TAPE RECORDER ANNUAL Is Publlahed by the Ziff.Davi Publishing Company

Total Page:16

File Type:pdf, Size:1020Kb

TAPE RECORDER ANNUAL Is Publlahed by the Ziff.Davi Publishing Company $1.35 Stereo Review's TAPE RECORDER 1969ANNUAL REEL-TO-REEL FOUR -TRACK EIGHT -TRACK CASSETTE Directory of Stereo Tape Recorders, Decks, Accessories,Mikes How to Select Tape Taping and the Law Tips onMaintenance Recording Off the AirGlossary of Tape -recorder Terminology Pre-recorded Tape Roundup*Latest Developments inVideo Tape Choosing a Microphone * Taping DiscsGuide to Tape Editing The ultimate in listeningenjoyment Journey with us to a new horizon of sound, where allyour favorite music- the classics, soundtracks, showtunes, folk songs, jazz, rock and popular releases-suddenly come alive with amazing brilliance and exceptional clarity. Ampex brings you the most complete library of pre-recorded stereo tapes available-on open reel, 4 -track cartridge, 8 -track cartridge and cassette. Every major artist, every type of music is on stereo tape...well over 4,000 outstanding selections from more than 65 different recording labels. And, all skillfully reproduced from the original studio master for the listener who knows the difference between the ordinary and the excellent. Ask your music dealer for our new stereo tape directory-"Stereo Tape'68-...or send 250 to: Ampex Stereo Tapes, 2201 Lunt Avenue, Elk Grove Village, Illinois60007 AMPEX STEREO TAPES AMPEX CORPORATION 2201 LUNT AVENUE ELK GROVE VILLAGE, ILLINOIS 60007 1969 EDITION 1 Feature by feature, the SL 95 is today's most advanced automatic turntable An investment of $129.50 in an automatic motor, now relieves weight on the all-im- front of the unit plate facilitates the safe- turntable cannot be taken lightly. When portant center bearing and reduces wear guarding of your records in manual and you're ready to buy, compare carefully- and rumble in this most critical area. Fur- automatic play. feature by feature. You will find that Gar- thermore, its full-sized 111/2" diameter gives Accurate audible/visible stylus force ad- rard's SL 95 meets your every requiremert your records maximum edge support. justmEnt: The SL 95 combines accurately since it offers all the innovations that dis- Low -mass tonearm: Look for tracking calibrated visual positions with detents for tinguish a superlative instrument plus the capabilitieswhich canonlybeobtained positive gram settings. assurance of years of lawless performance. through light weight and low resonance Here's why: Two -point support for automatic play: damping, combined with rigidity and ad- It has been found vital to have positive sap - Synchronous motor: Look for a synchro- vanced pivotry. The SL 95'sdistinctive, port of records at center and edge. The SL armof nous motor, the only type which can realty dynamicallybalancedone-piece 95'scenterspindledropping mechanism guarantee constant speed regardless of volt- Afrormosia wood and aluminum is mounted guarantees perfect operation at all times, age, record load, warm up and other vari- within a gyroscopically gimballed assembly regardless of the condition of center hole or ables. By locking into the fixed 60 cycle which permits it to float virtually frictior- size or thickness of records. A unique sup - current (rather than 'arying voltage), this f ree on jewel-like needle pivots. The need for pert platform telescopes into the unit plate type of motor guarar.tees the unwavering plug-in shells is eliminated by a new