incrementally improving the Corvair. "I guess in desperation they put bucket seats in the thing, called it the Monza, and it started to sell". Frey was also behind the four-door Ford Thunderbird (fifth generation), the stereo dashboard tape deck, and the station wagon tailgate that swung out like a door (window up or down) as well as down like a tailgate -- marketed as the "Magic Doorgate" beginning with the 1966 Country Squire.

A brief entry into the audiophile market in 1970 with the V-M "Professional Series" was technically successful - but by this point, V-M Corporation was too financially weak to back a successful marketing campaign, so these products are rare and sought after today. First and foremost, V-M was a record changer and tape deck supplier (less the electronics) to dozens of familiar brand names of their day, such as Zenith and Motorola to name only two. V-M Corporation, from the late 1950s through 1968, was the world's largest record changer manufacturer. During the peak years of record changer production, V-M Corporation produced more record changers than all other record changer manufacturers combined.

Many very old rides do not feature music; also, some vehicle rides may favor engine sounds instead of music. However, on rides that do feature music, early rides (and cheaper modern rides that imitate more well-known rides) are equipped with simple integrated circuits that continually play back one melody or repeat a set of melodies in sequence. These have evolved in the sense that the earliest musically-enabled rides played back only a single monophonic melody repetitively, while later ones played multiple polyphonic melodies, whilst sometimes including short sound or speech samples. Later rides could also use a tape deck, while more recent rides may have a solid state audio playback device akin to flash-based MP3 players.

While only one recorder was up in the early sessions, eventually another was installed to edit, and ultimately a third so Manson could record vocals while the other members fiddled with recordings. Vig estimated that the sample collage approach led to "probably have five albums' worth of music", and songs featuring up to 120 audio tracks. After the digital file was ready, mixing was done in an analog tape deck, which held only 14 tracks. Much of the percussion was recorded in a disused candy factory located in Madison; Vig, Steve Marker and sound engineer Billy Bush set up a drum kit within the factory and recorded various fills, utilizing the acoustics of the dilapidated building.

Fortune moved there in the fall of 1956 and stayed there until the mid-1990s, when the building was sold and vacated. (The landmark building was demolished late in 2001.) The storefront contained a record shop in the front (the Browns sold their product direct to the public) and the crude 18-by-40 studio in the rear (which originally had a dirt floor). Whereas its far bigger Detroit rival, Motown Records, perfected a highly polished pop sound, releases on Fortune Records were often characterized by raw, unrestrained vocal performances and relatively simple instrumental arrangements, recorded without excessive care for production values. Recording was accomplished via a few microphones to an Ampex one-track tape deck.

Almost from the moment the live action Transformers movie was announced in 2007, producer Don Murphy and the production team made it clear they did not want to feature mass/size shifting in transformation (excluding the Allspark), due to concerns over realism. With this process an inherent part of Soundwave's tape deck alternate mode, there was some discussion over whether or not to change it due to its obsolescence, or to include the character in the film at all. It was announced by Hasbro at SDCC 2004 that movie Soundwave would be a helicopter. Early leaked movie scripts proposed that his alternate mode would be a helicopter, but animatics shown at the 2005 Comic Con were poorly received.

Replicator had a sound based on unusual and urgent time signatures, dissonance, repetitive heavy rhythms, an often angular guitar sound, and Neutron and Adrian's urgent, sometimes dueling vocals. The songs did not have traditional verse/chorus/verse structure and the arrangements were, at times sparse and at other times chaotic. Replicator's sound was often associated with science fiction, paranoia, and somewhat obscure pop culture references, the band frequently cited the fact that they did not have any love songs in their press materials. Straddling the fine line between "social commentary and smart ass revelry" as well as "technical precision and reckless abandon," Replicator used analog tape deck to play samples live until switching to a laptop computer with the Bludgeonsoft software Back to Basics for sampling.

Jay Layafette, a member of the now defunct O.C. ska band called The Forces of Evil, played trumpet for them in their final days of playing shows. Their singer, Jesse Wilder, fronted a power pop group known as Teen Heroes, and also played Saxophone and Keyboard for The Scholars. He and Scott Klopfenstein later collaborated on a number of projects, including The Littlest Man Band and PAL with Scholars bassist Jake Berry and drummer Greg Parkin. Their only main release, an 8-song demo called I'm In A Band, can be found on their anthology Last Great Record of The 20th Century on Vegas Records, along with numerous live songs and goofy pre-studio tracks they recorded with a tape deck in their drummer Greg's garage.

