Traffic jams, too; so do tape decks, guns, and sewing machines.
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Images of spinning reel-to-reel tape decks bleed into turning car wheels.
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The 30 tape decks, still intact, play recorded compositions by DC-area musicians.
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Ballfinger says its tape decks are designed for professional use and made of high-strength aluminum.
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The Breeders should ride the '90s nostalgia wave out of old tape decks and onto iPhone X's.
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The new tape decks will be on sale later in May, the company says on its website.
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Included in the footage is Craig himself and the tape decks he used to create the sounds.
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Space Dimension Controller: It was Cubase 3 on my old gaming PC with two Tascam tape decks for recording.
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Will spare tires eventually disappear altogether, in a similar way features such as cassette tape decks have gone away?
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A wooden structure with spindly legs, arranged in a rough circle, supports the tape decks and their entangled web of wires.
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Now it swung to and fro over Korean War transmitters, third-hand tape decks, broken turntables and scavenged tubes, resistors and capacitors.
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We would sit in Washington Square Park with the gay boys, who were always carrying tape decks and dancing to their favorite songs.
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Her desk sits in a library that holds 5,000 or so reels and vinyl records, as well as tape decks and analog gadgets.
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Though the Beatles were not the only group writing while high, messing about with tape decks and hiring orchestras, they were the most conspicuous.
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Ballfinger is releasing new models of its reel-to-reel tape decks, which will go on sale later in May, as reported by Bloomberg.
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Then he retreated to the safety of the playback room, a space stuffed with ancient record players, VCRs, and reel-to-reel tape decks.
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Instead, to play music, Rodriguez and his friends used a pair of tape decks that Cuban sailors had brought back from an overseas tour in Angola.
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Soldiers played it in their hooches on top-of-the-line tape decks they'd purchase cheap at the PX or via mail order from Japan; they listened to it over headphones in helicopters and planes.
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In making the new album, the musician's ninth, Craig used his customized tape decks, his "cassette choir," to channel everything through, putting attenuators on the tape heads so they didn't work properly, and running a loop of tape through the decks.
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We were mainly working at home, originally on reel-to-reel tape decks, then as the technology changed, Tascam 8-track cassette recorders, Adat, Atari computer... Now I have a Mac with two monitors, sublime samplers, cool controllers, and a touch sensitive piano keyboard.
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Every new format innovation required a new device: record players and CD players and tape decks and DVRs and some new insane Sony format every other year like SACD or MiniDisc that always came bundled with some of the nicest acoustic guitar music you'd ever heard.
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Adam Minter, e-waste expert and author of Junkyard PlanetI recently visited a Vermont electronics recycling company, and wandered through a warehouse packed with obsolete, difficult-to-recycle devices: electric typewriters, video game consoles, reel-to-reel tape decks, guitar amplifiers, television, spectrometers, stereo speakers, and even some medical imaging consoles.
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The latest tape decks to come with High Com were produced in 1986.
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Brenell Engineering Ltd. was a British company in operation from 1947 to 1984 who manufactured audio electronics, in particular professional quality reel- to-reel tape decks.
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The result was the birth of automated equipment and the pre-recorded, syndicated format business. The automation systems usually consisted of 3 or 4 reel-to-reel tape decks, playing 10.5" or 14" reels containing the music, and several tape cartridge decks for commercials, weather, promos, etc. The early systems were "pre- computer" and simply sequenced pre-selected events that were triggered by an inaudible tone. Depending on the automation supplier and the quantity of tape decks, a system would cost $18,000-$30,000.
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The way I played before I started playing with him was pretty ignorant. I just had a whole lot of tape decks and would put tapes in and hit play, and hope that it would sound all right. But Jason got me thinking more about physicality and improvisation, and I started to think of myself more as a player. That really fundamentally changed what I did with the tape decks, and how my sounds fit in the space, and how they worked compositionally and as live performance.
