Making Animal Sound Recordings

Total Page:16

File Type:pdf, Size:1020Kb

Making Animal Sound Recordings Making animal sound recordings An introduction to the science-- and art--of recording and annotating bird and other animal sounds by Richard Bradley• Introduction Nearly all early work in bioacoustics, as well as much of the current literature, deals with three major groups; insects, anuran B IOACOUSTICS,has come intothe activestudy of focusanimal relatively sounds, amphibians,and birds. A quick tally of papers recently. Although some valuable work was dealingwith acousticcommunication in birds done on a variety of species prior to the demonstratesthe rapid growth in this field 1940s, most of the research in this field (Fig. 1). With the tape specimensin hand, beganwith the introductionof easilyportable workerscan carefullyand objectivelyanalyze soundrecording equipment in the mid-1950s. acoustic signals used by animals for com- munication. Currently, work in bioacoust•cs isexpanding rapidlyinto almost everytaxon 300 - and most environments. New recording equipment has opened up the underwater acoustic environment as well as the ultra- sonic and subsonicranges. Amateurs as well as professionals are 200- producingan increasingnumber of new re- cordings,many of which have great poten- tial value. Unfortunately, few workers are careful to include all pertinent data neces- sary to complete a specimen. This paper 100- is meant to serve as a guide for both the serious student and the casual recordist to insure that their recordings are valuable scientificspecimens. Many people are familiar with recordings 44-48 49-53 54-58 59-63 64-68 69-74 of animal sounds now available on commer- YEARS cially publishedphonograph discs. Although Figure 1. Growth in bird song research as indi- cated by the number of technicalpapers published x Associate in Natural Sciences, Florida State since 1944 Museum, Gainesville, Fla 32611 Volume 31, Number 3 279 these discs perform a useful service, they stantly changingtheir machinery and tech- are of secondaryimportance to scientific niques to conform to the flux in the "state investigators. Most of them are produced of the art" in electronics. This does not from recordingshoused in various private mean that others limited to less sophisti- and institutional sound archives, and are cated equipment cannot produce valuable usually presentationsof typical examples of recordings. On the contrary, excellent re- well documented sounds. Perhaps the most cordings can now be made by the serious famous sound archive, established by Peter amateur on equipment that is readily avad- Paul Kelloggand Arthur A. Allen, is housed able on the retail market for under $300. at the Laboratory of Ornithology, Cornell Two basic types of tape recorders are in University. Many other fine archives exist, use today. One type uses nalTOW(¬ in.) and scientificanimal sound specimencollec- magnetic tape enclosed in a sealed unit tions have mushroomed in recent years. A called a cassette (not to be confusedwith preliminary list of sound specimencollec- a cartridge). Another type usestape threaded tions is presentedby Boswall (1974). Sound between two separate plastic reels, and is specimensare cataloguedin the samegeneral usually referred to as open reel or reel- way as in otherscientific collections. Complete to-reel recorder. I will discuss the relative recordingdata are kept with the specimens, characteristics of these two groups below. including notes on the specific behavioral Although investigatorsoccasionally make re- context in which the vocalization was given. cordings of their subject in a laboratory, The material in sound archives is used this paper deals with equipment and tech- by investigatorsin a variety of fields in- niques for work in the field. In addition cluding ethology, ecology, taxonomy and to the many different tape recorders, an evolutionary biology. Although hundredsof equally confusingalTay of microphonescan field recordists have recorded miles of tape be used in bioacousfics. The specific type specimens,much basic information remains of recorder and microphone appropriate for to be documented.In fact, sound specimens any given situation depends upon the type have probably been obtained for fewer than of organism being recorded as well as Its half of the known speciesof birds, the best surroundingenvironment. documentedtaxon. The vocal performances Naturally most workers would like to pro- of myriads of tropical insects, amphibians duce "clean" recordings of an organism's and mammals are totally undocumented. sound, i.e. without extraneous background Recorded specimensfrom aquatic animals noise. However, some noise is usually un- are barely represented.Many of these forms avoidable. In fact, weak recordings of a have complex and interesting acoustic be- rare phenomenonare often more valuable havior. Amateurs can perform a valuable than beautiful clear tapes of more common service by contributing well documented sounds. The use of modern laboratory audio recordings of animal sounds to scientific equipment can often transform so-called collections. "useless" recordings into valuable speci- [Definitions of technical terms italicized mens. m the text may be found in the glossary, Field Notes page 285]. General Methods UTTINGperhapsDATAthe singleWITH most a important specimen step is in bioacousticrecording. It is critically im- RACTICALLYwork in bioacousticsSPEAKING involvesALL MODERNrecord- portant that as much data as possiblebe lng of animal soundsonto magnetic tape. recorded onto the tape at the time of re- The great variety of tape recording equip- cording.In