Collection of Physical Objects

Total Page:16

File Type:pdf, Size:1020Kb

Collection of Physical Objects •1 A GUIDE TO THE All object photographs & notes by John Kannenberg. Items in the Physical Objects Collection are available for view by our visitors. Please request any physical objects you would like to inspect when arranging your visit. We apologise for any inconvenience caused. DONATIONS ARE WELCOME. 2• Sony Walkman model WM-11D. The First Compact Disc. PHYSICAL OBJECT 1 PHYSICAL OBJECT 2 Sony Walkman WM-11D The First Compact Disc Japan, 1985 Philips Classics Japan, 1980 Four years after Sony released the original Walkman portable cassette player, they The first commercially available Compact released the WM-11D, a fairly standard Disc was released by Philips Classics in model whose only standout feature was its 1980. The original recording for the ability to ‘auto-stop’ playing a tape when album was made in 1979. In a ceremony it was finished. It originally retailed for to launch the beginning of the manufacture US$35. of the disc, musician Claudio Arrau was invited to the factory to press the ‘start’ Please note: button on the machinery. The Museum’s copy of this object is broken and does not function. Please be aware of this if you request to examine this object in person. We apologise for any inconvenience caused. •3 Sharp MiniDisc recorder, User’s Manual, and unopened MiniDisc, donated to the collection by Lydie Valentin. PHYSICAL OBJECT 3 Sharp Minidisc Recorder France, 1990 As the Compact Disc format became the standard for music distribution, usage of other formats such as the LP record and the audio cassette rapidly – but as we have seen recently, temporarily – faded away. In an attempt to fill the gap left by the ‘death’ of the audio cassette, the Mini- Disc format was launched in 1992 – a tiny recordable compact disc that was capable of making digital recordings that was also easily re-recordable, unlike the confusing CD-R and CD-RW formats. Only about half the size of a standard CD, the MiniDisc was nonetheless capable of storing the same amount of CD-quality audio. The MiniDisc never caught on with mainstream listening audiences; however, it was briefly embraced by field recordists as an alternative to the bulkier DAT (Digital Audio Tape). Once MP3 players began to capture the market, demand for the MiniDisc slowly faded, until all production of them was shut down for good in 2013. 4• iPod Classic. iPhone 4S. PHYSICAL OBJECT 4 PHYSICAL OBJECT 5 iPod Classic 160GB iPhone 4S 32GB US, 2012 US, 2014 At 160GB in capacity, the iPod Classic was The mobile phone that houses The Museum a way for a listener to carry their entire of Portable Sound also happens to be an audio collection with them wherever they object in the Museum’s collection – which went. Unfortunately, as times have changed means that when you visit the Museum, along with business models, the emphasis not only are you holding an entire museum on ownership of music has been eroded in your hand, but you’re also holding a until streaming audio has replaced it; in single object from its collections – frankly, order to stream audio, you need a data we find this to be a fascinating paradox! transfer connection, either WiFi or Add to this the fact that you can also listen mobile phone data. This means that to this iPhone’s electromag- portable listening is gradually shifting netic field as one of the over to mobile phones, leaving standalone permanent collection audio devices like the iPod looking a bit objects (see page 55, Object old fashioned. 3), and things go from paradoxical to downright metaphysical. No need to make a special request to inspect this item, it’s always available whenever knowyourmeme.com/memes/mind-blown you visit The Museum of Portable Sound! Image courtesy •5 Ukrainian radio front (above) and inscription on FM3 Buddha Machine v.2 (purple). bottom reverse (below). PHYSICAL OBJECT 6 PHYSICAL OBJECT 7 AM/FM Radio FM3 Buddha Machine v.2 Ukraine, 1988 China, 2008 Kate Yonova-Doing, the donor of this piece A self-contained portable sound machine, to our collections: ‘I wanted to tell you that the Buddha Machine was created by the my 85 year old grandma is donating her band FM3 and intended as a pre-loaded radio (made 1988 in Ukraine, still working) loop-playing device. Each Buddha Machine to the Museum of Portable Sound. It was came with a built-in speaker, a combined her best friend for the last 27 years and is power switch and volume control wheel, one of my favourite objects at home. and a chip containing nine pre-recorded With its help my musical culture was sound loops created by the band. Our object formed from classical music to alternative is the second version of the Machine that and modern composed etc...[S]he saved it was released in 2008, and which added a from going to the trash, and I [brought] it pitch control in addition to the nine new to London, [where] she hopes it will find loops contained on its chip. a happy new home in your museum.’ 