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L--Ficjfs'------I National Criminal Justice Reference Service
If you have issues viewing or accessing this file contact us at NCJRS.gov. -----------------------------------~---------------.---.~------.--~--------------- l--fiCjfS'--------i National Criminal Justice Reference Service This microfiche was produced from documents received for inclusion in the NCJRS data base. Since NCJRS cannot exercise control over the physical condition of the documents submitted, the individual frame quality will vary. The resolution chart on this frame may be used to evaluate the document quality. 1.0 1.1 U.S. ~t or Jultlcl 111111.8 NlilonallMtftut. or .Julltlee 7111,. oo."'Umt>nt hall bElon reproduC$d exactly all recolved flom tho per$Oo Of organizalloo originating It. Points of view oroplnions stated " 10 thls dccumont IIro those of tho authors and do not necessarily 111111.25 111111.4- 111111.6 1, , f!prrlSOOI Itlo Q't'Iiclal posltlon orpollcllHl of tht! Natlonallnstltulo of JulStiCO. Pormills/on to reproduce this Cepilifjhl.d malarial hall boon \)f8nled~ II, FBI Law Enforcement Bulletin MICROCOPY RESOLUTION TEST CHART NATIONAL BUREAU OF SlANDARDS·1963 A 10 the Nntional Criminal JuilUce Rtlfttrooco Servlco (NCJRS). r:urlhor loproducHon OYtslde of the NCJRS syst.m requlros permls· Glen 01 the ~ ~er. Microfilming procedures used to create this fiche comply with the standards set forth in 41CFR 101-11.504. Points of view or opinions stated in this document are those of the author(s) and do not represent the official position or policies of the U. S. Department of Justice. National Institute of Justice United States Department of Justice Washington, D. C. 20531 6/B/ B4 . l:1 f f',;( S-S3 ~ORCEMENT rr@~@~i© ~©~@m©@ rBI BULLETIN NOVEMBER 1983. -
Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: a Critical Analysis Joel L
Hastings Communications and Entertainment Law Journal Volume 16 | Number 2 Article 4 1-1-1993 Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis Joel L. McKuin Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Joel L. McKuin, Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis, 16 Hastings Comm. & Ent. L.J. 311 (1993). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol16/iss2/4 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Home Audio Taping of Copyrighted Works and The Audio Home Recording Act of 1992: A Critical Analysis by JOEL L. McKuIN* Table of Contents I. Home Taping: The Problem and its Legal Status ....... 315 A. Constitutional and Statutory Background ........... 315 B. Home Taping or Home "Taking"?: The History of Home Taping's Legal Status ........................ 318 C. New Technologies Sharpen the Home Taping Problem ............................................ 321 1. The DAT Debacle .............................. 321 2. Other New Technologies ........................ 322 II. The Audio Home Recording Act of 1992 (AHRA) ..... 325 A. Serial Copy Management System (SCMS) .......... 325 B. Royalties on Digital Hardware and Media .......... 326 C. Prohibition of Copyright Infringement Actions ..... 328 III. -
Delivery of Recorded Music Projects
TECHNICAL DOCUMENT AES TECHNICAL COUNCIL Document AESTD1002.1.03-10 Recommendation for delivery of recorded music projects Nashville members of the P&E Wing of The Recording Academy® formed a Delivery Specifications Committee, and in collaboration with the Audio Engineering Society’s Technical Committee on Studio Practices and Production have created The Delivery Recommendations for Master Recordings document. AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520 . New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520, New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org The Audio Engineering Society’s Technical Council and its Technical Committees respond to the interests of the membership by providing technical information at an appropriate level via conferences, conventions, workshops, and publications. They work on developing tutorial information of practical use to the members and concentrate on tracking and reporting the very latest advances in technology and applications. This activity is under the direction of the AES Technical Council and its Committees. The Technical Council and its first Technical Committees were founded by the Audio Engineering Society in 1979, and standing rules covering their activities were established in 1986, with the intention of defining and consolidating the technical leadership of the Society for the benefit of the membership. The Technical Council consists of the officers of the Technical Council, the chairs of the Technical Committees, the editor of the Journal, and as ex-officio members without vote, the other officers of the Society. -
