Analog Audio Recording
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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. -
L|Lllllllllllllllllllllllllllllllllllllll USOO5499148A United States Patent 1191 [11] Patent Number: 5,499,148 Kubota Et Al
HllllIlllllll|||llllllllllllllll|l|lllllllllllllllllllllllllllllllllllllll USOO5499148A United States Patent 1191 [11] Patent Number: 5,499,148 Kubota et al. > [45] Date of Patent: Mar. 12, 1996 [54] DIGITAL VIDEO TAPE REPRODUCING 4,963,961 10/1990 Honjo .................................... .. 358/310 APPARATUS COMPATIBLE WITH TAPES 5,136,437 8/1992 Tabuchi et al. 360/341 X HAVING A TRACK WIDTH DIFFERENT 5,148,331 9/1992 Kasluda et a1. .................... .. 360/77.15 FWRIgg/IHA ROTARY MAGNETIC HEAD FOREIGN PATENT DOCUMENTS 0026320 4/1981 European Pat. Off. ........ .. G11B 5/02 [75] Inventors: Yukio Kubota; Keiji Kanota, both of European :3 ------ -- 611B 5/588 uropean . Kanagawa’ Japan 146387 11/1981 Japan .................................. .. 360/331 [73] Assignee: Sony Corporation, Tokyo, Japan 3-8173 1/1991 Japan ' Primary Examiner—Andrew L. Sniezek [21] APP]_ NO_; 966,540 igttrémgy, Aigem‘, or Firm-William S. Frommer; Alvin 1n er ran 22 F1 d: 0 t. 23 1992 [ 1 16 c ’ [57] ABSTRACT [ 30 ] F orelgn' A pp 1'‘ca t'Ion Pr’10“ 't y Data In a digital video tape recording and/0r reproducing appa Oct. 30, 1991 [JP] Japan .................................. .. 3-310156 rams including a pair of rotary magnetic heads having a 6 predetermined head width and gaps with mutually different [2;] {In """""""""""" azimuth angles which helically scan a magnetic tape as the [ 1 _' ' ' """"""" " ' ’ ’ ' tape is advanced'in order to reproduce digital video signals [58] F ‘e 1d 0 f S care h """"""""""""""" " 360/73 ' 06 ’ 73 ' 12 j that have been previously- az1muth-recorded- 1n- oblique- 360/7301’ 27’ 32’ NH’ 33‘1’ 10'2_10'3’ tracks on the tape, there is a tape transport that can transport 358/335’ 310 the tape either at a standard speed or at a non-standard speed. -
Sony Corporation – Restructuring Continues, Problems Remain
BSTR/361 IBS Center for Management Research Sony Corporation – Restructuring Continues, Problems Remain This case was written by Indu P, under the direction of Vivek Gupta, IBS Center for Management Research. It was compiled from published sources, and is intended to be used as a basis for class discussion rather than to illustrate either effective or ineffective handling of a management situation. 2010, IBS Center for Management Research. All rights reserved. To order copies, call +91-08417-236667/68 or write to IBS Center for Management Research (ICMR), IFHE Campus, Donthanapally, Sankarapally Road, Hyderabad 501 504, Andhra Pradesh, India or email: [email protected] www.icmrindia.org BSTR/361 Sony Corporation – Restructuring Continues, Problems Remain “Seven out of eight years, Sony has failed to meet its own initial operating profit forecast. This is probably the worst track record amongst most major exporters. That means that either management is not able to anticipate challenges … or they fail on execution almost every time. Either way, it does not reflect well on Sony’s management.”1 - Atul Goyal, Analyst, CLSA2, in January 2009. SONY IN CRISIS, AGAIN In May 2009, Japan-based multinational conglomerate, Sony Corporation (Sony) announced that it posted its first full year operating loss since 1995, and only its second since 1958, for the fiscal year ending March 2009. Sony announced annual loss of ¥ 98.9 billion3, with annual sales going down by 12.9% to ¥ 7.73 trillion. Sony also warned that with consumers worldwide cutting back on spending in light of the recession, the losses could be to the extent of ¥ 120 billion for the year ending March 2010 (Refer to Exhibit IA for Sony‘s five year financial summary and Exhibit IB for operating loss by business segment). -
Digital Radio and CD-Quality Audio
Technological University Dublin ARROW@TU Dublin Books/Book chapters School of Media 2010-01-01 Sounding the Future: Digital Radio and CD-Quality Audio Brian O'Neill Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaschmedbk Part of the Broadcast and Video Studies Commons, Communication Technology and New Media Commons, and the Film and Media Studies Commons Recommended Citation B. O'Neill, ‘Sounding the future': digital radio and CD-quality audio. In O'Neill, B., M. Ala-Fossi, et al., Eds. (2010). Digital Radio in Europe: Technologies, Industries and Cultures. Bristol, Intellect Books, pp.85-98. This Book Chapter is brought to you for free and open access by the School of Media at ARROW@TU Dublin. It has been accepted for inclusion in Books/Book chapters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License [1] Chapter Four ‘Sounding the future': digital radio and CD-quality audio Brian O’Neill Central to the early effort to win acceptance for DAB in the early 1990s was an extensive process of promotion of the many claimed advantages of the new broadcasting technology. Digital radio broadcasting under the Eureka 147 DAB project offered many technical enhancements – more efficient use of the spectrum, improved transmission methods, and lower running costs – features that were attractive to industry professionals, broadcasting organisations, regulators and spectrum planners. But digital radio was also designed as a consumer proposition offering audiences a new and improved listening experience with ease of tuning, reliable reception, text and data services, interactive features, and significantly, ‘CD- quality’ audio. -
