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