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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. -
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 ........................................................................................................................................ -
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. -
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. -
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. -
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. -
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 .................. -
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. -
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. -
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). -
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. -
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