Digital Devices in Sociolinguistic Fieldworks
Digital Devices in Sociolinguistic Fieldworks* [NOTE: This is a largely modified version of Matsuda (2000) and was presented at METHODS (International Conference on Methods in Dialectology) IX Meeting at University of Joensuu on August 5, 2002. In addition to the people I mentioned in Matsuda (2000), I would like to send my cordial thanks to Paul Kerswill, Renée Fürst, T. de Graaf, John Nerbonne, for their comments and discussions at the conference. Renée deserves special thanks here, for providing me with additional references after the conference. It should be stressed, however, that all remaining errors are mine only. This research is partly supported by Grant-in-Aid for Scientific Research #13410139 from Japan Society for the Promotion of Science.] Kenjiro Matsuda Kobe Shoin Women''s University [email protected] 0. Introduction 1. Recyclability of Sociolinguistic Fieldwork Data With the beginning of Variationist paradigm in 1960s, sociolinguists began tape-recording and analyzing the daily speeches in the speech community. The search for the vernacular (in the sense of Labov 1972) was a clear departure from the traditional dialectological fieldwork that elicits a speaker’s response using a questionnaire. The interview may involve one or multiple speakers (group session), but in either case, there is no pre-set time length and the interview may go on as long as the speaker wants to talk. The interviewer may have a course of questions (module) to facilitate the naturalistic interview, so that s/he can obtain a wide range of speech style from the speaker, but the basic principle here is to follow the flow of the talk. -
Snowschool Offered to Local Students Environment
6 TUESDAY, JANUARY 28, 2020 The Inyo Register SnowSchool offered to local students environment. The second with water. The food color- journey is unique. This Bishop, session allows students to ing and glitter represent game shows students how Mammoth review the first lesson and different, pollutants that water moves through the learn how to calculate snow might enter the watershed, earth, oceans, and atmo- Lakes fifth- water equivalent. The final and students can observe sphere, and gives them a grade students session takes students how the pollutants move better understanding of from the classroom to the and collect in different the water cycle. participate in mountains for a SnowSchool bodies of water. For the final in-class field day. Once firmly in For the second in-class activity, students learn SnowSchool snowshoes, the students activity, students focus on about winter ecology and learn about snow science the water cycle by taking how animals adapt for the By John Kelly hands-on and get a chance on the role of a water mol- winter. Using Play-Doh, Education Manager, ESIA to play in the snow. ecule and experiencing its they create fictional ani- During the in-class ses- journey firsthand. Students mals that have their own For the last five years, sion, students participate break up into different sta- winter adaptations. Some the Eastern Sierra in three activities relating tions. Each station repre- creations in past Interpretive Association to watersheds, the water sents a destination a water SnowSchools had skis for (ESIA) and Friends of the cycle, and winter ecology. molecule might end up, feet to move more easily Inyo have provided instruc- In the first activity, stu- such as a lake, river, cloud, on the snow and shovels tors who deliver the Winter dents create their own glacier, ocean, in the for hands for better bur- Wildlands Alliance’s watershed, using tables groundwater, on the soil rowing ability. -
Sony Corporation
