Digital Audio Tape Recorder Act of 1990 Hearing

Total Page:16

File Type:pdf, Size:1020Kb

Digital Audio Tape Recorder Act of 1990 Hearing S. HRG. 101-890 DIGITAL AUDIO TAPE RECORDER ACT OF 1990 HEARING BEFORE THE SUBCOMMITTEE ON COMMUNICATIONS OF THE COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION UNITED STATES SENATE ONE HUNDRED FIRST CONGRESS SECOND SESSION c ON S. 2358 ENTITLED THE DIGITAL AUDIO TAPE RECORDER ACT OF 1990 JUNE 13,1990 Printed for the use of the Committee on Commerce, Science, and Transportation VS. GOVERNMENT PRINTING OFFICE 33-293 O WASHINGTON : 1990 Far sale by the Superintendent of Documents, Congressional Sales Office VS. Government Printing Office, Washington. DC 20402 COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION ERNEST F. HOLLINCS, South Carolina, Chairman DANIEL K. INOUYE, Hawaii JOHN C. DANFORTH, Missouri WENDELL H. FORD, Kentucky BOB PACKWOOD, Oregon J. JAMES EXON, Nebraska LARRY PRESSLER, South Dakota ALBERT GORE, JR., Tennessee TED STEVENS, Alaska JOHN D. ROCKEFELLER IV, West Virginia ROBERT W. KASTEN, JR., Wisconsin LLOYD BENTSEN, Texas JOHN MCCAIN, Arizona JOHN F. KERRY, Massachusetts CONRAD BURNS, Montana JOHN B. BREAUX. Louisiana SLADE GORTON, Washington RICHARD H. BRYAN, Nevada TRENT LOTT, Mississippi CHARLES S. ROBB, Virginia KEVIN G. CURTTN, Chief Counsel and Staff Director WALTER B. MCCORMICK, JR., Minority Chief Counsel and Staff Director SUBCOMMITTEE ON COMMUNICATIONS DANIEL K. INOUYE, Hawaii, Chairman ERNEST F. HOLLINGS, South Carolina BOB PACKWOOD, Oregon WENDELL H. FORD, Kentucky LARRY PRESSLER, South Dakota ALBERT GORE, JR., Tennessee TED STEVENS, Alaska J. JAMES EXON, Nebraska JOHN MCCAIN, Arizona JOHN F. KERRY, Massachusetts CONRAD BURNS, Montana LLOYD BENTSEN, Texas SLADE GORTON, Washington JOHN B. BREAUX, Louisiana (ID C ONTENTS Page Opening statement by Senator Inouye 1 Opening statement by Senator McCain 2 Opening statement by Senator Gore 3 Opening statement by Senator Burns 5 Opening statement by Senator Breaux 6 Text of S. 2358 7 LIST OF WITNESSES Berman, Jason, president. Recording Industry Association of America 81 Prepared statement 85 DeConcini, Hon. Dennis, U.S. Senator from Arizona 25 Feldman, Leonard, Leonard Feldman Electronic Labs 157 Prepared statement 159 Friel, Thomas P., chairman, Home Recording Rights Coalition 114 Prepared statement 116 Greenspun, Philip, president, Isosonics Corp 169 Prepared statement _ 173 Holyfield, Wayland, AMI Music Publishing, Inc 249 Kondo, Kevin, general manager, Honolulu Audio Video 147 Prepared statement 149 Murphy, Edward, president and CEO, National Music Publishers Assn., Inc 196 Prepared statement 200 Oman, Ralph, Register of Copyrights, Library of Congress; accompanied by Dorothy Schrader, General Counsel; and Charlotte Givens, Senior Attorney 28 Prepared statement 31 Smith, Michael, president, SJS Advanced Strategies 245 Weiss, George David, on behalf of the Copyright Coalition 227 Prepared statement 229 Wilson, George, director of systems integration, Stanley Associates 252 ADDITIONAL ARTICLES, LETTERS. AND STATEMENTS Bright, Sol K., letter 273 Carroll, Michael C, letter 264 Carter, Milton H., Jr., prsident. Musicians' Association of Hawaii, letter 281 Emerson, J. Martin, president, American Federation of Musicians, letter 279 Glasel. John, president. Associated Muscians of Greater New York, letter 271 Hebner, Robert E., Acting Deputy Director, Center for Electronics and Electrical Engineering, Department of Commerce, letter 263 Karl, Douglas J., president. Audio Digital Systems, Inc., letter 276 Shumway, Jerry and Kyle Plank, letter 269 ran DIGITAL AUDIO TAPE RECORDER ACT OF 1990 WEDNESDAY, JUNE 13, 1990 U.S. SENATE, Committee on Commerce, Science, and Transportation, SUBCOMMITTEE ON COMMUNICATIONS, Washington, DC. The subcommittee met, pursuant to notice, at 9:30 a.m. in room SR-253, Russell Senate Office Building, Hon. Daniel Inouye (chair­ man of the subcommittee) presiding. Staff members assigned to this hearing: Toni Cook and Tom Cohen, staff counsels; Gina Keeney and William Heyer, minority staff counsels. OPENING STATEMENT BY SENATOR INOUYE Senator INOUYE. This morning we meet to consider S. 2358, the Digital Audio Tape Recorder Act of 1990. This bill, the so-called DAT bill, was introduced by Senator DeConcini, who is with us this morning. It raises the fundamental issue of whether we should focus copyright matters on certain technologies or view them as a whole. Three years ago this subcommittee convened to hear the merits of S. 506, the Digital Audio Recorder Act of 1987. That bill did not move because more work was needed on the technological solution to serial copying. It was also decided that it would be beneficial if the involved parties were to meet to iron out their differences prior to bringing the matter before Congress. We thought that progress had been made and that S. 2358 reflected this progress. However, first we learned, that the music publishers and song­ writers oppose this bill, and just yesterday we learned that two of the bill's supporters have concerns about a new technology, digital