Holmes Electronic and Experimental Music
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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. -
Sonification As a Means to Generative Music Ian Baxter
Sonification as a means to generative music By: Ian Baxter A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities Department of Music January 2020 Abstract This thesis examines the use of sonification (the transformation of non-musical data into sound) as a means of creating generative music (algorithmic music which is evolving in real time and is of potentially infinite length). It consists of a portfolio of ten works where the possibilities of sonification as a strategy for creating generative works is examined. As well as exploring the viability of sonification as a compositional strategy toward infinite work, each work in the portfolio aims to explore the notion of how artistic coherency between data and resulting sound is achieved – rejecting the notion that sonification for artistic means leads to the arbitrary linking of data and sound. In the accompanying written commentary the definitions of sonification and generative music are considered, as both are somewhat contested terms requiring operationalisation to correctly contextualise my own work. Having arrived at these definitions each work in the portfolio is documented. For each work, the genesis of the work is considered, the technical composition and operation of the piece (a series of tutorial videos showing each work in operation supplements this section) and finally its position in the portfolio as a whole and relation to the research question is evaluated. The body of work is considered as a whole in relation to the notion of artistic coherency. This is separated into two main themes: the relationship between the underlying nature of the data and the compositional scheme and the coherency between the data and the soundworld generated by each piece. -
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. -
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 -
Applied Tape Techniques for Use with Electronic Music Synthesizers. Robert Bruce Greenleaf Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Applied Tape Techniques for Use With Electronic Music Synthesizers. Robert Bruce Greenleaf Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Greenleaf, Robert Bruce, "Applied Tape Techniques for Use With Electronic Music Synthesizers." (1974). LSU Historical Dissertations and Theses. 8157. https://digitalcommons.lsu.edu/gradschool_disstheses/8157 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. A p p l ie d tape techniques for use with ELECTRONIC MUSIC SYNTHESIZERS/ A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Doctor of Musical Arts In The School of Music by Robert Bruce Greenleaf M.M., Louisiana State University, 1972 A ugust, 19714- UMI Number: DP69544 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI DP69544 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. -
Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl. -
What Is a Magnetic Tape Recorders
What is a Magnetic Tape Recorders Before explaining about magnetic tape recorders, I will tell you what a recorder is and what the uses of the recorder are? A recorder is used to produce a permanent record of the signal that is measured. A record is used to analyse how one variable varies with respect to another and how the signal saries with time. The objective of a recording system is to record and preserve information pertaining to measurement at a particular time and also to get an idea of the performance of the unit and to provide the results of the steps taken by the operator. The basic components of a general recorder are an operating mechanism to position the pen or writer on the paper and a paper mechanism for paper movement and a printing mechanism. Okay, now you know what is a recorder, why it is used and where it is used. Now I will explain about magnetic tape recorder. A magnetic tape recorder is used to record data which can be retrieved and reproduced in electrical form again. This recorder can record signals of high frequency. Description of Magnetic Tape Recorders: The magnetic tape is made of a thin sheet of tough plastic material; one side of it is coated with a magnetic material (iron oxide). The plastic base is usually polyvinyl chloride (PVC) or polyethylene terephthalate. Recording head, reproducing head and tape transport mechanism are also present. Operation of Magnetic Tape Recorders: 1. The recording head consists of core, coil and a fine air gap of about 10 micrometer. -
Dynametric 717 SOUTH MYRTLE AVENUE • MONROVIA, CALIFORNIA 91016-3422 626-358-2559 • FAX 626-359-5701 • 800-525-6925