car- when the SL 95 is used as a manual player. pitch and distortion -free record reproduction tridge clip which insures flawless alignment. Patented automatic spindle handles up to you should insist upon in a top-notch record It is compatible with the latest. most com- six records safely; manual spindle rotates playing unit. Garrard's revolutionary new pliant pick ups and the arm will track them withrecord,hasdurable,friction -free Synchro-Lab Motor'', which powers the SL perfectly down to the smallest fraction of a Delrirr® tip. 95, is not only syrchronous ...it also offers gram specified. the advantages of the induction type motor Permanently accurate anti -skating con- The Garrard Line. There are seven Garrard -instant starting, high driving torque andtrol: Look for a control that relies on amodels this year, priced from $37.50 to freedom from rumble. counterweight and is not affected by wear$129.5-0, less base and cartridge. We urge or temperature. The SL 95's patented con- you to send for a complimentary Compara- Light, kinetically matched turntable: The tor Guide withfull,feature by feature SL 95's synchronous motor has obsoleted trol, which neutralizes side pressure on the stylus, is adjusted by a simple sliding weight descriptions. Write Garrard, Dept. AY849, the heavy turntable which was developed Westbury, N.Y. 11590. because of the need to override fluctuation in rather than springs. the speed of induction motors, through fly- Convenient, gentle, cueing control: The wheel action. The relatively light (3 pounds); SL 95 features single action cueing-one but magnificently balanced turntable, preci-control is used to start the motor and lift sion matched to the kinetic energy of the and lower the tonearm. Its location at the World's Finest Stereo Review's TAPE RECORDER= TAPE -RECORDER TERMINOLOGY 17 THE REELING MIND CHARLES RODRIGUES 22 A BUYERS' GUIDE FOR TAPE -RECORDER SHOPPERS 1. Reel -to -Reel Recorders ERNEST WAYLAND 24 2. Four- and Eight -Track Recorders PAUL EDWARDS 27 3. Cassette Recorders FELIX PRINZ 29 RECORDING TAPE: A SHORT PRIMER WILLIAM MADDEN 33 WHITE -BOX TAPE PAUL EDWARDS 37 TAPING OFF THE AIR BILL LITTLE 40 TRANSFERRING DISCS TO TAPE FRED PETRAS 41 A. BRIEF INTRODUCTION TO TAPE EDITING HARVEY FONDILLER 45 HOW TO CHOOSE A MICROPHONE CRAIG STARK 47 KEEPING IT CLEAN JUDY RASKIN 51 TAPE -RECORDER STANDARDS BURT HINES 53 PROGRESS REPORT ON HOME VIDEO TAPE RECORDERS FRED PETRAS 57 TAPE AND THE LAW DAVID LICHT 62 MY TWENTY-FIVE FAVORITE TAPES MARTIN BOOKSPAN 120 DIRECTORY OF MANUFACTURERS 4 TAPE RECORDER DIRECTORY Home TV Tape Recorders 60 Recorders, Players, and Transports 65 Tape -Cartridge Machines 90 Raw Tape 105 Tape Accessories 108 MICROPHONE DIRECTORY 111 HEADPHONE DIRECTORY 117 PRERECORDED TAPE ROUNDUP 122 ADVERTISERS' INDEX 134 PHILLIP T HEFFERNAN, Publisher WILLIAM ANDERSON, Editor WILLIAM LIVINGSTONE, Managing Editor LARRY KLEIN, Technical Editor BORYS PATCHOWSKY, Art Director ROBERT S. CLARK, Associate Editor WILLIAM WOLLHEIM, Assistant Technical Editor LAWRENCE SPORN, Associate Publisher MPA 1969 TAPE RECORDER ANNUAL is publlahed by the Ziff.Davi Publishing Company. One Park Avenue. New York, N.Y. 10016. Also publisher. of Storer, Review. Popular Electronic.. Electronics World. Electronic Experimenter Handbook,Communication. Handbook, Electronics Installation and Servicing Handbook, and Stereo/HIFI Directory. Copyright 0 1968 by ZiffDavis Publishing Company. All rights reserved. ZIFF.DAV1S PUBLISHING