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The stage's appearance was compared to the techno-future cityscapes from Blade Runner and the works of cyberpunk writer William Gibson. The video projection system consisted of four Vidiwalls, four rear projection screens using eighteen GE Talaria 5055 HB light valve projectors, and thirty-six Barco monitors. The production control system, which was operated by Dodds and a crew of 18 people, included ten Pioneer LDV8000 LaserDisc players, two Sony Betacam SP BVW-75 tape decks, two Sony 9800 -inch SP tape decks, four Ikegami HL-55A CCD cameras, two Sony Video8 Handycams (nicknamed "Bonocams"), and one point-of-view camera. The video equipment cost more than US$3.5 million.
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In 1978, inspired by minimalists such as Steve Reich and Brian Eno, he began developing his own vocabulary using tape loops and old reel-to- reel tape decks. He developed his meditative, melancholy style experimenting with short looped melodies played against themselves creating feedback loops. His first release was Shortwavemusic.
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The Collaro Transcriptor, and Collaro Studio were tape decks (mechanisms without associated electronics) that were incorporated into many home tape recorders at the time. Unlike some other makes of deck, they accommodated 7-inch tape reels, rather than 5.75-inch, giving longer playing time, and had three speeds selectable up to 7.5 inches/second.
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While high fidelity previously required large turntables, tape decks and speakers, the changing technology of music formats have made small bookshelf systems, Bose desktop radios and iPod based speaker systems which can also produce music of high quality and serve as music entertainment systems by making large component systems again a niche high-end market.
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Tystion began in 1991. Cravos, aged 16, and influenced by the sounds of Public Enemy and Dead Kennedys, worked from his bedroom in Carmarthen using two tape decks and a mixer. He wanted to create an answer to the current state of the Welsh musical mainstream. By 1995, he was joined by Gruff Meredith.
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The company started the production of tape decks in 1972 and in 1973 the company introduced a gear motor for copying machines and changed the company name to Shinano Kenshi Co., Ltd. In 1985 Hanaoka Hosei Co., Ltd., a subsidiary of Shinano Kenshi, changed its name to Texel Corporation. It developed the Plextor brand in 1993.
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Since modern digital devices, including CD and DVD players, radio receivers and tape decks already provide a "flat" signal at line level, the preamp is not needed other than as a volume control and source selector. One alternative to a separate preamp is to simply use passive volume and switching controls, sometimes integrated into a power amplifier to form an integrated amplifier.
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Breakmaster Cylinder grew up playing music, including compositions by Johann Sebastian Bach. They first began working with music sampling using a ping-pong recording technique with two cassette tape decks. Cylinder later acquired a keyboard with loop-recording capabilities and eventually began making DIY albums of trance music for friends. Cylinder spent more than a decade composing and producing music before finding a wider audience.
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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.
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The cassette's popularity grew during these years as a result of being a more effective, convenient and portable way of listening to music. Stereo tape decks and boom boxes became some of the most highly sought-after consumer products of both decades. Portable pocket recorders and high-fidelity ("hi-fi") players, such as Sony's Walkman (1979), also enabled users to take their music with them anywhere with ease.
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In 2001, Niro Nakamichi, designer of many of the historic tape decks, started a new company, Mechanical Research Corporation, which introduced ultra high end audio amplifiers, preamplifiers, and an integrated amplifier, called "engines." The products featured innovative designs and addressed issues of mechanical isolation, as well as presenting a unique appearance. Soon thereafter, however, the "engine" products were no longer promoted and a line of home theater products was introduced .
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MIDI sequencers typically are operated by transport features modeled after those of tape decks. They are capable of recording MIDI performances, and arranging them into individual tracks along a multitrack recording concept. Music workstations combine controller keyboards with an internal sound generator and a sequencer. These can be used to build complete arrangements and play them back using their own internal sounds, and function as self-contained music production studios.
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"We came to the decision that since we're Americans, there's no reason we have to play all Irish material. So we don't." Besides the many world-music influences, Orb also delves into punk rock and psychobilly with guitarist/vocalist Todd Menton's "Tape Decks All Over Hell." In 1991, the band released Old Lead, a compilation of BOiLeD iN lEaD and Hotheads with two previously unreleased tracks recorded during the Hotheads sessions.
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The company was founded in 1947 by Robert Hahn and Peter Glazer, as a small precision engineering company based in Northington Street, Clerkenwell. In 1953 the company produced its first tape recorder, a "do-it-yourself" unit marketed under the Soundesign name. Brenell went on to become a leading manufacturer of bespoke tape decks, including multi-track studio machines. After a series of financial setbacks, the company was formally dissolved in January 1984.