this way the actual specimenand ment now available ranges from barely associateddata are physically linked and suitable to highly sophisticated.The type of confusion or transcription errors are far equipmentused dependstipon convenience less likely. Some identificationinformation of operation,portability as well as monetary should be included on the tape to avoid hnutations. Professional recordists are con- confusion, although notes put on a tape may 280 American Birds, May 1977 often be supplementedby written field notes. TapeRecorders Objections to this technique involve "wast- lng" tape for voice comments by the re- HE TWOBASIC TAPE systems used •n cordist, but experience with reels of "no bioacoustics are the cassette and open data" recordings has convinced me of the reel systems. Cassette recorders have been importance of putting data on the original shunned for many years for high quahty field tape. recordings because of several inherent prob- The minimum data that should be re- lems. corded on the tape includes: the name of Early cassettemachines had several d•sad- the organism, the location, date, time and vantages. The most important was the slow weather data where possible. Additionally, tape speed which is used for all cassette it is important to add notes on the context recorders--1.5 inches per second (ips). The of the vocal behavior. In some cases a upperfrequency responsewas usually limited statement like "singing from the top of a to about 8000 Hz. Tape speed control was bare tree" is sufficient. In other cases a also poorer than open reel machinesoperat- description of a particular display or inter- ing at higher speeds. The thin tape used •n action may be more appropriate.The more cassette recorders often resulted in a poor relevant data that are included, the more signal-to-noise ratio. These two problems valuable is the specimen. Most recordists have been largely eliminated in cassette will not wish to •'talk on top of" their technology,and modem high quality portable recordings. Unless one has the facility cassette decks are available that y•eld for recording a separate voice track simul- superior results. These are often more com- taneously, it is customaryto wait for a pause pact and convenient than the standard open •n or the end of a recording for notes. A reel machines. short note giving the name of the organism One important factor in this improvement •s often inserted near the beginning of a has been the development of chromium particular cut. This will aid during the dioxide cassettes. The chief complaint re- cataloging procedure. maining is that cassette tapes are difficult Use of an organism's scientific name is to edit compared to open reel tapes. Open preferred over its common or vernacular reel machines are usually heavier and less designation. If the vocalizer is not seen, convenient to operate. The finest open reel th•s should be noted because, at least in machines still maintain somewhat superior the case of birds, imitation is often a pos- quality to the best cassettemachines. sible source of misidentification. The loca- When selecting a tape recorder one must non should be described as the distance and balance quality and convenienceagainst eco- d•rection from a town or city, or other nomic factors. In general, inexpensive open geographic landmark, or coordinates. The reel machines give better performance than country, state and county should be in- inexpensive cassette machines. RelaUvely cluded where appropriate. Weather data inexpensive cassette recorders such as the should indicate sky and wind conditions Sony C-108 (ca $150) are probably the and air or water temperature. In the case best bet for the occasional recordist. For of amphibians it is particularly important more serious investigators who wish to have to take temperature readingsfrom the water good quality at a reasonable price, the ff the subject is partly submerged. Uher 4200 (ca $675) and Tandberg II (ca For conveniencea shorthandnotation may
Recommended publications
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Antarctica: Music, Sounds and Cultural Connections
    Antarctica Music, sounds and cultural connections Antarctica Music, sounds and cultural connections Edited by Bernadette Hince, Rupert Summerson and Arnan Wiesel Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Antarctica - music, sounds and cultural connections / edited by Bernadette Hince, Rupert Summerson, Arnan Wiesel. ISBN: 9781925022285 (paperback) 9781925022292 (ebook) Subjects: Australasian Antarctic Expedition (1911-1914)--Centennial celebrations, etc. Music festivals--Australian Capital Territory--Canberra. Antarctica--Discovery and exploration--Australian--Congresses. Antarctica--Songs and music--Congresses. Other Creators/Contributors: Hince, B. (Bernadette), editor. Summerson, Rupert, editor. Wiesel, Arnan, editor. Australian National University School of Music. Antarctica - music, sounds and cultural connections (2011 : Australian National University). Dewey Number: 780.789471 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press Cover photo: Moonrise over Fram Bank, Antarctica. Photographer: Steve Nicol © Printed by Griffin Press This edition © 2015 ANU Press Contents Preface: Music and Antarctica . ix Arnan Wiesel Introduction: Listening to Antarctica . 1 Tom Griffiths Mawson’s musings and Morse code: Antarctic silence at the end of the ‘Heroic Era’, and how it was lost . 15 Mark Pharaoh Thulia: a Tale of the Antarctic (1843): The earliest Antarctic poem and its musical setting . 23 Elizabeth Truswell Nankyoku no kyoku: The cultural life of the Shirase Antarctic Expedition 1910–12 .