COMPANY. Editorial, Circulation, and Executive Ofticea, One Park Avenue, New York, N.Y. 10016. Telephone: 212679.7200. William B.Ziff. Chairman of the Board (1946-1953i; William Ziff, President;W. Bradford Brigga, Executive Vice President; Hershel B. Sarbin, Vice President and General Manager; Philip Sine, Financial Vice President: Walter S. Mills, Jr., Vice President, Circulation; Stanley R. Greenfield, vice -Presi- dent. Marketing; Phillip T. HeffernanVice President, Electronics Division; Frank Pomerantz. Vice President, Creative Services; Arthur W. Miaow. Vice President. Production; Edward D. Muhifeld, Vice Real/lent, Aviation Division;Irwin Robinson, Vice President. Travel Division; Furman Hebb, Administra- tive Vice President; George Morrissey. Vice President;Sydney H.Roger.,Vice Pres:dent. New York Office: Paul E. Gellman. Royce Richard. Midwestern Office:307 North Michigan Avenue, Chicago,Illinois 60801. Telephone: 312 726-08112.Advertising Manager: Royce Richard. Western Office: 9025 Wilshire Blvd.. Beverly Hills, Calif. 90211. Telephone: 213 CR 4.0265; BR 2.1161. Western Advertising Manager: Bud Dean. 4- Circle No. 7 on Reader Service Card. 3 A copy of this Test Report DIRECTORY OF on theTandberg Model 64X MANUFACTURERS The lottmeing IA an alphabetical Irstiag Stereo Tape Recorder Ill manulaeturers fl /I product.% are i/eArribed in this volume. .1(hlre.5Ar5 nor is yours for the asking: lurui.sherl /Or your com,enience .luothl y()11 care ta write lor further infarttaliot EQUIPMENT TEST REPORTS ADMIRAL 90 By Hirsch -Houck Laboratories 3800 W. Cortland St., Chicago, III. 60647 Tot outstanding petformance of past Tandberg record- Other differences between the new Model MX anti the ers If a matter of recordIn our comments on the original older Model ofinclude changesinthe equalizattroat AIWA-Selectron International Model 64Itiffit,SsemioRetnEw..October.19631. we 334 ips and a reduced tecorffing.tues current at the I hIps pointed out that. almost alone among home tape recorders speed. The mor important change isthe addition of a Co., Inc 65,90 of that time, the Tandberg 64 atT3',,ips did not in any separate crom.fteld bias head facing the uncoated side of way change the sound ofa recorded program, whether the tape oppsuite the recording head. Thu islargely re 4215 West 45 St., front discs or FM. sponsible for the improved frequency response and signal. Itisdifficultto improve on this sort of performance. tonoise ratio of the Model 64X. Chicago, III. 60632 but Tandberg engineers have done so The new Model 64X. At 73i Ms, we measured the overallrecord-plagbarit externally identical to the older Model 64, is substantially frequency response of the Tandberg Model &IX as al ex- AKG-Microphone-Headphone better inits frequency response, particularly at the lower cellent+4.5. -2.5 db from 40 to 20,000 Ha. The play- tape speeds, and has an even better signal tonics. ratio bac e unto the Ampex 31321.04 test Division of North American than did r!node! smoothly The T Ha. Philips Co 111,117 upa rate back ampliner -play. 100 East 42nd St., A single Mal play r tape New York, N. Y. 10017 frees the "The 64X offers the highest how. changed IfAt ALLIED RADIO CORP.. 65,66,90 the recor + I. Each c better 100 N. Western Ave., pressed caliber of performance ?i Chicago, III 60680 Ityerin e than -2 db ALTEC LANSING-Div.
Recommended publications
  • How to Tape-Record Primate Vocalisations Version June 2001
    How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates.