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Banks of 300/300 bit/s full duplex asynchronous V21 modems supported computer to computer links for the more sophisticated IP while 1200 bit/s half duplex V23 modems supported so called intelligent editing terminals (i.e. those capable of storing a number of frames offline before uploading to the UDC). In addition twin 9-track NRZI tape decks of 800 bytes/inch capacity were provided in order to support bulk offline updates.
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Cracked games could often be copied manually without any special tools. In Europe, some hardware devices, colloquially known as "black boxes" were available under the counter that connected two C1530 tape decks together at the connection point to the C64 permitting a copy to be made whilst loading a game. This overcame the difficulties in direct dubbing of later games using the high speed loaders that were developed to overcome the very long load times.
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In the early 1980s, sampling synth and MIDI music appeared globally and DJs became the preferred format in Goa, with two tape decks driving a party without a break, facilitating continuous music. Cassette tapes were used by DJs until the 1990s, when DAT tapes were used. DJs playing in Goa during the 1980s included Fred Disko, Dr Bobby, Stephano, Paulino, Mackie, Babu, Laurent, Ray, Fred, Antaro, Lui, Rolf, Tilo, Pauli, Rudi, and Goa Gil.
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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.
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The first version of n-Track was released sometime between 1995 and 1996. It was originally a simple dialog box with 4 volume sliders for each of the 4 supported tracks. At the time when version 1.0 was released multitrack recording was still largely done on tape decks or professional digital workstations. Major music software of the time (such as Cubase or Cakewalk) still didn't have audio capabilities and were mostly MIDI only, while audio editors (e.g.
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Nakamichi's dual-capstan tape decks provide such accurate and precise tape tension that, unlike other decks, the cassette's pressure pad is not needed at all. To remedy this problem, the vast majority of Nakamichi dual- capstan decks contain a "cage" around the record/playback heads that lifts the pressure pad out of the way so that the deck itself—specifically, the dual capstan mechanism—is able to maintain much more consistent tape tension and tape/head contact during playback.
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Robert Christgau asserted that, without its predecessor's reliance on samples, "Ocean resists making a show of himself—resists the dope hook, the smart tempo, the transcendent falsetto itself." Ocean, a baritone, sings with casually expressive vocals, free-form flow, conversational crooning, and alternating falsetto and tenor registers. Similar to Nostalgia, Ultra, Channel Orange has interludes that feature sounds of organs, waves, tape decks, car doors, channel surfing, white noise, and dialogue. They exhibit an analog sound quality, and some end abruptly.
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Delicate Tension is the second official album by American musician R. Stevie Moore, issued in a small pressing by his uncle Harry Palmer's H.P. Music in November 1978. The album is the follow-up to the compilation Phonography (1976). It mainly contains Moore's new songs and sound experiments captured since his recent move north from Nashville to New Jersey, all recorded on 1/4 track 7½ ips reel-to-reel stereo tape decks. The album cover was designed by Moore himself.
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Final was then put on hiatus while Broadrick played in Napalm Death and Head of David and later co-founded Godflesh. Final was eventually revived in 1993 as an experimental ambient solo project meant to "explore beat-less spaces" and focus on textures, now expanding its influences to the likes of Brian Eno and Maurizio Bianchi. This new incarnation started utilizing electric guitar, tape decks, synthesizers and samplers. One was released on Sentrax and Subharmonic and was Final's first ever CD release.
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Changing home audio trends impacted BSR in the early 1980s. Although the company produced reel to reel tape decks in addition to their turntables and changers, consumers had begun to expect portability from their music players, and BSR faced competition from eight-track and cassette tape players, particularly Sony's Walkman. In the first five years of the 1980s, BSR closed several factories and made thousands of workers redundant. During the 1980s, BSR manufactured the Rotronics Wafadrive for the ZX Spectrum range of computers.
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The station first signed on the air on December 6, 1986 as WRYT, operating as an independent station from a bare- bones facility in Hanover. It operated from a tiny tower originally designed for use as a translator. It broadcast at only 6,000 watts—the minimum transmitter power for a full-power station. All of the equipment—two tape decks, a mixer, a primitive character generator, a satellite receiver and an Emergency Broadcast System unit—was located in an old video store bathroom.