    [Show full text]
  • Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme
    Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alan Campbell, B.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee Ryan T. Skinner, Advisor Danielle Fosler-Lussier Barry Shank 1 Copyrighted by Matthew Alan Campbell 2019 2 Abstract For members of the United States Armed Forces, communicating with one’s loved ones has taken many forms, employing every available medium from the telegraph to Twitter. My project examines one particular mode of exchange—“audio letters”—during one of the US military’s most trying and traumatic periods, the Vietnam War. By making possible the transmission of the embodied voice, experiential soundscapes, and personalized popular culture to zones generally restricted to purely written or typed correspondence, these recordings enabled forms of romantic, platonic, and familial intimacy beyond that of the written word. More specifically, I will examine the impact of war and its sustained separations on the creative and improvisational use of prosthetic culture, technologies that allow human beings to extend and manipulate aspects of their person beyond their own bodies. Reel-to-reel was part of a constellation of amateur recording technologies, including Super 8mm film, Polaroid photography, and the Kodak slide carousel, which, for the first time, allowed average Americans the ability to capture, reify, and share their life experiences in multiple modalities, resulting in the construction of a set of media-inflected subjectivities (at home) and intimate intersubjectivities developed across spatiotemporal divides.
    [Show full text]
  • Econ Board Wants More Info
    1A WEEKEND EDITION FRIDAY & SATURDAY, OCTOBER 12 & 13, 2012 | YOUR COMMUNITY NEWSPAPER SINCE 1874 | 75¢ Lake City Reporter LAKECITYREPORTER.COM EVENTS CENTER ‘A lot of pink’ PROPOSAL Econ Oct. 12 board Classic car parade On Friday, Oct. 12 from 6 to 9 p.m. American wants Hometown Veteran Assist Inc. will host a cruise in and classic car parade at Hardees on U.S. 90. All of more the proceeds benefit local veterans. Oct. 13 info Monument rededication Please join the Sons of Possible Ellisville Confederate Veterans and location prompts the United Daughters of the Confederacy on questions. Saturday, Oct. 13 at 11 a.m. for the Rededication of the By TONY BRITT Confederate Monument, [email protected] which was originally dedi- cated 100 years ago. The Columbia County Economic Development Department board of direc- Zumba charity tors is Zumba to benefit local interested breast cancer awareness in the Oct. 13 from 5:30 to 7 p.m. at c o u n t y ’ s the Teen Town Recreation JASON MATTHEW WALKER/Lake City Reporter proposed Building, 533 NW Desoto Lake City resident Marcelle Bedenbaugh is in the market for a pink flamingo after attending the Standing up to Breast e v e n t s St. The Zumbathon Charity Cancer luncheon Thursday. ‘I’ve had breast cancer two times. I enjoyed the chemo the first time I said what the heck, c e n t e r , Event will benefit the I’ll do it again,’ Bedenbaugh joked. but wants Suwannee River Breast Quillen m o r e Cancer Awareness Assn.