SONY CORPORATION GRIFFIN CONSULTING GROUP Hao Tang Rahul Misra Ellie Shanholt April 2012 CONTENTS Executive Summary ..................................................................................................................... 3 Company Overview and History .............................................................................................. 4 Financial Analysis ........................................................................................................................ 6 Liquidity .................................................................................................................................... 6 Profitability ............................................................................................................................... 7 Operating Efficiency ................................................................................................................ 9 Stock Performance ................................................................................................................... 9 Segments and Locations ........................................................................................................ 12 Competitive Analysis ................................................................................................................ 14 Internal Rivalry: ..................................................................................................................... 14 Entry ........................................................................................................................................ -
Annual Report 1990
' ~ • ::·~ ii ~:· J" ~ ~~~-:.,.. • •• • -;) ..... ~· 7 (3,,. '~.:.(_.,~:_-.:~·.::g. :... · ony Cor.~oratio. ri is on~ Of .· the world's le~ing ..~ .: .. ~.. .. manufacturers -of aud1o and v1deo .eqUlp- ,"':_. !<' • •· • .meat, televisions, displays, -semiconduct?rs, _com·puter.s,:'·and such informatipn.. related pr.pdt,:Jcts "' . .as micro flo:ppyaisk systems. Ke--en-1¥: aware 0f the interrelated Aature of ~software and hardware, Sony is also bolstering ,its p.resence in the audio and image-bas.ed software mar~~_ts through the ~BS Records group and the n~wly acquired ·~ Columbia Pktur~s Entertqinment, ·lnc. A strong co.mmltment te research Cilnd d€velopment has helped the {om.pany build a war.ldwide reputati<m as a pacesetter in the efectronic equipment industty. Havlng also garnered recognition as one . ' .~ . ; of Japan's rno~t intetnatjonal corpor:aUons by manufaetutfng fn the market~ - where its products. are sold! Son¥ is ~wrrently strengt!olening globaf systems fQt;, ·corp0rate fwncbie>rrs, fr:'otn 'ot~er- . management to R&D. ~ (:· r;., ~· ~· ... -; ~ ~. ': ,~~:!:~·~:. :r-r:i ··i ' ~. ~ Consolidated .Statements of Cash Flows Notes to Consolidated financial Statements Report of Jndepen:de.nt Accountants SONY CORPORI\TION 1\ND CONSOLIDATED SUBSIDII\RIES FINANCIAL HIGHLIGHTS Year ended March 31 OP~RATING R~SULTS Thousands of Millions of yen U.S. dollars except except per share amounts per share amounts Percent change 1989 1990 1990/1989 1990 FOR THE YEAR Net sales ¥2,145,329 ¥2,879,856 +34.2% $18,343,032 Operating income 160,499 295,191 +83.9 1,880,197 Net income 72,469 102,808 +41.9 654,828 Per Depositary Share: Net income ¥ 241.7 ¥ 306.9 +27.0 $ 1.95 Cash dividends 44.6 50.0 0.32 AT YEAR-END Stockholders' equity ¥ 911,816 ¥1,430,058 +56.8 $ 9,108,650 Total assets 2,364,775 4,370,085 +84.8 27,834,936 Number of employees 78,900 95,600 Note: U.S. -
WFM7200 Multiformat Multistandard Waveform Monitor
Multiformat, multistandard waveform monitor WFM7200 Datasheet Comprehensive audio monitoring (Option AD or DPE) Up to 16-channel audio monitoring for embedded audio Multichannel Surround Sound 1 display and flexible Lissajous display with audio level readouts Audio Loudness monitoring to ITU-R BS.1770-3 with audio trigger start/stop functions via GPI (Option AD or DPE) Support for analog, digital, and embedded audio (Option AD) Dolby Digital (AC-3), Dolby Digital Plus, and Dolby E (Option DPE) Comprehensive Dolby metadata decode and display (Option DPE) Dolby E Guard Band meter with user-defined limits (Option DPE) Unmatched display versatility FlexVu™, the most flexible four-tile display, suited for various application needs to increase productivity Patented Diamond and Arrowhead displays for gamut This video/audio/data monitor and analyzer all-in-one platform provides monitoring flexible options and field installable upgrades to monitor a diverse variety of Patented Timing and Lightning displays video and audio formats. Support for video formats includes 3G-SDI, Dual New patented Spearhead display and Luma Qualified Vector Link, HD-SDI and composite analog. Support for audio formats includes (LQV™) display facilitate precise color adjustment for post- Dolby E, Dolby Digital Plus, Dolby Digital, AES/EBU, embedded audio and production applications (Option PROD) analog audio. Stereoscopic 3D video displays for camera alignment and production/ Option GEN provides a simple test signal generator output that creates post-production applications -
Stars Gather