6• Portuguese disposable earbuds, donated by Lara Torres. Olympus Pearlcorder S711 microcassette recorder, donated by Matthew Sansom. PHYSICAL OBJECT 8 PHYSICAL OBJECT 9 Disposable Earbuds Olympus Pearlcorder S711 Portugal, 2016 Tokyo, 1990s When traveling on the Alfa train line in Olympus created the Microcassette format Portugal, it is possible to obtain a free set in 1969. The format was primarily used for of disposable earbuds for listening to the recording voice, and became a standard for on-board entertainment. Our earabuds dictaphone machines. Its variable speed were obtained on a train travelling from allowed for recording up to three hours on Lisbon to Algarve. a single 90-minute microcassette. Later models of the S711 were available in Please note: ‘champagne gold’ or blue, and had a slightly The Museum intends to keep these earbuds more swooping, tapered design. mint in package, so if requesting to inspect The Museum’s S711 came with an opened them, we will not allow you to open the microcassette still inside; we have yet to package. listen to its contents. We apologise for any inconvenience caused. •7 Olympus XB60 microcassette in package, donated by Normal bias audio cassettes in original packaging Matthew Sansom. (lot of two), donated by Matthew Sansom. PHYSICAL OBJECT 10 PHYSICAL OBJECT 11 Olympus XB60 Microcassette Normal Bias Audio Cassette Tapes Shinjuku, Date Unknown Shropshire & Germany, 1990s The Microcassette has proven to be a Bias in magnetic tape refers to a magnetic stalwart recording format, particularly signal applied to the tape as it is being due to its longstanding use as the primary recorded; the higher the bias signal, the format of dictation machines. While some higher the sound quality, particualrly in Microcassettes are still available for the high end of the recorded signal. High purchase, Olympus and other producers bias cassette tapes exhibit much less ‘tape discontinued their manufacture in the hiss’ than normal bias tapes do. These two hopes that customers would switch to normal bias tapes were manufactured by digital recorders. Maxell (Shropshire) and Emtec (Germany). Please note: Please note: The Museum intends to keep this object mint The Museum intends to keep these objects mint in package, so if requesting to inspect it, in package, so if requesting to inspect them, we will not allow you to unwrap it. we will not allow you to unwrap it. We apologise for any inconvenience caused. We apologise for any inconvenience caused. 8• Impega CD-RW 650MB, donated by Matthew Sansom. HHB DAT65 Digital Audio Tape, donated by Matthew Sansom. PHYSICAL OBJECT 12 PHYSICAL OBJECT 13 Impega CD-RW 650MB HHB DAT65 Digital Audio Tape Switzerland, pre-2010 Toronto, Date Unknown Swiss office products brand Impega was Initially released by Sony in 1987, Digital a significant presence on the European Audio Tape was initially intended to be a recordable media market before it was replacement for magnetic audio tape. acquired by Lyreco, who replaced the Instead of recording an analogue signal, Impega branding with its own name in DAT tape stored its recorded information 2010. digitally at CD quality or higher. Its high fidelity was to be its death warrant, as the Please note: recording industry helped block DAT’s The Museum intends to keep this object mint implementation as a widespread audio tape in package, so if requesting to inspect it, replacement due to fears of consumers we will not allow you to unwrap it. being able to make perfect copies of Compact Discs. DAT tape became a niche We apologise for any inconvenience caused. product for musicians and field recordists, but its quirky combination of digital record- ings with analogue retrieval proved unwieldy upon the widespread adoption of recordable CDs. Please note: The Museum intends to keep this object mint in package, so if requesting to inspect it, we will not allow you to unwrap it. We apologise for any inconvenience caused. •9 Sony MZ-R30 Minidisc Walkman recorder with extra Nature Observing-Recording & Playback Dish, battery pack, donated by Matthew Sansom. donated by Matthew Sansom. PHYSICAL OBJECT 14 PHYSICAL OBJECT 15 Sony MZ-R30 Minidisc Walkman Nature Observing-Recording Japan, 1996 & Playback Dish China, 2007 The Sony MZ-R30 Minidisc Walkman was released in 1996, featuring one major Intended primarily for bird-watching innovation which set it apart from its (although that may have been a ruse to get competition: a vertical-scrolling ‘jog wheel’ around the morally grey area of selling which aided in entering track information surveillance toys), this all-in-one handheld in the recorder’s tiny LCD interface screen spy kit includes a parabolic dish for ampli- much easier than other Minidisc recorder fying distant sounds and a ‘monocular’ for interfaces.