    [Show full text]
  • Createworld 2011 Proceedings [PDF]
    CreateWorld 2011 Proceedings CreateWorld11 Conference 28 November - 30 November 2011 Griffith University, Brisbane Queensland Australia Editors Michael Docherty :: Queensland University of Technology Matt Hitchcock :: Griffith University, Qld Conservatorium CreateWorld 2011 Proceedings of the CreateWorld11 Conference 20 - 30 November Griffith University, Brisbane Queensland Australia Editor Michael Docherty :: Queensland University of Technology Matt HItchcock :: Griffith University Web Content Editor Andrew Jeffrey http://www.auc.edu.au/Create+World+2011 ISBN: 978-0-947209-38-4 © Copyright 2011, Apple University Consortium Australia, and individual authors. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without the written permission of the copyright holders. CreateWorld 2011 Proceedings of the CreateWorld11 Conference 28 - 30 November, 2011 Griffith University, Brisbane Queensland Australia Contents Robert Burrell, Queensland Conservatorium, Griffith University 1 Zoomusicology, Live Performance and DAW [email protected] Dean Chircop, Griffith Film School (Film and Screen Media Productions) 10 The Digital Cinematography Revolution & 35mm Sensors: Arriflex Alexa, Sony PMW-F3, Panasonic AF100, Sony HDCAM HDW-750 and the Cannon 5D DSLR. [email protected] Kim Cunio, Queensland Conservatorium Griffith University 18 ISHQ: A collaborative film and music project – art music and image as an installation, joint art as boundary crossing. [email protected]; Louise Harvey,
    [Show full text]
  • Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound Susan Schmidt Horning
    ABSTRACT At the dawn of sound recording, recordists were mechanical engineers whose only training was on the job. As the recording industry grew more sophisticated, so did the technology used to make records, yet the need for recording engineers to use craft skill and tacit knowledge in their work did not diminish. This paper explores the resistance to formalized training of recording engineers and the persistence of tacit knowledge as an indispensable part of the recording engineer’s work. In particular, the concept of ‘microphoning’ – the ability to choose and use microphones to best effect in the recording situation – is discussed as an example of tacit knowledge in action. The recording studio also becomes the site of collaboration between technologists and artists, and this collaboration is at its best a symbiotic working relationship, requiring skills above and beyond either technical or artistic, which could account for one level of ‘performance’ required of the recording engineer. Described by one studio manager as ‘a technician and a diplomat’, the recording engineer performs a number of roles – technical, artistic, socially mediating – that render the concept of formal training problematic, yet necessary for the operation of technically complex equipment. Keywords audio engineering, aural thinking, ‘microphoning’, sound recording, tacit knowledge Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound Susan Schmidt Horning Listening to recorded music can be a deeply personal experience, whether through headphones to a portable compact disk (CD) player or to ‘muzak’ intruding on (or enhancing) our retail shopping experience (DeNora, 2002); whether seated in an automobile (Bull, 2001, 2002), at a computer, or in the precisely positioned audiophile listening chair (Perlman, 2004).
    [Show full text]
  • The Smooth Space of Field Recording
    1 The Smooth Space of Field Recording Four Projects Sonicinteractions, Doublerecordings, “Dense Boogie” and ‘For the Birds’ Ruth Hawkins Goldsmiths, University of London PhD MUSIC (Sonic Arts) 2013 2 The work presented in the thesis is my own, except where otherwise stated 3 Acknowledgments Many thanks to Dr John Levack Drever, who supervised this thesis, and to the following individuals and organizations who gave me permission to record their work; provided information, technical and other support; and gave me opportunities to publish or screen parts of the work presented here. Sebastian Lexer. Natasha Anderson; Sean Baxter; David Brown; Rob Lambert; John Lely; Anthony Pateras; Eddie Prevost; Seymour Wright. Oliver Bown; Lawrence Casserley; Li Chuan Chong; Thomas Gardner; Chris Halliwell; Dominic Murcott; Aki Pasoulas; Lukas Pearce; Alejandro Viñao; Simon Zagourski-Thomas. Anya Bickerstaff. Lucia H. Chung. Dr Peter Batchelor; Marcus Boon; Mike Brown; Brian Duguid; Prof Elisabeth Le Guin; Dr Luciana Parisi; Prof Keith Potter; Dr Dylan Robinson; Geoff Sample. Rick Campion; Emmanuel Spinelli; Ian Stonehouse. David Nicholson; Francis Nicholson. Dr Cathy Lane; Dr Angus Carlyle - CRiSAP; Prof Leigh Landy; Dr Katharine Norman - Organised Sound; Helen Frosi - SoundFjord; EMS; Unit for Sound Practice Research - Goldsmiths, University of London. 4 Abstract This practice/theory PhD focuses on four projects that evolved from a wider objects, each of the projects was concerned with the ways in which ‘straight’ recording and real-world environments. The dissertation and projects attempt to reconcile, what has been depicted within the acoustic ecology movement as, the detrimental effects of ‘millions’ of recording productions and playbacks on individuals and global environments, by exploring alternative conceptions of environmental recorded sound.