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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.
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The backdrop was painted on a wall in Cheltenham, England and featured Cold-War spy characters adorned in trench coats and fedoras, with spy accoutrements, microphones, and reel-to-reel tape decks. These characters appeared to be tapping into a broken telephone booth. A deviation from unsanctioned street sculpture is "institutionalized guerilla sculpture", which is sanctioned by civic authorities and can be commercialized. One such artist from the Netherlands is Florentijn Hofman, who in 2007 created Rubber Duck, a colossal rendition of the childhood tub-toy.
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The Dolby B system, while not as effective as Dolby A, had the advantage of remaining listenable on playback systems without a decoder. The Telefunken High Com integrated circuit U401BR could be utilized to work as a mostly Dolby B–compatible compander as well. In various late-generation High Com tape decks the Dolby-B emulating "D NR Expander" functionality worked not only for playback, but undocumentedly also during recording. dbx was a competing analog noise reduction system developed by David E. Blackmer, founder of dbx laboratories.
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Phonography is the first official album by American multi-instrumentalist R. Stevie Moore, released in 1976 on the artist's private Vital Records "label". Its initial vinyl pressing was limited to 100 copies. The album mostly consists of selections from his self-released albums Stevie Moore Often (1975) and Stevie Moore Returns (1976), all recorded on 1/4 track 7½ ips reel-to-reel stereo tape decks. A 7-inch EP was issued in 1977 called Four from Phonography, which was the debut release by Moore's uncle Harry Palmer's H.P. Music label.
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After Etsuro Nakamichi founded Nakamichi, his brother Niro joined and the two brothers worked to develop the company. In 2001, Niro Nakamichi, designer of many of the historic tape decks, started a new company, Mechanical Research Corporation, which introduced ultra high end audio amplifiers, preamplifiers, and an integrated amplifier, called "engines". The products featured innovative designs and addressed issues of mechanical isolation, as well as presenting a unique appearance. Soon thereafter, however, the "engine" products were no longer promoted and a line of home theater products was introduced.
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As a child, Glaude was classically trained in the upright bass and violin. After hearing early funk records as a child, he began experimenting with tape decks and a primitive Radio Shack mixer at home in Tacoma, Washington. Glaude began playing at nightclubs by the mid-1980s and began gaining name recognition in early turntablism. He had an early residency at 6th & Proctor in Tacoma, WA. In the early 1990s when the rave scene took hold up and down the west coast Glaude had a Friday residency at the Underground nightclub in Seattle.
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Nat Kipner brought the Bee Gees to St. Clair Studio, Hurstville (outside Sydney). It was a small place in a strip mall owned and operated by Kipner's friend Ossie Byrne, a sound engineer who was working wonders with even more modest facilities than Festival Studios. Both Kipner and Barry Gibb recall that the recording equipment was just two one-track tape decks and a mixer. But many Festival acts would make the trip to Hurstville to get the benefit of Byrne's talents and the more relaxed artist-oriented atmosphere.
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Titan differed from the original Manchester Atlas by having a real, but cached, main memory, rather than the paged (or virtual) memory used in the Manchester machine. It initially had 28K of memory, but this was expanded first to 64K and later to 128K. The Titan's main memory had 128K of 48-bit words and was implemented using ferrite core store rather than the part core, part rotating drum-store used on the Manchester Atlas. Titan also had two large hard-disk drives and several magnetic tape decks.
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EMT 948 turntables, Studer B67 tape decks and Sonifex Micro-HS cartridge machines were used in these studios. From the first day, a split-transmission system for commercial breaks was provided (to play separate advertising breaks to Worcestershire and to Herefordshire), using secondary cue-tones to fire sequences of cartridges, but this was rarely, if ever, used on air. News was broadcast from one of the 'guest' microphone positions in the on-air studio, operated by the presenter not the newsreader. Other voice reports for news, or telephone interviews, were carried out in a "meat safe" style studio inside the newsroom.