    [Show full text]
  • Instruction Manual
    N A G R A 4.2 PORTABLE ANALOGUE AUDIO TAPE RECORDER INSTRUCTION MANUAL (KSA code No. 20 04 004 151) Kudelski S.A. NAGRA Tape Recorder Manufacturer CH-1033 Cheseaux / SWITZERLAND phone (021) 732 01 01 Copyright reserved for all countries telex 459 302 nagr ch February 1991 Edition Printed in Switzerland telefax (021) 732 01 00 http://www.nagraaudio.com NAGRA, KUDELSKI, NEOPILOT, NEOPILOTTON NAGRASTATIC, NAGRAFAX are registered trade - marks, property of KUDELSKI S.A. NAGRA Tape Recorders Manufacture NAGRA / KUDELSKI certifies that this instrument was thoroughly inspected and tested prior to leaving our factory and is in accordance with the data given in the accompanying test sheet. We guarantee the products of our own manufacture against any defect arising from faulty manufacture for a period of one year from the date of delivery. This guarantee covers the repair of confirmed defects or, if necessary, the replacement of the faulty parts, excluding all other indemnities. All freight costs, as well as customs duty and other possible charges, are at the customer's expense. Our guarantee remains valid in the event of emergency repairs or modifications being made by the user. However we reserve the right to invoice the customer for any damage caused by an unqualified person or a false maneuver by the operator. We decline any responsibility for any and all damages resulting, directly or indirectly, from the use of our products. Other products sold by KUDELSKI S.A. are covered by the guarantee clauses of their respective manufacturers. We decline any responsibility for damages resulting from the use of these products.
    [Show full text]
  • VRX-SL Sales Brochure
    Radio Systems VRX-SL Single Channel VHF Receiver Specifications Frequency To be specified within 136-174MHz Modulation Narrowband FM 12.5kHz or 25kHz channel spacing to be specified at time of order Sensitivity 107dBm (luV) signal modulated by 1kHz tone with a peak deviation of 2.5kHz produces an output s+n/n ratio greater than 26dB Squelch Threshold 120dB (0,2uV) nominal. Adjustable through control under battery cover Adjacent Channel Rejection Ratio Better than 75dB Spurious Response Better than 60dB Intermodulation Rejection Ratio Better than 60dB, measured as per MPT 1301 Desensitisation (Blocking) Level Better than -23dBm Spurious Outputs Excellent RF performance Less than -47dBm (20nW) Outputs Recorder-50mV rms (typical) into 20KO, Small size suitable both for discreet body-worn independent of volume setting communication and general portable applications Headphones-60mW typical into 8Q. Squelch-open collector/-ve ground. 'On' when receiver is muted Supply Voltage Outputs for headphones, recorder and squelch state 6-10VDC. Power Source Internal PP3 Alkaline battery. Simple interfacing for control of other equipment Rear panels with power input socket available. Battery Life Available with factory fitted scrambler With squelch lifted and standard headphones connected approximately 12 hours Supply Current The VRX-SL receiver, due to its small size, is generally intended for body- Less than 25mA with squelch lifted and no worn use. However, the receiver's excellent performance and facilities headphones. make it suitable for other portable applications. Temperature Range Above specifications measured between + 10°C to +35°C. Permissible operating Outputs temperature range-10°C to +60°C A single socket provides outputs for ear/headphones (including Front Panel Control inductive earpieces), tape recorder and squelch state.
    [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]
  • Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music
    Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1.
    [Show full text]
  • 300-313 – 16 Specifications for Phonograph Record Storage Boxes
    Library of Congress Preservation Directorate Specification Number 300-313 – 16 Specifications for Phonograph Record Storage Boxes This specification is provided as a public service by the Preservation Directorate of the Library of Congress. Any commercial reproduction that implies endorsement of a product, service, or materials, in any publication, is strictly prohibited by law. This Specification is written for L.C. purchasing purposes and is subject to change when necessary. If you are reading a paper copy of this specification please check our website for the most up-to-date version. 1. Composition and Chemical Requirements 1.1 Fiber The stock must be made from rag or other high alpha-cellulose content pulp, minimum of 87%. It must not contain any post consumer waste recycled pulp. 1.2 Lignin The stock must give a negative reading for lignin as determined by the phloroglucinol test when tested according to TAPPI T 401, Appendix F, and shall have a Kappa number of 5 or less when tested according to TAPPI T 236. 1.3 Impurities The stock must be free of metal particles, waxes, plasticizers, residual bleach, peroxide, sulfur (which will be less than 0.0008% reducible sulfur as determined by TAPPI T 406), and other components that could lead to the degradation of the box itself, or the artifacts stored therein. 1.4 Metallic Impurities Iron must not exceed 150 ppm and copper shall not exceed 6 ppm when tested according to TAPPI T 266. 1.5 Optical Brighteners The stock must be free of optical brightening agents. 1.6 pH The stock must have a pH value within a range of 8.0 - 9.5 as determined by TAPPI T 509, cold extraction (modified by slurrying sample pulp before measurement).