    [Show full text]
  • The BBC Folk Music and Dialect Recording Scheme (1952-57) As Its Case Study, Tuning Into a Particular Form of Radio Fieldwork
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. National Phonography Field Recording and Sound Archiving in Postwar Britain Tom Western Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music University of Edinburgh 2015 i Declaration I hereby declare that this thesis, submitted in candidature for the degree of Doctor of Philosophy at the University of Edinburgh, and the research within it is my own work, except where explicitly stated in the text, and has not been submitted for any other degree or professional qualification. _______________________ Tom Western 10 August 2015 ii iii Contents List of Figures v Abstract vi Acknowledgements vii Introduction 1 1. Locating National Phonography in the Literature 1.1 Recorded Music 21 1.2 Ethnomusicology, Technology, History 25 1.3 Defining Phonography 30 1.4 Applying this to Folk Musics in Britain 35 2.
    [Show full text]
  • Bytes and Backbeats: Repurposing Music in the Digital
    ͭ Bytes and Backbeats ͭ Bytes and Backbeats Repurposing Music in the Digital Age steve savage the university of michigan press / ann arbor Copyright © by the University of Michigan 2011 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2014 2013 2012 2011 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Savage, Steve, 1948– Bytes and backbeats : repurposing music in the digital age / Steve Savage. p. cm. — (Tracking pop) Includes bibliographical references and index. ISBN 978-0-472-11785-7 (cloth : alk. paper) — ISBN 978-0-472-02773-6 (e-book) 1. Popular music—Production and direction. 2. Sound recordings— Production and direction. I. Title. ML3470.S32 2011 781.6409'051—dc22 2011007217 for tamara Together we explored the world while I explored this world. Preface Several of the gracious readers of this book in its various drafts suggested that I should include some biographical information to help orient the reader to this work. I suppose all authors have a story about what brought them to their book, but perhaps in this case it is particularly relevant. My story begins with a career as a drummer during which time I played in nu- merous unsuccessful rock bands, learned some jazz without ever coming close to mastering it, studied and performed African music with a master drummer from Ghana, and spent a couple of years actually making a liv- ing as a musician playing in a dance band.
    [Show full text]
  • THE WELL-TEMPERED AUDIO DRAMATIST a Guide to the Production of Audio Plays in Twenty-First Century America Yuri Rasovsky
    K THE WELL-TEMPERED AUDIO DRAMATIST A Guide to the Production of Audio Plays in Twenty-First Century America Yuri Rasovsky The National Audio Theater Festivals, Inc. Hamstead, NY This book was made possible in part by grants from The National Endowment for the Arts © 2006 Yuri Rasovsky. All rights reserved. to Michelle M. Faith without whom I’d have had no career and far less aggravation CONTENTS Introduction by Norman Corwin One Give Me a Break! Two Overview Three Project Management Four The Production Assistant Five The Script Six Manuscript Formats Seven Microphone Acting Eight Casting Nine Blocking in Stereo Ten Directing Actors Eleven Foley Sound Effects Twelve Production Appendices i Audio Dramatist’s Lexicon xxx Professionalism and Studio Etiquette xxxii Handy Forms xliii Credits and Announcements l Further Study lii Acknowledgments The Well-Tempered Audio Dramatist Introduction Early in June, 2006, I received the following letter: Dear Norman: The enclosed tome is being published by the National Audio Theater Festivals for those misguided beginners who want to pursue an iffy career in audio drama. I wrote it hoping to provide a service to the profession that you and I have toiled at longer than any other living souls in the U.S. of A. People can download it free from the Internet or buy this print version. All proceeds go to the NATF. Can you be persuaded to write an introduction? It can be as long or as short as you wish. Say whatever you think you should about this book, me and/or radio plays. It is signed, El Fiendo.