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Accessed: February 26, 2017. and the "first formally acknowledged electro-acoustic facility in the United States" (since the Columbia-Princeton Electronic Music Center, "although formally acknowledged in 1959, in 1952"Battisti, Emanuele (undated). "The Experimental Music Studio at the University of Illinois, 1958-68", EMS.music.Illinois.edu. Accessed: February 26, 2017.) at an initial cost of $8,000, early equipment included an "old broadcasting studio control panel" as console, microphones, amplifiers, oscilloscopes, tape decks, and other donated items. The studios received a $30,000 grant from Magnavox in 1962, and a $53,100 grant from the National Science Foundation in 1965.
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Collaro was the name of a major early British manufacturer of gramophones, record players, and tape decks, throughout the early years of sound reproduction. The company was founded in Barking, Essex, 1920, as Collaro Ltd, and was a private company in 1924. In 1961 it was described as the largest manufacturers of record changers in the United Kingdom, and also manufactured fan heaters. In 1960 it was reported in US publication 'Billboard' that the President of the American Magnavox corporation, Frank Freimann had announced the 'acquisition' of Collaro, along with managing director of Collaro, Isaac Wolfson.
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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.
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Generally, HDV devices are capable of playing and recording in DV format, though this is not required by HDV specification. Many HDV devices manufactured by Sony are capable of playing and recording in DVCAM format. 1080-line devices generally are not compatible with 720-line devices, though some standalone tape decks accept both HDV flavors. Devices that can play and record native 1080p video can play and record native 1080i video, however the opposite is not always the case. HDV camcorders are usually offered with either 50 Hz or 60 Hz scanning rate depending on a region.
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The band's music is recorded on reel-to-reel tape decks with crackling microphones and is played on untuned guitars, drums, and accordions, with the occasional accompaniment of household objects such as saucepans, chairs, and radiators. The lyrics vary from utter nonsense, such as profoundly whimsical observations about everyday life, to satire concerning social phenomena such as homelessness, pollution, and hunting. Despite their outsider-persona, the band has received much notice across Sweden. Their surrealistic self-titled debut won a Swedish Grammy for the best Swedish LP of 1971, which came to the dismay of many.
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The compact cassette became a major consumer audio format and advances in electronic and mechanical miniaturization led to the development of the Sony Walkman, a pocket-sized cassette player introduced in 1979. The Walkman was the first personal music player and it gave a major boost to sales of prerecorded cassettes, which became the first widely successful release format that used a re-recordable medium: the vinyl record was a playback-only medium and commercially prerecorded tapes for reel-to-reel tape decks, which many consumers found difficult to operate, were never more than an uncommon niche market item.
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The studio equipment was standard albeit low- budget, comprising a pair (later three) of Garrard turntables, an AKG D12 microphone (the same model used by both Radio Caroline ships, Radio London and Radio 270), domestic tape decks and a basic custom mixer. A US navy transmitter General Electric TCJ-7 (nicknamed "Big Bertha") replaced the bomber transmitter. Most stations played jingles and commercials from cartridges but City used reel-to-reel. In addition to the usual music programmes, subsidised by Dutch and American evangelical shows, City had the only comedy show on pirate radio - The Auntie Mabel Hour, recordings of DJs acting comic sketches and parodying contemporary songs.
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Despite its small size, KUWL showed itself to be on the bleeding edge of radio technology; the station billed itself as just one of five in the United States who had switched to playing out all music from Digital Audio Tape by 1989. The move was made because DAT hardware interfaced with accessible equipment used by blind announcer Mike Nafpliotis, whereas previous tape decks required sight to operate. Throughout its history, KUWL failed to generate sufficient revenues and listener support. As a result, Lighthouse Christian Center paid expenses for seven years, far longer than the two years originally envisioned when the station began broadcasting in 1985.
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This and thinner tapes were not commonly used on ten-and-a-half-inch reels, as the tape was too fragile for the angular momentum of the larger reels, particularly when rewinding. Thinner tapes with thicknesses of 12.5 µm or 0.5 mil fitting 3600' on a seven-inch reel and 1800' on a five-inch reel were known as triple-play tapes. Triple-play tape was too fragile for many tape decks to safely rewind even on a full seven-inch reel, and was more commonly used on five-inch- and smaller reels. However 3600' tapes on seven-inch reels were commercially available for those who wanted them.