The shows were painstakingly edited to give them a pace and flow that was wholly unprecedented in radio. Mullin has claimed that he even pioneered the use of the laugh track; at the insistence of Crosby's writer Bill Morrow, he inserted a segment of raucous laughter from an earlier show to follow a joke in a later show that had not worked well. Keen to make use of the new recorders as soon as possible, Crosby invested $50,000 in a local electronics firm, Ampex, and the tiny six-man concern soon became the world leader in the development of tape recording. Ampex revolutionised the radio and recording industry with its famous Model 200 tape deck, developed directly from Mullin's modified Magnetophones.

Mahern's years of solid production work, and deep ties to the Indiana music community, eventually attracted the attention of local and international music legend, John Mellencamp, who now works primarily with Mahern as his recording engineer. Most recently they undertook an exciting project for Mellencamp's "No Better Than This" album by touring the country with co-producer T-Bone Burnett, to record in legendary rooms with a single 1950's reel-to-reel tape deck and one microphone. The astounding results have garnered praise from the music press and recording community alike. Always open to learning more about his field, Mahern worked for two years at Indiana University on the NEH-funded Sound Directions project, at the Archives of Traditional Music.

Faced with serving a life sentence for conspiracy to commit the murders of seven people, Manson was transferred from Folsom State Prison to California Medical Facility (CMF) in March 1974 as his mental condition showed signs of deteriorating. He was returned to Folsom in October 1974, but was transferred yet again to CMF two years later, where he remained incarcerated for nine years. The contents of the album consists of material Manson recorded, while accompanying himself on acoustic guitar, on a portable cassette tape deck during a lock-up at CMF. Because of the settings at the time of recording and the rudimentary equipment used, much of Live at San Quentin's contents are interrupted by inmate bantering and various noises.

Video installation with one CCTV camera, six videotape recorders (two playback prerecorded material and four record and playback time-delay loops), nine television monitors of which one is a receiver, one audio tape deck, and one automatic switcher, 9½ x 8 x 2 ft. Built for the exhibition TV As A Creative Medium, Howard Wise Gallery, New York. Wipe Cycle (1969) is a seminal video installation by Frank Gillette and Ira Schneider that transposes present-time demands as a way to disrupt television’s one-sided flow of information. Consider an example of the "earliest uses of real-time closed-circuit video technology in an art gallery", Wipe Cycle "expanded the relation of the audience to the artwork, from passive receptors to actual participants".

He became the first major American music star to use tape to pre-record radio broadcasts, and the first to master commercial recordings on tape. The taped Crosby radio shows were painstakingly edited through tape-splicing to give them a pace and flow that was wholly unprecedented in radio. Soon other radio performers were demanding the ability to prerecord their broadcasts with the high quality of tape, and the recording ban was lifted. Crosby invested $50,000 of his own money into the Californian electronics company Ampex, and the six-man concern (headed by Alexander M. Poniatoff, whose initials became part of the company name) soon became the world leader in the development of tape recording, with its Model 200 tape deck, released in 1948 and developed from Mullin's modified Magnetophons.

It was followed by several other models by TASCAM, and eventually by several other manufacturers. For the first time it enabled musicians to affordably record several instrumental and vocal parts on different tracks of the built-in four-track cassette recorder individually and later blend all the parts together, while transferring them to another standard, two-channel stereo tape deck (remix and mixdown) to form a stereo recording. The Tascam Portastudio 244, introduced in 1982, improved upon the previous design with overall better sound quality and more features, including: dbx noise reduction, dual/concentric sweepable EQ's, and the ability to record on up to 4 tracks simultaneously. In general, these machines were typically used by musicians to record demos, although they are still used today in lo-fi recording.