    [Show full text]
  • MD-2321 Book ETOC
    Contents Before using Important Safeguards........................ 2 MiniDisc Recorder Precautions ....................................... 3 Features............................................. 4 Supplied accessories......................... 4 Before operating this unit ................. 5 System connections .......................... 6 MD-2321 Operation Playing an MD.................................. 7 Recording to an MD ....................... 12 Using the program function (memory play) ............................. 19 Instruction Manual Editing the contents of an MD........ 20 Naming a track or disc.................... 24 A few important notes Precautions for handling the MiniDisc (MD) ...................... 26 Message list .................................... 26 Troubleshooting guide.................... 27 Rules for digital recording.............. 28 System limitations .......................... 29 Other informations Control positions and names .......... 30 Specifications ................................. 31 Thank you for purchasing the Onkyo MD-2321 Mini- Disc Recorder. Please read this manual thoroughly before making connections and plugging in the unit. Following the instructions in this manual will enable you to obtain optimum performance and listening enjoyment from your new MD-2321. Please retain this manual for future reference. WARNING: WARNING AVIS TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, RISK OF ELECTRIC SHOCK RISQUE DE CHOC ELECTRIQUE DO NOT EXPOSE THIS APPLIANCE TO RAIN OR DO NOT OPEN NE PAS OUVRIR MOISTURE. The
    [Show full text]
  • Magnetic Tape Storage and Handling a Guide for Libraries and Archives
    Magnetic Tape Storage and Handling Guide Magnetic Tape Storage and Handling A Guide for Libraries and Archives June 1995 The Commission on Preservation and Access is a private, nonprofit organization acting on behalf of the nation’s libraries, archives, and universities to develop and encourage collaborative strategies for preserving and providing access to the accumulated human record. Additional copies are available for $10.00 from the Commission on Preservation and Access, 1400 16th St., NW, Ste. 740, Washington, DC 20036-2217. Orders must be prepaid, with checks in U.S. funds made payable to “The Commission on Preservation and Access.” This paper has been submitted to the ERIC Clearinghouse on Information Resources. The paper in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials ANSI Z39.48-1992. ISBN 1-887334-40-8 No part of this publication may be reproduced or transcribed in any form without permission of the publisher. Requests for reproduction for noncommercial purposes, including educational advancement, private study, or research will be granted. Full credit must be given to the author, the Commission on Preservation and Access, and the National Media Laboratory. Sale or use for profit of any part of this document is prohibited by law. Page i Magnetic Tape Storage and Handling Guide Magnetic Tape Storage and Handling A Guide for Libraries and Archives by Dr. John W. C. Van Bogart Principal Investigator, Media Stability Studies National Media Laboratory Published by The Commission on Preservation and Access 1400 16th Street, NW, Suite 740 Washington, DC 20036-2217 and National Media Laboratory Building 235-1N-17 St.
