The Lab Notebook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Early Years of the Acoustic Phonograph Its Developmental Origins and Fall from Favor 1877-1929
THE EARLY YEARS OF THE ACOUSTIC PHONOGRAPH ITS DEVELOPMENTAL ORIGINS AND FALL FROM FAVOR 1877-1929 by CARL R. MC QUEARY A SENIOR THESIS IN HISTORICAL AMERICAN TECHNOLOGIES Submitted to the General Studies Committee of the College of Arts and Sciences of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved Accepted Director of General Studies March, 1990 0^ Ac T 3> ^"^^ DEDICATION No. 2) This thesis would not have been possible without the love and support of my wife Laura, who has continued to love me even when I had phonograph parts scattered through out the house. Thanks also to my loving parents, who have always been there for me. The Early Years of the Acoustic Phonograph Its developmental origins and fall from favor 1877-1929 "Mary had a little lamb, its fleece was white as snov^. And everywhere that Mary went, the lamb was sure to go." With the recitation of a child's nursery rhyme, thirty-year- old Thomas Alva Edison ushered in a bright new age--the age of recorded sound. Edison's successful reproduction and recording of the human voice was the end result of countless hours of work on his part and represented the culmination of mankind's attempts, over thousands of years, to capture and reproduce the sounds and rhythms of his own vocal utterances as well as those of his environment. Although the industry that Edison spawned continues to this day, the phonograph is much changed, and little resembles the simple acoustical marvel that Edison created. -
Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
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. -
Chapter 186 NOISE
Chapter 186 NOISE §186-1. Loud and unnecessary noise §186-3. Permits for amplifying devices. prohibited. §186-4. Stationary noise limits; maximum §186-2. Loud and unnecessary noises permissible sound levels. enumerated. §186-5. Violations and penalties. [HISTORY: Adopted by the Village Board of the Village of Albany 5-11-1992 as Sec. 11-2- 7 of the 1992 Code. Amendments noted where applicable.] GENERAL REFERENCES Disorderly conduct -- See Ch. 110. Parks and navigable waters -- See Ch. 198, §198-1B(2). Peace and good order -- See Ch. 202. §186-1. Loud and unnecessary noise prohibited. It shall be unlawful for any person to make, continue or cause to be made or continued any loud and unnecessary noise. It shall be unlawful for any person knowingly or wantonly to use or operate, or to cause to be used or operated, any mechanical device, machine, apparatus or instrument for intensification or amplification of the human voice or any sound or noise in any public or private place in such manner that the peace and good order of the neighborhood is disturbed or that persons owning, using or occupying property in the neighborhood are disturbed or annoyed. §186-2. Loud and unnecessary noises enumerated. The following acts are declared to be loud, disturbing and unnecessary noises in violation of this chapter, but this enumeration shall not be deemed to be exclusive: A. Horns; signaling devices. The sounding of any horn or signaling device on any automobile, motorcycle or other vehicle on any street or public place in the village for longer than three seconds in any period of one minute or less, except as a danger warning; the creation of any unreasonable loud or harsh sound by means of any signaling device and the sounding of any plainly audible device for an unreasonable period of time; the use of any signaling device except one operated by hand or electricity; the use of any horn, whistle or other device operated by engine exhaust and the use of any signaling device when traffic is for any reason held up. -
Hollywood Goes to Tokyo: American Cultural Expansion and Imperial Japan, 1918–1941
HOLLYWOOD GOES TO TOKYO: AMERICAN CULTURAL EXPANSION AND IMPERIAL JAPAN, 1918–1941 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Yuji Tosaka, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Dr. Michael J. Hogan, Adviser Dr. Peter L. Hahn __________________________ Advisor Dr. Mansel G. Blackford Department of History ABSTRACT After World War I, the American film industry achieved international domi- nance and became a principal promoter of American cultural expansion, projecting images of America to the rest of the world. Japan was one of the few countries in which Hollywood lost its market control to the local industry, but its cultural exports were subjected to intense domestic debates over the meaning of Americanization. This dis- sertation examines the interplay of economics, culture, and power in U.S.-Japanese film trade before the Pacific War. Hollywood’s commercial expansion overseas was marked by internal disarray and weak industry-state relationships. Its vision of enlightened cooperation became doomed as American film companies hesitated to share information with one another and the U.S. government, while its trade association and local managers tended to see U.S. officials as potential rivals threatening their positions in foreign fields. The lack of cooperation also was a major trade problem in the Japanese film market. In general, American companies failed to defend or enhance their market position by joining forces with one another and cooperating with U.S. officials until they were forced to withdraw from Japan in December 1941. -