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The earnings from the Great Society tapes enabled a major remodeling of The Matrix, including a professional mixing booth and two higher quality tape decks, as well as major improvements to the sound and lighting systems. As part of its contract, Columbia Records also created a custom mixing board for the club, hoping for additional tapes of future live performances. The entrance was moved to the far right of the street wall and the ceiling was opened up to its full 18-foot height for the entire room. Just to the left of the entrance, against the street wall, was the new mixing booth, with its large, doubled-glass windows facing the main room.
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A record's creation began with Copp sitting at home writing songs and stories, while Ed Brown worked on the jacket design at his own house. Copp and Brown would record all of the sound effects, speeches, songs, and stories in segments, often in multiple takes until satisfied with the results. Copp recorded instruments in different rooms at his parents' house: voices were taped in the kitchen, the piano in the living room, the celeste in a bedroom, the pump organ in the bathroom, and sound effects in the bathtub. The entire recording was done with one microphone and three monaural Ampex tape recorders, with which Copp devised his own overdubbing technique by ping- ponging between the tape decks to build up layers of sound.
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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.
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Tapes can also suffer creasing, stretching, and frilling of the edges of the plastic tape base, particularly from low-quality or out-of-alignment tape decks. When a CD is played, there is no physical contact involved as the data is read optically using a laser beam. Therefore, no such media deterioration takes place, and the CD will, with proper care, sound exactly the same every time it is played (discounting aging of the player and CD itself); however, this is a benefit of the optical system, not of digital recording, and the Laserdisc format enjoys the same non-contact benefit with analog optical signals. CDs suffer from disc rot and slowly degrade with time, even if they are stored properly and not played.
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Sound design, as a distinct discipline, is one of the youngest fields in stagecraft, second only to the use of projection and other multimedia displays, although the ideas and techniques of sound design have been around almost since theatre started. Dan Dugan, working with three stereo tape decks routed to ten loudspeaker zones during the 1968–69 season of American Conservatory Theater (ACT) in San Francisco, was the first person to be called a sound designer. Modern audio technology has enabled theatre sound designers to produce flexible, complex, and inexpensive designs that can be easily integrated into live performance. The influence of film and television on playwriting is seeing plays being written increasingly with shorter scenes, which is difficult to achieve with scenery but easily conveyed with sound.
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Most of its transmission equipment, while new, was also of low quality. Commercials aired during program breaks were played on tape decks that suffered from repeated picture glitches at the beginning and end of each ad. The picture format was also substandard, with RF interference being prevalent over the audio feed as the equipment was housed in a room next to the station's transmission tower (located along US 87/287 at KVII's original transmitter facility), which housed an older model RCA transmitter dish that produced a low-power, 128-kW signal that barely covered the entire Amarillo metropolitan area. In November 1984, Moran sold the station to Ralph C. Wilson Industries Inc. (owned by Detroit businessman and Buffalo Bills founder Ralph Wilson) for $1 million; the sale received FCC approval on December 11, 1984.
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Transtar was founded in 1981 by C. Terry Robinson. The network debuted at around the same time as the Satellite Music Network, based in Mokena, Illinois. Both companies marketed themselves to prospective affiliates by offering carefully selected music presented by major market talent of high quality that a local station could never afford, as well as the capability of using existing studio equipment like reel-to-reel tape decks and cartridge playback machines to help make an affordable transition. A station signing up for the service would likely need a satellite antenna and receiver, a 25 Hz tone generator to place at the end of commercial clusters at the end of a break recorded on the reel, and 25/35 Hz tone sensors to trigger local liners and station identification.
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Using Mullin's tape recorders, and with Mullin as his chief engineer, Crosby became the first American performer to master commercial recordings on tape and the first to regularly pre-record his radio programs on the medium. Ampex and Mullin subsequently developed commercial stereo and multitrack audio recorders, based on the system originally invented by Ross Snyder of Ampex Corporation for their high-speed scientific instrument data recorders. Les Paul had been given one of the first Ampex Model 200 tape decks by Crosby in 1948, and ten years later ordered one of the first Ampex eight track "Sel Sync" machines for multitracking, (although when it arrived, it was still set up as an instrument recorder running at 60 inches-per-second and had yet to be converted for audio use).