DynaMetric 717 SOUTH MYRTLE AVENUE • MONROVIA, CALIFORNIA 91016-3422 626-358-2559 • FAX 626-359-5701 • 800-525-6925 INSTRUCTIONS TMP-636S Telephone Transmit & Receive Patch For Use with Sound Card with PC Speakers P/N 44201 The TMP-636S Telephone Transmit & Receive Patch allows you to record and play back to your telephone from your PC sound card or tape recorder. Compatible with carbon and electret mics. It allows you to switch sound card operation between the phone and speakers or headphones. · Record telephone conversations · Record just your voice through your sound card (i.e. memos, repetitive, canned announcements…) · Playback from your sound card over the phone (announcements, music, phone conversations, etc.) or on your PC speakers or headphones Installation is easy, and operation is simple. The TMP-636S is compatible with analog and digital phones, and standard sound cards and tape recorders. You can leave it connected to your phone since it does not interfere with normal telephone operation. Will not record speakerphone. Install the TMP-636S according to the instructions below and operate your sound card controls as usual. Note: Make sure the "Monitor" switch on your sound card software (if any) is set to OFF to avoid feedback. Playback can be heard in your earphone and on the other end of the call with the switch in the ‘PHN’ position, or on your PC speakers or headphones in the ‘SPKR’ position. To Install: (See diagram) 1 Unplug handset (or headset) coil cord from the base of the telephone, and plug the short modular cord from TMP-636S in its place. -
Summary of Meteorological Satellites
Technical Summary of Meteorological Satellites TIROS – Television and Infra-Red Observation Satellite series Parameter TIROS I TIROS II TIROS III TIROS IV TIROS V TIROS VI TIROS VII TIROS VIII12 TIROS IX5 TIROS X 9 Launch Date 1/4/1960 23/11/1960 12/7/1961 8/2/1962 19/6/1962 18/9/1962 19/6/1963 21/12/1963 22/1/1965 2/7/1965 Deactivated 19/6/1960 1/2/1961 30/10/1961 30/6/1962 5/5/1963 11/10/1963 3/2/19661 1/7/19672 15/2/19673 3/7/19674 Lifetime 79 days 69 days 108 days 125 days 320 days 388 days 978 days 1258 days 754 days 732 days Pictures 19389 25574 24000 23370 48547 59830 111047 88662 76604 59119 Launcher Thor-Able Thor-Delta Thor-Delta Thor-Delta Thor-Delta Thor-Delta Thor-Delta Thor-Delta Thor-Delta Thor-Delta Site ETR ETR ETR ETR ETR ETR ETR ETR WTR ETR Pre-launch A1 A2 A3 A9 A50 A51 A52 A53 A54 OT-1 Designation 1960 2A 1960 16A 1961 17A 1962 2 A 1962 25A 1962 47A 1963 24A11 1963 54A 1965 4A 1965 51A 1960 β 2 1960 π 1 1961 ρ 1 1962 β 1 1962 αα 1 1962 αψ 1 Catalog No 29 63 162 226 309 397 604 716 978 1430 Apogee 867 km 837 937 972 1119 822 743 878 2967 957 Perigee 768 km 717 854 817 680 783 713 796 806 848 Inclination 48.392° 48.530° 47.898° 48.3° 58.1° 58.2° 58.2° 58.5° 96.4° 98.6° Period 99.24’ 98.26’ 100.4’ 100.4’ 100.5’ 98.7’ 97.4’ 99.3’ 119.2’ 100.6’ Mass 120 kg 125 129 129 129 127 135 119 138 127 Camera 1 TV-NA TV-NA TV-WA TV-WA TV-WA TV-WA TV-WA APT TV-WA TV-WA 3/5/62 14/5/63 21/10/63 31/8/64 Camera 2 TV-WA TV-WA TV-WA TV-MA TV-MA TV-MA TV-WA TV-WA TV-WA TV-WA 10/6/62 7/7/62 29/11/62 26/7/65 -/9/65 IR • • • • IRP • • • • HB -
PDF Version of Recording Digital Audio
Telling Your Story through Recording Digital Audio Digital Audio !On a computer Dr. Helen Barrett !On a digital tape recorder Researcher and Consultant Electronic Portfolios and ! Digital Storytelling for On an iPod Lifelong and Life Wide Learning On a Computer On a Digital Tape Recorder ! Software: Audacity ! Portable (free) ! Digital= Good Quality but Expensive ! Recommend using ! Analog= Lower Quality external but Cheap Microphone ! Transfer into computer ! Digital = file ! Need a Computer ! Analog = cable+software (less portability) Samson USB Mic Popular Digital Recorder On an iPod ! Records to SD Card ! Portable ! 320 kbps MP3 recording ! Requires special ! High-grade stereo condenser microphone built in microphone ($70) in ! Mic and Line audio inputs addition to iPod ! High speed file transfer via USB ! Transfer to computer 2.0 connection to computer as a digital file (WAV) ! Time & date stamp ! Long battery life (4 hour recording with AA alkaline type x 2) ! $400 1 Quality of Recording on iPod Steps in Recording on iPod ! 2 different quality levels: ! Settings in iTunes Low (default) and High ! NOTE: Voice Memos (from the xTreme Mac MicroMemo website) downloaded are removed from iPod ! Settings on iPod ! Extras -> Voice Memos -> Quality Set to High Always use the High rate for recording - you can’t increase the quality later Web 2.0 Development Tools What happens (Analog->Digital) ! Sound comes into ! The more samples per microphone second the greater ! the accuracy and Online Tools for ! Computer (or quality of the microphone)