New Technologies for Preservation and Access to Recorded Sound
New Technologies to Preserve and Access Historical Recorded Sound June 2013 Background Sound was first recorded in the 1850’s by the French inventor Edouard Leon Scott de Martinville who mechanically captured sound waves and traced them on paper. His “phonautograph” was a mechanical precursor to the modern storage oscilloscope but originally featured no possibility for reproduction of the recorded information. Sound was first recorded and reproduced by Thomas Edison, in 1877. Edison also mechanically captured sound waves, but embossed the vibrations on a tin foil cylinder. The impressions lodged in the foil surface could then be used to drive the recording process in reverse, resulting in an audible playback. From that time, until about 1950 when magnetic tape came into broad use, mechanical media such as foil, wax, plastic, shellac, and lacquer were the predominate materials which held recorded sound. Today, vast collections of historical sound recordings reside in the major archives such as the Library of Congress and the British Library, and in numerous other collections at museums, libraries, and academic institutions worldwide. The recordings contained within these collections are broad, diverse, and of great historical significance. Among the categories held in these collections are the following. • Field recordings of linguistic, cultural, and anthropological materials • Primary recordings of key musical artists, poets, and writers. • Recordings of sources which underlie much of modern music such as the American and European folk traditions. • Speeches & spoken words of historical figures. • Radio broadcast transcriptions. • Live performances and events. • Early technical tests and experiments on recording methods. • Public and private dictation and monitoring records, intelligence, and Presidential sources. -
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. -
Minding Our Words: Audio Responsibilities in Endangered Languages Documentation and Archiving
Taiwan Journal of Linguistics Vol. 6.2, 59-78, 2008 MINDING OUR WORDS: AUDIO RESPONSIBILITIES IN ENDANGERED LANGUAGES DOCUMENTATION AND ARCHIVING David Nathan Abstract Linguists are addressing the predicted the loss of many of the world's languages through an emerging discipline called Language Documentation, which focuses not on theory but on data, and how the data is acquired, represented, presented, and preserved. For most endangered languages, which are not written, much of this data is audio, and unlike many corpora it is likely to be local, particular, opportunistic, and uneven. New questions are raised, such as: what audio data counts as a record of a language that is likely to disappear? how can coverage and quality be measured? for what purposes and by whom will the data be used? For those of us documenting languages, there are four key audio-related issues: audio quality, its accompanying symbolic data, the usage of data for practical purposes such as language revitalisation, and the need for enhanced sensitivities and protocol in audio access and distribution. Language Documentation has benefited from the knowledge and experience of other disciplines, but perhaps it is now sufficiently experienced to offer some useful advice to others. This paper surveys these issues, and also describes the funding, teaching, archiving and publishing activities of the Endangered Languages Project at SOAS. 1. INTRODUCTION Today the world is facing the impending loss of at least half of its languages. Many linguists are addressing this challenge through an emerging discipline called documentary linguistics. Documentary linguistics (also called “language documentation”) focuses on data, and how data is acquired, represented, presented, and preserved, in contrast to the analytical and theoretical concerns of much of linguistics. -
Press Release
( ( ( ( F i r s t S o u n d s ) ) ) ) making the earliest audio recordings accessible to all people for all time CONTACT: Meagan Hennessey David Giovannoni [email protected] [email protected] The World’s Oldest Sound Recordings Played For The First Time A group of researchers has succeeded in playing a sound recording of a human voice made in 1860 – 17 years before Thomas Edison invented the phonograph. Roughly ten seconds in length, the recording is of a person singing “Au clair de la lune, Pierrot répondit” – a snippet from a French folksong. It was made on April 9, 1860 by Parisian inventor Édouard-Léon Scott de Martinville on his “phonautograph” – a device that scratched sound waves onto a sheet of paper blackened by the smoke of an oil lamp. Scott never dreamed of playing back his recordings. But this morning, the dream Scott never had will come true. A cadre of audio historians, recording engineers, and scientists working in conjunction with the First Sounds initiative has transformed Scott’s smoked-paper tracings into sound. They will premiere Au Clair de la Lune at the annual conference of the Association for Recorded Sound Collections at Stanford University this morning. Examples of sounds evoked from French and American phon- autograph recordings made between 1857 and 1878 will also be played publicly for the first time. First Sounds historians Patrick Feaster and David Giovannoni began their search for surviving phonautograph recordings, or phonautograms, in the fall of 2007. In October they studied 19 examples held by the Edison National Historic Site, made in 1878 by Edison and his associates to study the noise of the Metropolitan Elevated Railroad in Manhattan. -