In working on the three-track Hollywood Bowl concert tapes, Martin discovered quite a challenge. The first difficulty was finding a working three-track machine with which to play them. Once he found one, he discovered that the machine overheated when it was running, melting the magnetic tape. Martin and recording engineer Geoff Emerick came up with the solution of blowing air from a vacuum cleaner to keep the tape deck cool whilst the recordings were transferred to 16-track tape for filtering, equalisation, editing, and mixing. Although the original album sleeve says that the recordings were all made on 23 August 1964 and 30 August 1965, "Ticket to Ride" and "Help!" were recorded on 29 August 1965, and "Dizzy Miss Lizzy" is a composite using parts from both nights in 1965.

One of Mardas' more outrageous plans was to replace the acoustic baffles around Starr's drums with an invisible sonic force field. Starr remembered that Mardas bought some "huge" surplus computers from British Aerospace, which were stored in his barn, but "they never left the barn", and were later sold as scrap metal. Mardas gave the Beatles regular reports of his progress, but when they required their new studio in January 1969, during the Get Back project that became Let It Be, they discovered an unusable studio: no 72-track tape deck (Mardas had reduced it to 16 tracks), no soundproofing, no talkback (intercom) system, and not even a patch bay to run the wiring between the control room and the 16 speakers that Mardas had fixed haphazardly to the walls.

They had vowed to do remakes acoustically live of Thirteenth Step's hit songs "My Suicide" and "Don't Be Afraid", and fan favorites like "Hit the Ground", "Heaven's Gates", "Misery", and "My Angel".. The duo was set to do a regional headline acoustic tour in the fall of 2016. Steve and Michael re-released their entire acoustic demo package online, spanning 10 years of over 50 plus acoustic rock originals and covers, 40 or more newly recorded acoustic rock originals and classic folk rock covers, and the unreleased Altered Addiction demo tapes originally recorded under the band name Altered State. The remastered cassette tapes are now offered as digital downloads via PureVolume for free. The duo had the tapes digitally transferred from modern tape deck to computer technology in Mings's home studio in Portland, Louisville using Mixcraft.

The CD player eventually supplanted the cassette deck as standard equipment, but some cars, especially those targeted at older drivers, were offered with the option of a cassette player, either by itself or sometimes in combination with a CD slot. Most new cars can still accommodate aftermarket cassette players, and the auxiliary jack advertised for MP3 players can be used also with portable cassette players, but 2011 was the first model year for which no manufacturer offered factory-installed cassette players. A head cleaning cassette Although the cassettes themselves were relatively durable, the players required regular maintenance to perform properly. Head cleaning may be done with long swabs, soaked with isopropyl alcohol, or cassette-shaped devices that could be inserted into a tape deck to remove buildup of iron-oxide from the heads, tape-drive capstan, and pinch-roller.

This package was essentially an uprated GS model with added LS badges on each B-pillar, special stripes on the exterior, and LS-only gold anodized wheels (with polished outer face and wheel rim). All LS editions came equipped with special LS-only full brown leather upholstery, leather wrapped steering wheel, leather wrapped shift knob, removable sunroof, LS-specific four-speaker AM/FM stereo radio with power antenna (though listed as a six-speaker stereo, as the two rear dual voice coil speakers were counted as four speakers in total), remote power door side mirrors, and other standard GS equipment. Two primary options were also available; a three-speed JATCO 3N71B automatic transmission and air conditioning. Other GS options such as cassette tape deck, splash guards, padded center console arm rest and others could be added by the dealer.

Another method of manual calibration requires a pair of high-quality headphones patched into the input signal before any processing (such as the pre-fade-listen of the test program input channel of the mixing console, or the headphone output of the CD player or tape deck). One can then use this direct signal as a near- perfect reference with which to find any differences in frequency response. This method may not be perfect, but it can be very helpful with limited resources or time, such as using pre-show music to correct for the changes in response caused by the arrival of a crowd. Because this is still a very subjective method of calibration, and because the human ear is so dynamic in its own response, the program material used for testing should be as similar as possible to that for which the system is being used.

Finding Asakawa is the sole survivor and catatonic, Ando investigates relevant evidence and learns that his wife and child were dead well before the car crashed, and that a tape recorder and word processor were in the vehicle. Trying to reach Mai, Ando finds her missing and investigates her seemingly abandoned condominium; he finds what he believes to be a copy of the supposedly cursed videotape, albeit almost entirely recorded over, and believes an unknown entity is hiding somewhere in the condo. Learning Asakawa's tape deck and word processor went to his next of kin, Ando retrieves the word processor from his brother and copies the files. Finding a document about the videotape, Ando reads that the curse spreads through a tape and can only be stopped by copying and sharing it with someone else; despite disputing the files as pseudoscientific, Ando and Miyashita continue reading into them, and discover that the Ring Virus started with the murder of psychic Sadako Yamamura.