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. -
Portable Minidisc Recorder MZ-NH900 Recorder Minidisc Portable Portable Minidisc Recorder
3-266-536-11(1) Portable MiniDisc Recorder MZ-NH900 Portable MiniDisc Recorder Operating Instructions Recorder Operation _____________________________page 12 _ Software Operation _____________________________page 106 _ “WALKMAN” is a registered trademark of Sony Corporation to represent Headphone Stereo products. is a trademark of Sony Corporation. MZ-NH900 © 2004 Sony Corporation Information WARNING IN NO EVENT SHALL SELLER BE To prevent fire or shock hazard, do LIABLE FOR ANY DIRECT, not expose the unit to rain or INCIDENTAL OR moisture. CONSEQUENTIAL DAMAGES OF ANY NATURE, OR LOSSES OR EXPENSES RESULTING FROM Do not install the appliance in a ANY DEFECTIVE PRODUCT OR confined space, such as a bookcase or THE USE OF ANY PRODUCT. built-in cabinet. For customers who purchased To prevent fire, do not cover the this product in the USA ventilation of the apparatus with news papers, table cloths, curtains, etc. And Owner’s Record don’t place lighted candles on the The serial number is located at the rear of apparatus. the disc compartment lid and the model number is located at the top and bottom. To prevent fire or shock hazard, do not Record the serial number in the space place objects filled with liquids, such as provided below. Refer to them whenever vases, on the apparatus. you call upon your Sony dealer regarding this product. Certain countries may regulate disposal of Model No. MZ-NH900 the battery used to power this product. Serial No. Please consult with your local authority. Product registration Caution Please register this product on line at The use of optical instruments with this www.sony.com/walkmanreg product will increase eye hazard. -
The Prime Meridian; Interview Bob Stuart
r\li-J!voij_l(-i! T!JUJJ$: :ilirli -i yJSiSi' Si{)U -EEZE-BOJ( ER2006 $uri-hre;rJan€J'$ ^'bJ I IJJ-f*9\9J | { +;tr. -L-lf-l\9 ts,'JEJ€|3 Prear c TETKtllI.nl5I nrnvt* lVleridian's iJ-93 sij]ljVlj talks about lri-rez digital and rnrhy a forrnat urar is the last thing the industry needs ffi HSI.E Cary's ultirnate tutre pqdarnp Affordable po\ /er: Portal's Palaclin arnp Ra)z Sarnuels headpKone arTlp English po\rver frorn Rega French po\ /er frorn Atoll lVlondo WIEIL rnonokrlock j-Jts-:\;ljlY€);l_r\J -FJJSJ-FJ-!V;\ Y=J: LAf,IIM'\RIC F[l.M ECGME$AG[' MERIDIAN THEREARE MANY COTORFUL characters, many high-profilemovers 1994,with DVD-Mcleo on the honzon, Stuartchaired a pressure and shakers,in high-end audio,but there are only a few whosc group,the Aconsncl{cnaissance for Audio (A1{A),whch aimed influence extends far beyond the promotion of their own to make surcthat dre film industn'anclthe electronicscompanies brands.Onc of this exaltedand mighw hatidftil is Robert Sruart, Jidn'tforgcr el'.,ut qualiryin rhcirrush to ofGr l ncw-video "Lrdio chairmanand tccluical director of thc UK's Meridian Audio. fonnat. Thcsc effbrts were rewarclctlbv the inclusionof the wvo- Sofupoken,with a disarming snrile and a puckish senseof chamel, higlr-rcsolution,24-bir/96kHz audio option in the humor,Bob Sruarthas been at the heirn of Mcndiur eversince he DVD-Mdeo stand'rrd,which madc posstblethe DVD-Audio disc. and the outstandingindustrial designcr Allcn Bootluoyd cofound- Meridian wasdrc otily UK cornpan- to bc'comea mernberof dre ed thc companyas Boothroyd-Sutrt h 1977.and in the last 15 I)\D Forum, thc body that detemrne.l rhc DVD specifcation.In yearshas quietly taken on a much largerrole in the industry.In s4rat he calls"thc losslcsssummer" of 1998,Stuart and his team v,rlffi.Ste reop h i le.com, September 2006 57 THEPRIME MERIDIAN showed the DVD Forum music and the noise floor of the recordingvenue, then the hiss how Meridian Lossless of conectly done 16-bit audio is around the room-noiselevel- Packing could make multi- sometimesiCs above it, and thaCsa problem. -
1. Explain CD (COMPACT DISC) TECHNOLOGY