compact cassettes, and that the recording industry would like to conduct further negotiations on this matter. Consequently, I strongly urge the parties at the completion of this hearing to try to work out their differences. If a compromise is not reached then, it will be extremely difficult for any bill on this issue to move for­ ward this year. The measure before us today, S. 2358, prohibits the manufacture or distribution of digital audio tape recorders in the United States that do not meet the specifications set forth in the bill or standards approved by the Secretary of Commerce. Specifically, the bill would require that all digital audio tape recorders sold in the United States be equipped with serial copy management systems circuitry chips. The SCMS technology will allow first generation copies of prerecorded materials but would not allow succeeding generation (l) 2 copies. In short, this technology limits serial copying, which is of great concern to a great deal of people in the music industry. This measure implements only a technological fix and does not address the illegality of private home taping or the issue of royalty pay­ ments. I look forward to hearing from all the witnesses that have gath­ ered this morning to speak on this bill. First, we will hear from the Registrar of Copyrights, Mr. Ralph Oman. After that, we will hear from the supporters of S. 2358, Mr. Jason Berman, President of the Recording Industry Association of America; Mr. Thomas Friel, Chairman of the Home Recording Rights Coalition; Mr. Kevin Kondo, General Manager of Honolulu Audio Video; and Mr. Leonard Feldman of Leonard Feldman Elec­ tronic Labs. Then we will listen to the testimony of Mr. Philip Greenspun, President of Isosonics Corporation; Mr. Edward Murphy, President and Chief Executive Officer of the National Music Publishers Asso­ ciation; Mr. George David Weiss, President of the Songwriters Guild of America; Mr. Michael Smith, President of SJS Advanced Strategies; Mr. George Wilson, Director of Systems Integration of Stanley Associates; and Mr. Wayland Holyfield of AMI Music Pub­ lishing. On behalf of the committee, I thank all of you for taking time out today to discuss this matter. Senator McCain. OPENING STATEMENT BY SENATOR McCAIN Senator MCCAIN. Mr. Chairman, I appreciate your holding this hearing today. I think it is a very important hearing. As you just stated, it is an incredibly complex issue that we are addressing. I am very appreciative of the efforts of my friend and colleague from Arizona, Senator DeConcini, who has made an honest and good faith effort in trying to resolve an incredibly complex issue. I wonder how many years ago we would have been astonished at seeing a device like this which is capable of almost exact replica­ tion of the original and the fact that, as you stated, Mr. Chairman, there seems to be now some reservations on the part of some of the parties driven by the even newer technology being entered into this already incredibly complex issue. I also think that it is important, Mr. Chairman, that the song­ writers and musicians who will be represented here today have their place at the table. I think they have a right to, and I know that all of us would look forward to hearing what they have to say. Sometimes, Mr. Chairman, I feel a little bit like those that were alarmed at the invention of the automobile as opposed to the horse and carriage regarding the implications that it had for America and for the way that we did business. Clearly, this is not just an isolated example of the challenges and dilemmas that we are pre­ sented with as technology improves. So I certainly look forward to hearing from the witnesses today. Again, I would like to thank my friend, Senator DeConcini, who has spent many, many hours on this very difficult and complex problem. 3 Thank you, Mr. Chairman. Senator INOUYE. Thank you, Senator McCain. Senator Gore. "' OPENING STATEMENT BY SENATOR GORE Senator GORE. Thank you, Mr. Chairman. I do have an opening statement, but I would be happy to defer to Senator DeConcini to • present his statement first. Mr. Chairman, I want to thank you, first of all, for developing this hearing. I believe you have probably handled the toughest, most controversial issues that have come to the Commerce Com­ mittee this year. I know last week was pretty controversial. Senator INOUYE. I need a pay raise. Senator GORE. Well, there is another controversial issue right there. As you know, over the past decade, Mr. Chairman, I have been deeply involved in issues affecting the taping of recorded music. The issue has always been fairly simple: Should new technology, in this case the digital audio recorder, undermine the rights of song- •-^writers, performers, publishers and record companies to be compen­ sated for their work? I believe most of us would agree that technol­ ogy should not rob artists of their property. How should we insure that the creative community is indeed compensated and compen­ sated fairly? You can go anywhere in the world and turn on a radio, and the odds are you will be hearing an American song.