Recommended publications
  • The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
    L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic.
    [Show full text]
  • Sony Corporation
    SONY CORPORATION GRIFFIN CONSULTING GROUP Hao Tang Rahul Misra Ellie Shanholt April 2012 CONTENTS Executive Summary ..................................................................................................................... 3 Company Overview and History .............................................................................................. 4 Financial Analysis ........................................................................................................................ 6 Liquidity .................................................................................................................................... 6 Profitability ............................................................................................................................... 7 Operating Efficiency ................................................................................................................ 9 Stock Performance ................................................................................................................... 9 Segments and Locations ........................................................................................................ 12 Competitive Analysis ................................................................................................................ 14 Internal Rivalry: ..................................................................................................................... 14 Entry ........................................................................................................................................
    [Show full text]
  • Vinyl Theory
    Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
    [Show full text]
  • THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M
    THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development.
    [Show full text]
  • Sony Network Walkman NW-MS70D
    Product Evaluation Sony Network Walkman NW-MS70D I have chosen the Sony Network Walkman music player for evaluation. It was introduced in February 2003 as a replacement for other MP3 players and to compete with other products like the iPOD. It is not just an MP3 player as other music formats can be used. It is especially good at recording tracks or whole CDs. Music is transferred through a PC with Sony’s SonicStage software. Technical Specification Interface(s) Original USB Platforms Windows 98 to Windows XP Dimensions 36.4 x 48.5 x 18.0 mm Weight 54g Playable music format(s) ATRAC3 plus, ATRAC3 Sound Stereo Battery life 33 hrs. Storage 256MB built-in flash memory Storage expansion type 1 Memory Stick Duo slot FM tuner No Voice recording No Software SonicStage 1.5, OpenMG Jukebox software Inputs / outputs Headphone jack Extras? Rechargeable via USB port Power source Non-removable, rechargeable Ni-MH battery Warranty One year 1 Product Evaluation Manufacturer’s Product Description Sony's NW-MS70D Network Walkman Digital Music Player is the latest solution from Sony for listening to digital music on the go. Small enough to carry in your pocket or purse, this titanium device comes equipped with 256MB of embedded memory allowing you to store 178 songs. The Internal Battery provides up to 33 hours of continuous Playback (ATRAC3 Playback), and the Magic Gate Memory Stick Duo expansion slot allows you to take along even more music! The NW-MS70D also plays back ATRAC3 Audio, supports MP3, WMA and WAV, and is supplied with Music Management Software for creating music mixes for transfer at super fast speed.
    [Show full text]
  • David Bowie's Urban Landscapes and Nightscapes
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context.