1. Explain CD (COMPACT DISC) TECHNOLOGY A compact disc, also known as a CD, is a plastic optical disc with a metalized surface that is used for digital data storage.. This format was later adapted for storage of data (CD-ROM), write-once audio and data storage (CD-R), rewritable media (CD-RW), Video Compact Discs (VCD), Super Video Compact Discs (SVCD), Photo CD, Picture CD, CD-i, and Enhanced CD. When a compact disc is played, the information is read by a laser and converted into sound that represents an original audio source. The CD's storage capabilities have expanded alongside its technology to read other data like CD-ROM for computers or DVD and Blu-ray for video. A standard CD typically holds 74 to 79 minutes of audio. The CD debuted in 1982 under Philips Electronics and Sony Corporation. The basic compact disc is simple in appearance, but consists of multiple layers. The base layer is polycarbonate plastic which holds the digital data. This layer is topped by an aluminium coating that serves to reflect the laser that reads the disc's information. (In rare instances, silver or gold may be used in place of aluminium). A clear layer of shiny acrylic protects the aluminium. The standard CD has a 12 cm diameter and a 1.2 mm thickness. From its centre outward, it consists of a spindle, a clamping ring, a stack ring, a mirror band, an information area and the rim. The CD's data layer is comprised of billions of tiny indentations called pits that are invisible to the human eye. -
Philips DCC System Description Volume 1
I - - - I DCC System Description Preface COPYRIGHT The System Description of Digital Compact Cassette (DCC) is published by Philips Consumer Electronics B.V. (Eindhoven, the Netherlands) and has been prepared in close cooperation with Matsushita Electrical lndustrial Co. Ltd. (Osaka, Japanl. All rights are reserved. Reproduction in whole or in part is prohibited without express and prior written permission of Philips Consumer Electronics B.V. DISCI.AIMER The information contained in this document is believed to be accurate as of the date of publication, however, neither Philips Consumer Electronics B.V. nor Matsushita Electrical lndustrial Co. Ltd. will be liable for any damages, including indirect or consequential, from use of the System Description DCC or reliance on the accuracy of this document. cr-AssrFrcATroN The information contained in this document is marked as confidential and shall be treated as confidential according to the provisions of the Agreement through which the document has been obtained. NOTICE For any further explanation of the contents of this document or in case of any perceived inconsistency or ambiguity of interpretation please consult: Philips Consumer Electronics B.V. Coordination Office Optical and Magnetic Media Systems Building SWA-1 P.O.Box 80002 5600 JB Eindhoven The Netherlands Tel: +31 40 736409 Fax: +31 40 732113 1 994 DRAFT CONFIDENTIAL DCC System Description Preface r! I This page is intentionally left blank , Philips Consumer Eloctronics 8.V., September 1994 DRAFT CONFIDENTIAL ii DCC System Description Table of Contents Table of Contents Pagc 1. Scope 1-1 2. Normative references 2-1 Description of the system 3-1 3. -
Digital Micro Recorder
3-800-895-22(1) Digital Micro Recorder Operating Instructions NT-2 1995 by Sony Corporation Ownerユs Record WARNING The serial number is located inside the cassette holder and the model To prevent fire or shock number is located at the bottom. hazard, do not expose the Record the serial number in the unit to rain or moisture. space provided below. Refer to them whenever you call upon your To avoid electrical shock, Sony dealer regarding this product. do not open the cabinet. Model No. NT-2 Refer servicing to Serial No._________________________ qualified personnel only. 2 Information • Consult the dealer or an For Customers in the USA experienced radio/TV This equipment has been tested technician for help. and found to comply with the You are cautioned that any limits for a Class B digital changes or modifications not device, pursuant to Part 15 of expressly approved in this the FCC rules. These limits are manual could void your designed to provide reasonable authority to operate this protection against harmful equipment. interference in a residential installation. This equipment generates, used, and can radiate IN NO EVENT SHALL SELLER radio frequency energy and, if BE LIABLE FOR ANY DIRECT, not installed and used in INCIDENTAL OR accordance with the CONSEQUENTIAL DAMAGES instructions, may cause OF ANY NATURE, OR LOSSES harmful interference to radio OR EXPENSES RESULTING FROM ANY DEFECTIVE communications. PRODUCT OR THE USE OF However, there is no guarantee ANY PRODUCT. that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one more of the following measures: • Reorient or relocate the receiving antenna. -