Edison's Ears
Chemistry Chronicles Edison’s Ears MARK S. LESNEY “The ‘Chemist’ of Menlo Park” may have gone ly apt to focus on inventions based on conducting information and sound, from deaf as a result of his youthful experiments. the telegraph to the telephone to the phonograph. any budding chemists play with with his printing press and laboratory mate- As for the chemistry laboratory, it chemistry sets when they are rials. But not, according to several accounts, returned to the basement of the Edison Myoung. But Thomas Alva Edison before severely boxing young Edison’s ears. home. But it would be reborn in full did one better: He played with full-blown His travails on the railway helped grandeur some 15 years later, when Edison explosives in a jury-rigged laboratory in form part of the mythos of Edison. Not built the first major industrial research the back of a working railway baggage only were they featured in the famous 1940 laboratory at Menlo Park, NJ, in 1876, car. Some historians believe his eventual movie, Young Tom Edison using monies he had amassed as the inven- deafness was an indirect consequence of (starring Mickey Rooney), tor of several major improvements on the this pronounced and precocious inter- telegraph. est in chemistry. But whatever the result to his hear- Lux and Pluck ing, these early chemical experiments Of course, Edison is most famous for helped launch Edison on a career of lighting up our lives. But rather than invention unparalleled in modern histo- being a problem in physics, according ry. Edison only published one scientif- to biographer Byron M. -
Bibliotecas De Edição Disponíveis Nos Softwares Editores De Áudio
Josseimar Altissimo Conrad Bibliotecas de edição disponíveis nos softwares editores de áudio Ijuí 2014 Josseimar Altissimo Conrad Bibliotecas de edição disponíveis nos softwares editores de áudio Trabalho apresentado ao curso de Ciência da Computação da Universidade Regional do No- roeste do Estado do Rio Grande do Sul , como requisito para a obtenção do título de Bacharel em Ciência da Computação. Universidade Regional Do Noroeste Do Estado Do Rio Grande Do Sul Departamento Das Ciências Exatas E Engenharias Ciência Da Computação Orientador: Edson Luiz Padoin Ijuí 2014 Josseimar Altissimo Conrad Bibliotecas de edição disponíveis nos softwares editores de áudio Trabalho apresentado ao curso de Ciência da Computação da Universidade Regional do No- roeste do Estado do Rio Grande do Sul , como requisito para a obtenção do título de Bacharel em Ciência da Computação. Trabalho aprovado. Ijuí, ( ) de dezembro de 2014: Edson Luiz Padoin Orientador Rogério Samuel de Moura Martins Convidado Ijuí 2014 Dedico este trabalho primeiramente a Deus, pois sem Ele, nada seria possível e não estaríamos aqui reunidos, desfrutando, juntos, destes momentos que nos são tão importantes. Aos meus pais Ilvo Conrad e Rosani Altissimo Conrad; pelo esforço, dedicação e compreensão, em todos os momentos desta e de outras caminhadas.. Agradecimentos Primeiramente a Deus pois ele deu a permissão para tudo isso acontecer, no decorrer da minha vida, e não somente nestes anos como universitário, mas em todos os momentos é o maior mestre que alguém pode conhecer. A esta universidade, seu corpo docente, direção e administração que oportunizaram a janela que hoje vislumbro um horizonte superior, eivado pela acendrada confiança no mérito e ética aqui presentes. -
Trenton 9-7-1967 As § 3- 2 of the Revised General Ordinances
Chapter 167. NOISE [HISTORY: Adopted by the City Council of the City of Trenton 9-7-1967 as § 3- 2 of the Revised General Ordinances. Amendments noted where applicable.] GENERAL REFERENCES Barking dogs — See Ch. 21, § 21-7. Peace and good order — See Ch. 201. Nuisances — See Ch. 171. § 167-1. Prohibited noises. It is hereby declared to be a nuisance and it shall be unlawful for any person to make, cause or suffer or permit to be made or caused upon any premises owned, occupied or controlled by him/her or upon any public street, alley or thoroughfare in the City of Trenton, any unnecessary noises or sounds by means of the human voice, or by any other means or methods which are physically annoying to persons, or which are so harsh or so prolonged or unnatural, or unusual in their use, time and place as to occasion physical discomfort, or which are injurious to the lives, health, peace and comfort of the inhabitants of the City, or any number thereof. § 167-2. Loud and unnecessary noises enumerated. [Amended 2-5-2004 by Ord. No. 04-6] The following acts are declared to be loud, disturbing and unnecessary noises in violation of this chapter, but this enumeration shall not be deemed to be exclusive: A. Radios, televisions, phonographs. The playing of any radio receiving set, television, musical instrument, phonograph or other machine or device for the production or reproduction of sound with louder volume than is necessary for convenient hearing of the person so playing, using or operating such instrument or device and any persons who are voluntary listeners thereto, or in such manner as to disturb the peace, quiet and comfort of neighboring inhabitants.