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Short promotional films were made for both songs; described by cultural historian Saul Austerlitz as "among the first true music videos", they aired on The Ed Sullivan Show and Top of the Pops in June. Among the experimental songs that Revolver featured was "Tomorrow Never Knows", the lyrics for which Lennon drew from Timothy Leary's The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead. Its creation involved eight tape decks distributed about the EMI building, each staffed by an engineer or band member, who randomly varied the movement of a tape loop while Martin created a composite recording by sampling the incoming data. McCartney's "Eleanor Rigby" made prominent use of a string octet; Gould describes it as "a true hybrid, conforming to no recognisable style or genre of song".
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The station broadcast in a classical format, called "More Good Music (MGM)" and featured five-minute bottom-of-the-hour news feeds from the Mutual Broadcasting System. The heart of the automation was an 8 x 24 telephone stepping relay which controlled two reel-to-reel tape decks, one twelve inch Ampex machine providing the main program audio and a second RCA seven inch machine providing "fill" music. The tapes played by these machines were originally produced in the Midwest Family Broadcasting (MWF) Madison, Wisconsin production facility by WSJM Chief Engineer Richard E. McLemore (and later in-house at WSJM) with sub-audible tones used to signal the end of a song. The stepping relay was programmed by slide switches in the front of the two relay racks which housed the equipment.
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The producers would track in Studio A, move to Studio B for overdubs and vocals, move to Studio C to track big room guitars and choirs from the sound stage, and go back to Studio A to mix. In 1989 Studio 56 upgraded to 32 Track Mitsubishi Digital Decks and Studer 820 Analog Tape Decks with SR Dolby, and upgraded Studio A with a Neve VR 60 with Flying Faders, upgraded Studio B with a Trident 80B, moved the Neve 8028 to Studio C, and built a new control room in the Sound Stage, Studio D with an MCI Console. The development was overseen by Studio Operations President Claudia Lagan. In 1990 Studio 56 built an annex Studio E for pre production for 56 Entertainment, which was specializing in movie music, advertising productions and its library.
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With the advent of auto-reverse (playing the tape in both directions), Nakamichi had long recognized that the angle of the tape passing over the playback head was not the same if the tape head was rotated in the opposite direction and its first approach was to track the azimuth on the tape itself by moving the head slightly—a very complex affair which led to the design of the Dragon with its NAAC. Nakamichi subsequently abandoned this approach and set its engineers in search of a more elegant solution. Nakamichi soon developed its UDAR mechanism, which mimicked the way people had manually turned over their tapes in the past: a mechanical system that would eject the tape, spin it around and reload it into the deck. It was available on all Nakamichi RX series of tape decks, i.e.
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Philips developed an alternative noise reduction system known as Dynamic Noise Limiter (DNL) which did not require the tapes to be processed during recording; this was also the basis of the later DNR noise reduction.Circuit and description of DNL URL accessed August 25, 2006 JVC KD-D10E with Dolby B Dolby later introduced Dolby C and Dolby S noise reduction, which achieved higher levels of noise reduction; Dolby C became common on high-fidelity decks, but Dolby S, released when cassette sales had begun to decline, never achieved widespread use. It was only licensed for use on higher end tape decks that included dual motors, triple heads, and other refinements. Dolby HX Pro headroom extension provided better high-frequency response by adjusting the inaudible tape bias during the recording of strong high-frequency sounds, which had a bias effect of their own.
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This book was part of the base curriculum for Richard Lederer of St. Paul's School in Concord, New Hampshire, when he introduced making videofeedback as part of an English curriculum in his 1970s course Creative Eye in Film. Several students in this class participated regularly in the making and recording of videofeedback. Sony had released the VuMax series of recording video cameras and manually "hand-looped" video tape decks by this time which did two things: it increased the resolution of the video image, which made the picture more attractive, and it brought video tape recording technology within the general public's grasp for the first time and allowed for such video experimentation to take place by the general public. During the 1980s and into the 1990s video technology became enhanced and evolved into high quality, high definition video recording.