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]
  • Universal Audio 4-710D User Guide
    Model 4-710d Four-Channel Tone-Blending Mic Preamplifier Universal Audio Part Number 65-00051 Revision A Universal Audio, Inc. Customer Service & Tech Support: +1-877-MY-UAUDIO Business, Sales & Marketing: +1-866-UAD-1176 www.uaudio.com Notices This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Model 4-710d. Disclaimer The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2011 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks 4-710d, 710, Twin-Finity, 4110, 8110, SOLO/110, SOLO/610, 2-610, LA-610, LA-2A, 2-LA2, LA-3A, 6176, 1176LN, 2-1176, 2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned herein are trademarks of their respective companies FCC Compliance This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) the device must accept any interference received, including interference that may cause undesired operation.
    [Show full text]
  • 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.
    [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]
  • 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.
    [Show full text]
  • Model ST-PH1 Phono Preamplifier
    ® STICK-ON SERIES Model ST-PH1 Phono Preamplifier ANYWHERE YOU NEED A... · Stereo or Mono Phono Preamplifier. · Preamplifier with Balanced or Unbalanced Output · Preamplifier with Hi or Low-Impedance Output · Accurate, Low Noise Preamplification You Need The ST-PH1! The ST-PH1 is part of a group of products in the STICK-ON series from Radio Design Labs. The durable bottom adhesive permits quick, permanent or removable mounting nearly anywhere or it may be used with RDL’s STR-19A or STR-19B racking adapter for rack mounting! The ST-PH1 gives you the advantages of a high quality, low-noise phono preamplifier with a big plus, you can put it where you need it! The ST-PH1 is a stereophonic phono preamplifier. Each of the channel circuits is identical. The ST-PH1 has standard 47 kW impedance unbalanced phono cartridge inputs. Each output drives either a balanced or unbalanced line. Equalization follows the RIAA curve. The output is capable of driving into either high or low impedance loads. The output may be connected either balanced or unbalanced. The ST-PH1 features superior circuitry, which produces the unsurpassed pure clarity for which Radio Design Labs products are known! Some features are: · Input matched to standard cartridges used in the industry. · Impeccable audio quality. · Ultra-low distortion and noise. · Output levels adjustable (Independent adjustment for left and right channels). · Ample headroom at operating level. · Outputs short circuit protected. · Positive connections via barrier block, no audio connectors to wire. Although some equipment has phono inputs, optimum system performance is obtained when phonographs are preamplified as close to the turntable as possible, and then the line level signals are fed to the next piece of equipment in the chain.
    [Show full text]
  • Home Audio System Getting Started Disc/USB Playback Operating Instructions USB Transfer
    Home Audio System Getting Started Disc/USB Playback Operating Instructions USB Transfer Tuner BLUETOOTH Network Gesture Control Sound Adjustment Other Operations Additional Information MHC-V90W MHC-V90W.UC2.4-728-217-11(1) For the customers in the USA CAUTION The use of optical instruments with Owner’s Record this product will increase eye hazard. The model and serial numbers are located on the rear of the unit. Record these numbers in the spaces provided below. Refer to them whenever you call upon your Sony dealer regarding this product. Model No. This appliance is classified as a CLASS 1 LASER product under IEC 60825- Serial No. 1:2007. This marking is located on the rear exterior. WARNING FOR UNITED STATES To reduce the risk of fire or CUSTOMERS. NOT APPLICABLE electric shock, do not expose this IN CANADA, INCLUDING IN THE apparatus to rain or moisture. PROVINCE OF QUEBEC. To reduce the risk of fire, do not cover the ventilation opening of POUR LES CONSOMMATEURS the appliance with newspapers, AUX ÉTATS-UNIS. NON tablecloths, curtains, etc. Do not expose the appliance to naked APPLICABLE AU CANADA, Y flame sources (for example, lighted COMPRIS LA PROVINCE DE candles). QUÉBEC. To reduce the risk of fire or electric shock, do not expose this appliance For the customers in the USA to dripping or splashing, and do not place objects filled with liquids, such as This symbol is intended to vases, on the appliance. alert the user to the presence of uninsulated As the main plug is used to disconnect “dangerous voltage” within the unit from the mains, connect the the product’s enclosure unit to an easily accessible AC outlet.