    [Show full text]
  • The Form of the Phonograph Record Author(S): Theodor W
    The Form of the Phonograph Record Author(s): Theodor W. Adorno and Thomas Y. Levin Reviewed work(s): Source: October, Vol. 55 (Winter, 1990), pp. 56-61 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/778936 . Accessed: 16/02/2013 21:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org This content downloaded on Sat, 16 Feb 2013 21:53:08 PM All use subject to JSTOR Terms and Conditions The Form of the Phonograph Record* THEODOR W. ADORNO TRANSLATED BY THOMAS Y. LEVIN One does not wantto accord it any formother than the one it itselfexhibits: a black pane made of a compositemass whichthese days no longer has itshonest name any more than automobile fuel is called benzine; fragilelike tablets,with a circularlabel in the middle thatstill looks mostauthentic when adorned withthe prewar terrierhearkening to his master'svoice; at the verycenter, a littlehole thatis at timesso narrowthat one has to redrillit wider so thatthe record can be laid upon the platter. It is covered with curves, a delicatelyscribbled, utterly illegiblewriting, which here and thereforms more plasticfigures for reasons that remain obscure to the layman upon listening;structured like a spiral, it ends somewherein the vicinityof the titlelabel, to whichit is sometimesconnected by a lead-out groove so that the needle can comfortablyfinish its trajectory.In terms of its "form," this is all that it will reveal.
    [Show full text]
  • Chapter 3: "Transferring Vinyl Lps (And Other Legacy Media) To
    3 TRANSFERRINGVINYLLPS(AND OTHERLEGACYMEDIA)TOCD A great way to preserve and enjoy old recordings is to transfer them from any legacy medium—vinyl LPs, cassette tapes, reel-to-reel tapes, vintage 78s, videocassettes, even eight-track tapes—to CD. Or you can transfer them to a hard drive, solid-state drive, or whatever digital storage medium you prefer. Transferring phonograph records to CD is in demand, and you might even be able to get a nice sideline going doing this. A lot of people are still hanging on to their record collections but are afraid to enjoy them because LPs are fragile. A lot of great albums have never been released on commer- cial CDs, or the modern CD remasters are not done well. Some people sim- ply prefer the sound of their old records. Although you can copy any analog media and convert it to any digital audio format, in this chapter we’ll talk mostly about transferring vinyl record albums and singles to CDs. Once you have converted your old analog media to a digital format, Audacity has a number of tools for cleaning up the sound quality. You may not always be able to perform perfect restorations, but you can reduce hiss, clicks, pops, and other defects to quite tolerable levels. You can also customize dynamic range compression to suit your own needs, which is a nice thing because on modern popular CDs, dynamic range com- pression is abused to where it spoils the music. Even if they did it well, it might not be right for you, so Audacity lets you do it your way.
    [Show full text]
  • Songs by Title
    16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A.
    [Show full text]
  • 30789 18 Baskerville 9E.Pdf
    CHAPTER18 The Digital Age or nearly a century the modern music industry was forged by two then-new F technologies—the phonograph record and broadcasting. In the late 20th century, a third “The future is here. force—digital technology—emerged to shake the industry’s foundations. Digital technology It’s just not widely radically altered not only the business of music but also its creation, manufacture, and distribu- distributed yet.” tion. Furthermore, it changed the very culture of how music is created, with inexpensive tech- —William Gibson nologies to record, present, distribute, promote, and play music, fashioning a unique artistic and commercial digital democracy, which drew mu- sic artist and music consumer closer even as it blurred the boundary between them. Digital’s power was most graphically illustrated in the arena of distribution. The unauthorized digital distribution of music via peer-to-peer (P2P) networks like Napster and Grokster was often cited as the primary force behind the music industry sales slump that began in 2001. Ironically, although these P2P networks also presented a method for legitimate digital distribution via the Internet, record labels, which had reaped a fortune from the sales of CDs for two decades, perceived digital distribution as a threat rather than an opportunity. When Philips and Sony collaborated on the development of the compact disc (CD) in the early 1980s, no one could have predicted the extent to which digital technology, in combination with the Internet (which was still gestating at the time), would revolutionize the music industry. Left: Steve Jobs unveils Apple’s iPod Mini, 2004.
    [Show full text]