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Gyorgy Killan, born and raised in Kiev, Ukraine, where he received his rudimentary musical education and where his early forays into music included get-togethers with a couple of neighbourhood friends for loud noise making sessions on home- made instruments and calling themselves Children of Zeus, moved to Hungary in the mid-eighties and after a period of adjustment to the new life and learning the new language began his active pursuit of musical opportunities. He played guitar in a couple of local bands like Leopard and Metal Corpus with Zoltán “Pici” Fejes (who went on to found Classica). His self-recorded 1988 Killan demo tape received positive reviews (recording multiple instruments by himself bouncing tracks between two reel-to-reel tape decks was considered a novelty in those days) and brought some name recognition in the metal scene. His musical influences of the bands like Metallica, Kreator and above all Slayer as well as classical music can be heard in this demo.
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ShowBiz began toying with the idea of adding licensed characters such as Spider-Man or Garfield to the Rock- afire show, and three locations actually replaced Billy Bob and Looney Bird (both at stage left) with Yogi Bear and Boo Boo in 1987. An experiment of Paul Linden and Dave Philipsen using JVC BR-7000 VHS Hi-Fi tape decks which integrated two stereo audio tracks, two longitudinal data tracks, and video led to a system in 1988 where TV screens were installed above the Rock-afire stage as the company introduced their new Cyberstar TV screen system. During showtime, the characters were finally shown performing in video, as reel-to- reel formatted tapes began to be used less often. A reel-to-reel version of Cyberstar called "Cybervision" was tested at two restaurants in Austin, TX; Cybervision can be distinguished from Cyberstar by the fact that they only feature the animatronics, and no graphics or walkaround characters.
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Initially a low- fidelity format for spoken-word voice recording and inadequate for music reproduction, after a series of improvements it entirely replaced the competing formats: the larger 8-track tape (used primarily in cars) and the fairly similar "Deutsche Cassette" developed by the German company Grundig. This latter system was not particularly common in Europe and practically unheard-of in America. The compact cassette became a major consumer audio format and advances in electronic and mechanical miniaturization led to the development of the Sony Walkman, a pocket-sized cassette player introduced in 1979. The Walkman was the first personal music player and it gave a major boost to sales of prerecorded cassettes, which became the first widely successful release format that used a re-recordable medium: the vinyl record was a playback-only medium and commercially prerecorded tapes for reel-to-reel tape decks, which many consumers found difficult to operate, were never more than an uncommon niche market item.
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For example, noises (e.g., footsteps, or motor noises from record players and tape decks) may be removed because they are undesired or may overload the RIAA equalization circuit of the preamp. High-pass filters are also used for AC coupling at the inputs of many audio power amplifiers, for preventing the amplification of DC currents which may harm the amplifier, rob the amplifier of headroom, and generate waste heat at the loudspeakers voice coil. One amplifier, the professional audio model DC300 made by Crown International beginning in the 1960s, did not have high-pass filtering at all, and could be used to amplify the DC signal of a common 9-volt battery at the input to supply 18 volts DC in an emergency for mixing console power. However, that model's basic design has been superseded by newer designs such as the Crown Macro-Tech series developed in the late 1980s which included 10 Hz high- pass filtering on the inputs and switchable 35 Hz high-pass filtering on the outputs.
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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.
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While implemented in dozens of European and Japanese consumer device models and acoustically much superior to other systems such as Dolby B, C, dbx, or Super D, the High Com family of systems never gained a similar market penetration. This was caused by several factors, including the existing pre-dominance of the Dolby system, with Dolby Laboratories introducing the "good enough" Dolby C update (with up to 15 dB A-weighted improvement) in 1980 as well, and also by the fact that High Com required higher quality tape decks and tapes to work with in order to give satisfactory results. High-Com II even required calibration of the playback level using a 400 Hz, 0 dB, 200 nWb/m calibration tone for optimum results, and with prices in the several hundred dollars for the external Nakamichi compander box it was much too expensive to be used by many people outside the small group of audiophiles using high-end tape recorders or open-reel decks. When AEG-Telefunken struggled financially in 1981/1982 and the Hannover development site was partially disbanded and refocused on digital technologies in 1983, this also put the High Com development to an end.
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