DB-1981-07.Pdf
SERIES / SM77 SM78 cardioid dynamic microphones a new look for the 80's There's so much new about these professional micro- phones we can only touch the highlights. Exclusive "pic- ture perfect" SUEDECOATTM Tan or Ebony matte finish looks great -permanently. Significantly smaller, exceptionally light in weight; yet so extraordinar- ily rugged and reliable we call them the "Light Heavyweights" They feature the crisp sound that makes Shure the world's most widely used professional performer microphones. GENUINE For more information write: Shure Brothers Inc., 222 Hartrey Ave., SHUR Evanston, IL 60204 In Canada: A. C. Simmonds & Sons Limited Manufacturers of high fidelity components, microphones, sound systems and related circuitry. Circle 10 on Reader Service Card Larry Zide Publisher John M. Woram Editor Mark B. Waldstein Associate Editor Kathy Lee Advertising Production & Layout Carol Vitelli Classified Advertising THE SOUND ENGINEERING MAGAZINE Lydia Calogrides JULY 1981 VOLUME 15, NO. 7 Book Sales Eloise Beach Circulation Manager Bob Laude Art Director K &S Graphics Graphics Spartan Phototype Co. 28 Typography EDITORIAL THE AUDIO CONTROL OF LASER DISPLAYS 30 Lowell Cross DYNAMIC PROCESSING 42 Nigel Branwell sales offices THE CHANGING ART OF 47 Roy McDonald Associates, Inc. COMPOSING AND RECORDING Dallas, Texas 75237 Tom Lubin First Continental Bank Bldg. 5801 Marvin D. Love Freeway A db APPLICATION NOTE: 50 Suite 303 GETTING THOSE EFFECTS BOXES TO BEHAVE (214) 941 -4461 Joel Silverman Denver, Colorado Area Englewood, Colorado 80112 THE MATHEMATICS OF THE MICROPHONE, PART II 52 14 Inverness Dr. East, Bldg. 1- Penthouse John M. Woram (303) 771 -8181 Houston, Texas 77036 6901 Corporate Drive, Suite 210 (713) 988-5005 LETTERS 6 Los Angeles Area Glendale, California 91204 CALENDAR 14 424 West Colorado Street, Suite 201 (213) 244-8176 THEORY AND PRACTICE 18 Portland Area Norman H. -
Signal Processingof the Compact-Cassettedigital Recorder
PAPERS Signal Processingof the Compact-CassetteDigital Recorder N. SAKAMOTO, T. KOGURE, M. SHIMBO, AND H. KOMAE Acoustic Research Laboratory, Matsushita Electric Industrial Co., Ltd., Kadoma, Osaka, Japan The signal-processing techniques for compact-cassette digital recording are of interest to those concerned with consumer audio equipment. A cassette digital tape recorder using a metal-evaporated tape has been developed together with a high-density ferrite head having 12 tracks of 120-p,m track width and 0.3-p.m gap length per channel. Specially designed digital signal-processing circuits include circuits for signal generation, modulation, error correction, and signal control. The digital modulation scheme called FEM-4 is a new and key item of the design. The practical design and system concepts are outlined. 0 INTRODUCTION and track density for various systems and shows clearly that these quantities should be higher for a DAT than When the Compact Disc system was introduced to for the conventional analog system. These are the causes the Japanese market, audio enthusiasts showed keen interest in the system, and Compact Disc players began for most of the difficulties. Moreover, the relationship disappearing from the market because of hardware between these factors is complex. For instance, the required linear density depends on the digital modulation shortages. Demand has now developed for a consumer scheme, track density, sampling rate, quantization, tape digital audio tape recorder (DAT), a system that permits speed, and so on. Suitable recording density depends digital recording as well as playback. DAT system developments were announced by several also on an adequate playing time and on the reliability companies, followed by demonstrations at audio shows, desired in a tape recorder for consumer use. -
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 first 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 first Japanese tape recorder.