    [Show full text]
  • STUDIO 680 Home Audio Loudspeaker System
    STUDIO 680 Home Audio Loudspeaker System High definition imaging for high fidelity sound. Features For those searching for a home audio speaker system that goes above and beyond what Top-graded PolyPlas cones they’ve ever heard, seek no further: The new JBL Studio 6 speaker system is everything your High-quality sounding compression drivers inner audiophile could hope for. Enjoy the top-ranked sound of its PolyPlas cones; marvel at the New, appealing form factor concert-grade accuracy and power of its acoustics speaker drivers; and get electrified by its HD imaging waveguide, complete with high-frequency compression driver. It features a modern High-Definition Imaging Waveguide with new clean look that’s equally stylish and easy to set up. After JBL Studio 6, home listening will High-Frequency Compression Driver never sound – or feel – the same. STUDIO 680 Home Audio Loudspeaker System Features and Benefits What’s in the box: 1 x JBL Studio 680 Floor Standing Top-graded PolyPlas cones Loudspeaker For those who prefer their home stereo and home theater to sound precisely like it would 1 x Owner’s Manual sound at a live concert or movie theater. 1 x Warranty Card High-quality sounding compression drivers 4 x Carpet Spikes Compression drivers that add best-in-class clarity and detail to your sound experience. 4 x Feet Pads New, appealing form factor Technical Specifications: Our speaker system is pleasing to the eyes, making it a perfect match for your home décor. Dual 6.5”, 2.5-way compression driver High-Definition Imaging Waveguide with High-Frequency Compression Driver floor standing loudspeaker High-quality home audio helps deliver a live-concert sound directly to your home.
    [Show full text]
  • Media Draft Appendix
    Media Draft Appendix October, 2001 P C Hariharan Media Historical evidence for written records dates from about the middle of the third millennium BC. The writing is on media1 like a rock face, cave wall, clay tablets, papyrus scrolls and metallic discs. Writing, which was at first logographic, went through various stages such as ideography, polyphonic syllabary, monophonic syllabary and the very condensed alphabetic systems used by the major European languages today. The choice of the medium on which the writing was done has played a significant part in the development of writing. Thus, the Egyptians used hieroglyphic symbols for monumental and epigraphic writing, but began to adopt the slightly different hieratic form of it on papyri where it coexisted with hieroglyphics. Later, demotic was derived from hieratic for more popular uses. In writing systems based on the Greek and Roman alphabet, monumental writing made minimal use of uncials and there was often no space between words; a soft surface, and a stylus one does not have to hammer on, are conducive to cursive writing. Early scribes did not have a wide choice of media or writing instruments. Charcoal, pigments derived from mineral ores, awls and chisels have all been used on hard media. Cuneiform writing on clay tablets, and Egyptian hieroglyphic and hieratic writing on papyrus scrolls, permitted the use of a stylus made from reeds. These could be shaped and kept in writing trim by the scribe, and the knowledge and skill needed for their use was a cherished skill often as valuable as the knowledge of writing itself.
    [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]
  • Dual Digital Audio Tape Deck OWNER's MANUAL
    » DA-302 Dual Digital Audio Tape Deck OWNER’S MANUAL D00313200A Important Safety Precautions CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALI- Ü FIED SERVICE PERSONNEL. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure ÿ that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the pres- ence of important operating and maintenance (servicing) instructions in the literature Ÿ accompanying the appliance. This appliance has a serial number located on the rear panel. Please record the model number and WARNING: TO PREVENT FIRE OR SHOCK serial number and retain them for your records. Model number HAZARD, DO NOT EXPOSE THIS Serial number APPLIANCE TO RAIN OR MOISTURE. For U.S.A Important (for U.K. Customers) TO THE USER DO NOT cut off the mains plug from this equip- This equipment has been tested and found to com- ment. If the plug fitted is not suitable for the power ply with the limits for a Class A digital device, pur- points in your home or the cable is too short to suant to Part 15 of the FCC Rules. These limits are reach a power point, then obtain an appropriate designed to provide reasonable protection against safety approved extension lead or consult your harmful interference when the equipment is operat- dealer.
    [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]