    [Show full text]
  • Congratulations on Your Purchase of the Sony Ericsson W580i. for Additional Phone Content, Go To
    Congratulations on your purchase of the Sony Ericsson W580i. For additional phone content, go to www.sonyericsson.com/fun. Register now to get free online storage and special offers at www.sonyericsson.com/myphone. For product support, go to www.sonyericsson.com/support. This is the Internet version of the User's guide. © Print only for private use. Added dimensions – Accessories from Sony Ericsson Portable Speakers MPS-70 Small yet powerful speakers that fit in your pocket. Stereo Portable Handsfree HPM-83 Designed for powerful sound. Music Cable MMC-70 Connects your music mobile phone to your stereo system. The full range of accessories may not be available in every market. For more information visit www.sonyericsson.com/accessories. This is the Internet version of the User's guide. © Print only for private use. Contents Getting started ................... 4 Fitness application .......... 46 Assembly, SIM card, battery, turning Step counter, calorie counter, laps, on, help, calls speed, advanced calibration, fitness options Getting to know the phone ............................ 8 Connectivity ..................... 49 Settings, using Internet, RSS, Phone overview, icons, menus, synchronizing, Bluetooth™ device, entering letters, activity menu, File USB cable, update service manager, Memory Stick Micro™ (M2™) More features ................... 57 Calling ............................... 18 Alarm clock, calendar, tasks, profiles, Calls, contacts, voice control, call time and date, SIM card lock options Troubleshooting ............... 62 Messaging ........................ 28 Why doesn’t the phone work the way I want it to? Text messaging, picture messaging, voice messaging, email, My friends Important information ...... 65 Imaging ............................. 36 Sony Ericsson Consumer Web site, service and support, safe and efficient Camera, pictures, PhotoDJ™ use, end user licence agreement, Entertainment ..................
    [Show full text]
  • To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibli
    CC:DA/MLA/2002/2 August 22, 2002 page 1 To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibliographic Control Committee Subcommittee on Descriptive Cataloging Re: 4JSC/CCC/6: Expanded response to 4JSC/CCC/6 & Rule revision proposal for 6.5B to include optional conventional term qualifiers The Subcommittee on Descriptive Cataloging and the Bibliographic Control Committee of the Music Library Association have given consideration to the CCC proposal to revise 6.5B1 to record the specific format of the physical carrier using conventional terminology as the base rule and the current instructions as the option. Our initial comments were presented in an earlier document. This is a slightly expanded version, which includes our response to 4JSC/CCC/6 and lays out our counter-proposal in its entirety. Part I: Response to 4JSC/CCC/6 MLA adamantly opposes the CCC proposal as it currently stands. While we agree there is a benefit in introducing the possibility of more flexible terminology in Area 5, we strongly disagree with the suggested revisions. Our main reasons, with short discussion, follow. 1. Lack of adequate justification for the rule change The chief reason for this proposal, consistency of rules across formats, is inadequate justification for the magnitude of the proposed change and its consequences. Changing the rules of one chapter (or more) simply to parallel the rules of a different, unrelated chapter is flawed reasoning in and of itself, much less sufficient grounds for such a major revision. If we were to follow this logic, we would also need to introduce a rule revision for Chapter 2, so that the physical description could state “1 book” or “1 duodecimo.” The further justifying statement that the “revision will allow for greater flexibility, the provision of more meaningful information for end-users and the accommodation of information pertaining to new and emerging formats” is only partially correct.
    [Show full text]
  • Evaluation of Sound Quality of High Resolution Audio
    Proceedings of the 1st IEEE/IIAE International Conference on Intelligent Systems and Image Processing 2013 Evaluation of Sound Quality of High Resolution Audio Naoto Kanetadaa,*, Ryuta Yamamotob, Mitsunori Mizumachi aKyushu Institute of Technology,1-1 Sensui-cho, Tobata-ku, Kitakyushu 804-8550, Japan bDigifusion Japan Co.,Ltd 1-1-68 Futabanosato Higashi-ku Hirosima,7320057 Japan *Corresponding Author: [email protected] Abstract 1. Introduction High resolution audio (HRA), which is recorded in the digital audio format with high sound quality, appears on the In recent years, high resolution audio (HRA), which is audio market. HRA has the quality equal to or better than sampled at 96 kHz or 192 kHz with 24 bits accuracy, is the standard compact disc (CD), and is distributed as the becoming popular in the audio market. HRA is super audio CD (SACD), DVD-audio, Blue-ray audio, and commercially distributed as the lossless encoded file via the a data file through the internet. In this paper, sound quality internet, and is also available in the Blu-ray audio disc. of HRA is investigated in the view point of auditory Compact disc (CD) and lossy compression such as MPEG perception. Perceptual characteristics of HRA have been Audio Layer-3 (MP3) are the current major audio formats examined by listening tests as compared with the standard as the storage medium and the data file, respectively. As a audio CD and the compressed MPEG audio layer-3 (MP3) memory capacity increases and a wide communication qualities. The listening tests were carried out by the method network spreads out, HRA must be increasingly popular.