After relocating to their hometown Tromsø, the duo was inspired by the Arctic and mysterious radio-signals, emitted from even further North. Martinsen and Peterson received an envelope covered with Russian stamps, inside was an old C60 cassette tape labeled Радио Магнитное ("Radio Magnetic" in Russian), and a letter from the analogue-loving radio enthusiast, stating that he had seen Frost perform their soundtrack to the Russian silent movie "Mother" in Arkhangelsk some years earlier, and that he thought this recording might be of interest. The couple immediately unpacked their old cassette tape deck, put the tape on, and discovered the beautiful music it contained – the music of a ghost radio filtered through static and time, like faint echoes from a recently lost civilization. The whole phenomenon was the most haunting experience, and this tape has been the main inspiration during the writing and recording of the new album – resulting in classic, dreamy pop songs crafted in 2012-style eclectic, electronic production.

The B-side, "Don't Let Him Come Back", is a farewell to Walsh, who remained friends with Forster and McLennan. From May 1978 to May 1979, the group recorded some tracks live in Forster's bedroom using McLennan's two-track tape deck—they were not released until 1999 as 78 'Til 79: The Lost Album, which also includes both sides of the first two singles. These songs were simple pop tunes with a rough new wave edge, an obvious blend of pure pop influences such as The Monkees with the gritty simplicity of The Velvet Underground. In November 1979, the duo left Australia, with a plan to shop their songs from record company to record company simply by visiting their offices and playing them. In Glasgow, Scotland, on 28 April 1980, for independent label Postcard, they recorded their next single, "I Need Two Heads", with Steven Daly of Scottish band, Orange Juice, guesting on drums and Alex Fergusson producing.

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.

In the Yellowthread Street novels, the detectives of the Yellowthread Street police station are based in the fictitious Hong Bay, Hong Kong. Four principal characters are featured in the novels; DCI Harry Feiffer, of European heritage but third generation born and brought up in the Colony, Senior Inspector Christopher O'Yee, a half-Chinese American and the ever-bickering team of Inspectors Auden and Spencer, who attempt to find the rational basis for inexplicable and seemingly bizarre crimes. One of the most notable novels is 1988's Out of Nowhere, in which Feiffer must figure out why in the pre-dawn hours, four people in a plate-glass-filled van with Chinese opera blaring out of the tape deck were driving on the wrong side of a deserted motorway, miles from the nearest on-ramp, before dying in a violent collision with an oncoming lorry. Sixteen novels were published between 1975 and 1998: Yellowthread Street (1975), The Hatchet Man (1976), Gelignite (1976), Thin Air (1977), Skulduggery (1979), Sci-Fi (1981), Perfect End (1981), War Machine (1982), The Far Away Man (1984), Roadshow (1985), Head First (1986), Frogmouth (1987), Out of Nowhere (1988), Inches (1994), Nightmare Syndrome (1997) and To The End (1998).

He was appointed as a teacher of photography at Prahran College of Advanced Education in 1969, and with little experience in the medium, apart from making short Super 8 movies with friend Bernie Eddy, he went on to become the lecturer in cinematography, an experience he recalls in his autobiography as formative: > Apart from the few Super-8 movies I had made and some more serious attempts > on 16mm, I knew nothing about filmmaking. I was forced to stay one step > ahead of the students. That's how I became a filmmaker. The film course received some $15,000 funding in August 1970 (a value of $180,000 in 2019) with which Head of the Art School Ted Worsley purchased cine cameras, a Steenbeck editing suite, film processor and Nagra tape deck. Always working with small budgets, Cox used the equipment in making The Journey (1972) and Illuminations (1975), with Prahran drama lecturer Alan Money on the cast, and in 1994 featured 43 paintings by colleague Eleanor Hart in Touch Me. Students were recruited, both as practical education for them and as a saving for the budding director, to serve as the film crews on Cox's Mirka (1970), and documentaries All Set Backstage (1974), We Are All Alone My Dear (1975), and For a Child Called Michael (1980).