Veterinary Medical Clinic January 25 - 31, 2020 William Oglesby, DVM We Treat Both Small Animals and Large Animals 804 Southeast Boulevard Clinton, NC 28328 Monday-Friday Stars 7:30am-5:30pm (910) 592-3338 Healthy Animals are gather Happy Animals Alicia Keys hosts the 2020 Grammy Awards AUTO HOME FLOOD LIFE WORK Courtney Bennett Agent [email protected] 919-920-5195 101 E. Clinton St. Roseboro NC We ought to weigh well, SEE WHAT YOUR NEIGHBORS ARE TALKING ABOUT! what we can only once decide. Complete Funeral Service including: Traditional Funerals, Cremation Outdoor Power Equipment Pre-Need-Pre-Planning Independently Owned & Operated Since 1920’s Complete parts Butler Funeral Home and service department! 401 W. Roseboro Street 2 locations to Hwy. 24 Windwood Dr. Roseboro, NC better serve you Stedman, NC 401 NE Blvd., Clinton, NC • 910-592-7077 • www.clintonappliance.com 910-525-5138 910-223-7400 910-525-4337 (fax) 910-307-0353(fax) Page 2 — Saturday, January 25, 2020 — Sampson Independent On the Cover Singing praises: Year’s best artists honored at the 62nd Annual Grammy Awards By Sachi Kameishi TV Media here’s something for everyone Tin the televised ceremonies that populate awards season. From boozy Golden Globes banter to the Emmys’ quirky hosting history and BAFTAs charming decorum, each of the major awards shows has its own way of celebrating its particu- lar craft and making the show re- warding and accessible to its mil- lions of viewers. The ratings vary year to year, and although the Academy Awards tends to walk away from the season as the most- watched awards show, the Gram- my Awards is a close second. -
Media in the Lives of 8- to 18-Year-Olds APPENDIX C: TOPLINES
APPENDIX C: Toplines Background Information 52 Media In The Home 57 Cell Phone Use 61 Print Media Use 63 Television Viewing 65 Movies 69 Video Games 69 Music and Other Audio 71 Computer Use 73 Media Rules 77 A KAISER FAMILY FOUNDATION STUDY 51 APPENDIX C: TOPLINES Harris Interactive for the Kaiser Family Foundation. N=2002 students ages 8–18. Margin of sampling error: plus or minus 3.9 percentage points. Field period: October 20, 2008 to May 7, 2009. Notes: 08/09 data in bold. An asterisk (*) indicates a value less than one-half percent (0.5%). A dash (-) represents a value of zero. A tilde (~) indicates the question was not asked in that year. For questions referring to ‘yesterday,’ a portion of respondents completing the survey on Monday were asked to report on their Friday or Saturday activities. Percentages may not always add up to 100% due to rounding, the acceptance of multiple answers from respondents, and because the percent who offered no answer (NA) is not shown. Unless otherwise noted the base for each question is all respondents. In the questionnaire, response categories for time spent with media were: no time, 5 minutes, 15 minutes, 30 minutes, 45 minutes, 1 hour, 1½ hours, and continuing on in half-hour increments (respondents were asked to write in the amount if it was above the final response category). In the toplines, these responses have been collapsed into a smaller number of time categories, such as 5-30 minutes. Trend Information: • 2004 trends from the Kaiser Family Foundation’s Generation M: Media in the Lives of 8–18 Year-Olds study conducted October 14, 2003 to March 19, 2004 of 2,032 students ages 8–18. -
Camera Basics, Principles and Techniques –MCD 401 VU Topic No
Camera Basics, Principles and techniques –MCD 401 VU Topic no. 76 Film & Video Conversion Television standards conversion is the process of changing one type of TV system to another. The most common is from NTSC to PAL or the other way around. This is done so TV programs in one nation may be viewed in a nation with a different standard. The TV video is fed through a video standards converter that changes the video to a different video system. Converting between a different numbers of pixels and different frame rates in video pictures is a complex technical problem. However, the international exchange of TV programming makes standards conversion necessary and in many cases mandatory. Vastly different TV systems emerged for political and technical reasons – and it is only luck that makes video programming from one nation compatible with another. History The first known case of TV systems conversion probably was in Europe a few years after World War II – mainly with the RTF (France) and the BBC (UK) trying to exchange their441 line and 405 line programming. The problem got worse with the introduction of PAL, SECAM (both 625 lines), and the French 819 line service. Until the 1980s, standards conversion was so difficult that 24 frame/s 16 mm or 35 mm film was the preferred medium of programming interchange. Overview Perhaps the most technically challenging conversion to make is the PAL to NTSC. PAL is 625 lines at 50 fields/s NTSC is 525 lines at 59.94 fields/s (60,000/1,001 fields/s) The two TV standards are for all practical purposes, temporally and spatially incompatible with each other.