    [Show full text]
  • Boisvert-Storey-Sony Case Brief
    Storey C204 Summer 2014 Case Study BE MOVED SITUATION Sony Corporation is a 68-year old multinational based in Tokyo. In 2012, the tech giant employed 173,000 people, with corporate headquarters in Japan, Europe, and America. In May 2014, the company was down to 146,300, cutting 26,700 as part of CEO Kaz Hirai’s “One Sony” plan. Recently, the firm eVen sold former office buildings in Tokyo for $156 million (Inagaki). This followed a similar $1.2 billion sale in 2013. After seVeral years of losses, Sony’s situation appears critical. In the last fiscal year, the company lost $1.25 billion. EVen the gaming diVision, where the Playstation console family (PS2, PS3, PS4) is projected to sell 17 million units this year, lost $78 million (Quarterly Results). There are many causes: Sony’s jettisoning of its PC brand Vaio, the poor performance and planned spinoff of Sony’s teleVision diVision, PS4 launch and marketing costs, the struggling PSVita, R&D costs for Sony’s Project Morpheus, and the fluctuation of exchange rate markets. For the current year, Sony is projecting a $489 million loss. How sustainable is Sony’s current business model? Will the success of the PS4 lead to renewed profitability for the games diVision and the company as a whole? Perhaps opportunities in new markets can spark a turn-around. The company’s core businesses are electronic entertainment (Sony Computer Entertainment, Sony Music Entertainment, and Sony Pictures Entertainment) and hardware (Sony Mobile Communications and Sony Electronics). Though it also dabbles in financial serVices, publishing, and medical imaging, electronics represents roughly two-thirds of the corporation’s reVenue (Sony Annual Report 2011, 2013).
    [Show full text]
  • Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
    Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's frst magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the frst Japanese tape recorder.
    [Show full text]
  • NWZ-E370 Series | WALKMAN User Guide
    WALKMAN User Guide Search Print Top page Getting Started NWZ-E373/E374/E375 How to Use the Software User Guide Music Use this manual if you encounter any problems, or have any questions about your “WALKMAN.” Videos/Photos FM Radio Timer Settings Troubleshooting Important Information Specifications Contents list Go to page top Copyright 2012 Sony Corporation 1 WALKMAN User Guide Search Print Top page > Getting Started Getting Started Getting Started How to Use the Software Music Before Use Before first use Videos/Photos How to use this User Guide FM Radio Operation flow of “WALKMAN” Timer What you can do with “WALKMAN” Settings Operation flow to enjoy music Operation flow to enjoy videos and photos Troubleshooting Power/Charging Important Information Turning your “WALKMAN” on and off Specifications Charging the battery About battery life Contents list Initial Settings Selecting the display language [Language Settings] Setting the current time [Set Date-Time] Parts and Controls Parts and controls About the Software About the software Home Menu/Option Menu About the Home menu How to use the Home menu How to use the option menu Go to page top Copyright 2012 Sony Corporation 2 WALKMAN User Guide Search Print Top page > How to Use the Software Getting Started How to Use the Software How to Use the Software Music Windows Media Player Importing music from CDs using Windows Media Player Videos/Photos Transferring music using Windows Media Player FM Radio Content Transfer Timer Transferring music using Content Transfer Settings Transferring videos/photos
    [Show full text]