    [Show full text]
  • High Fidelity Magazine June 1956
    ify. I Ai 1. 1i Ijj AGAZINE FOR MUSIC LIST ENERS a 50 CENTS 1 0 i A DISCOGRAPHY BY HAROLD SCHONBERG www.americanradiohistory.com cuuliatape now offers you THE MOST COMPLETE LINE of recording tape and accessories O PLASTIC -BASE AUDIOTAPE O TYPE "LR" AUDIOTAPE O TYPE "EP" AUDIOTAPE The finest, professional quality recording Made on 1 -mil i\lylare polyester film, it Extra Precision magnetic recording tape for tape obtainable - with maximum fidelity, provides 50% more recording time per reel. tclemctering, electronic computers and other uniformity. frequency response and freedom The thinner, stronger hase material assures specialized data recording applications. from background noise and distortion. ntaxinutnt durability and longer storage life O ADHESIVE REEL LABELS COLORED AUDIOTAPE even tinder adverse conditions. O Provide positive identification of your tapes. Same professional quality as above, but on O SELF -TIMING LEADER TAPE right on the reel. blue or green plastic base. Used in conjunc- A durable, white plastic leader with spaced tion with standard red -brown tape, it pro- markings for accurate timing of leader in- HEAD ALIGNING TAPE vides instant visual identification of recorded tervals. Test frequencies, pre -recorded with precisely selections spliced into a single reel - fast, correct azimuth alignment, permit accurate easy color cueing and color coding. Avail- O SPLICING TAPE aligning of magnetic recording heads. able at no extra cost! Permacel 91 splicing tape is specially formu- lated to prevent adhesive from O AUDIO HEAD DEMAGNETIZER O COLORED AUDIOTAPE REELS squeezing out, drying up or becoming brittle. Completely removes permanent magnetism Plastic 5" and 7" Audiotape reels in attrac- from recording heads in a few seconds.
    [Show full text]
  • The Bullet That Saved the World the Bullet That Saved the World Is the Fourth Episode of the Fifth Season of FRINGE
    Introduction The Bullet That Saved The World The Bullet That Saved The World is the fourth episode of the fifth season of FRINGE. It first aired on 26 October, 2012. Losing their anonymity in Walter's Lab, the science team is forced to make a bold grab for written technical plans left in a childhood hiding place that Walter remembers. Windmark and Broyles intervene and the team is driven-off with a devastating personal loss. Synopsis Prologue Late at night in a rundown section of Boston, the high-speed trains rattle the cold Season: 5 Episode: 4 Air Date: 26 Oct 12 evening as the drum fires Written by: Alison Schapker keep the locals warm. Directed David Straiton Peter is out and about on by: a special mission - Starring: Main Characters scavenge some fuel by Guest Cast: Georgina Haig as Henrietta Bishop siphoning gas from the Michael Kopsa as Captain Windmark tanks of parked vehicles. Edward Foy as Holden With a small carry can in- Michael Rogers as Mueller Andrew Hedge as Observer Under Bridge hand, the goal is met and H. A. Hunter as Store Clerk Peter starts to leave the Kasey Kieler as Loyalist With Tracker blighted neighborhood. He passes the storefront of a Peter Abrams as Security Tester small business that is still open and notices an old Steve Makaj as Loyalist Commander Jaren Moore as Loyalist Guard #1 collectible in the window... the wind-up mechanical Nathan Dales as Loyalist Guard #2 monkey clapping cymbals calls him inside on a second Graham Myers as Loyalist Guard #3 task for the night.
    [Show full text]