DOCSLIB.ORG

Audio-1959-Aug.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Audio-1959-Aug.Pdf Another way RCA serres you through Eleetrouies HI -FI DESIGNERS i 9 "JAM SESSIONS" ...and they "dig" RCA TUBES "the most "! One designer "blows a horn" for one tube type. dissipation capabilities. And high -mu twin triode Another "beats the drum" for a 2nd. Everybody may RCA -7025 is tops in pre -amplifier stages when low "sound off" -but when they "take five ", designers noise and low hum are a "must ". For versatility, agree that RCA Hi -Fi Tubes...7027 -A, 6973, 7025 check RCA -7199, a triode -pentode that features low noise in tone -control amplifier, phase - and 7199... are "the most" ! hum and low Want big power? A pair of RCA -7027 -A's in Class splitter, and high -gain voltage -amplifier circuits. AB1 can deliver up to 76 watts. (Four in twin, push - So "get with" RCA Tubes for your hi -fi designs. pull Class AB1 circuits are superb for stereo, too!) Your RCA Representative can give you the facts. Designing a more compact package, say, 20 watts For data sheets, write RCA Commercial Engineer- each stereo output stage or 40 watts monophonic? ing, Section II-91 -DE, Harrison, N. J. Look into RCA -6973, a small tube with big plate FIELD OFFICES Visit the RCA Booth at WESCON! EAST: 744 Broad Street, Newark 2, N. J. HUmboldt 5 -3900 MIDWEST: OF AMERICA Suite 1154, Merchandise Mart Plaza RADIO CORPORATION Chicago 54, Illinois, WHitehall 4 -2900 Electron Tube Division Harrison, N. J. WEST: e 6355 E. Washington Blvd. RCA tubes for High Fidelity also available from your local Authorized RCA Distributor Los Angeles 22, Cal., RAymond 3 -8361 THE BRITISH INDUSTRIES 1C 1 ENpaSED \ n g't i /...just one reason -per -product why you should consider BIC components for your stereo requirements. The World's Finest Stereo Record Players Warm, universal endorsement by eminently satisfied users and dis- tributors everywhere, as the world's best automatic changers, manual players, and turntables, in every model, in every price range. Stereo -mono Amplifiers Incomparable quality in sound and construction (yet, with startling simplicity) ...quality which holds harmonic distortion to an infinites- imal 1 /10 of 1% at lull rated power, and permits an unconditional 5 year guarantee...the only one in the industry! Vharfedale Loudspeakers and Systems The rich, full range, yet non-stri- dent sound developed by England's renowned G. A. Briggs...the latest example of which is in the new ultra- compact (10" by IIW by 24 ") Model WS /2 lull -range system ... the sound of a BIG Wharfedale system. the size ideal for stereo. Speaker Enclosures A complete, restyled line of the original and patented high -per- formance, small -space speaker en- closures which are now a must for stereo. Although R -J is the most emulated enclosure on the market in size and shape... no one has been Jure to copy the patented R -J per- formance principle. River Edge Customized Cabinets and Do -It- Yourself Kits The Series 100 modular kits are as flexible for stereo as for mono sys- tems...and most important. they are built of Birch hardwood, to take a quality living -room finish. And...this one series is a complete kit line in itself. 5-Core Solder Pioneering solder advancements. Multieure. the world's finest solder ...now offers the new copper -loaded SAVBIT Alloy which makes cop- per tips last 10 times longer. Only Multieure. in regular and SAVBIT Alloys, contains extra- active, non. corrosive ERSIN flux. Genalex Audio Tubes Origination and promotion of the famous KT66's and KT88's, ack- nowledged throughout the world as the finest tet rodes ever made? These Genalex tubes are selected and used by the leading manufacturers of quality audio power amplifiers for the highest possible performance with the lowest distortion. 14'e hate prepared a . ut ( potato, Gtdde, n critic the I (11C product ht.., and w e sill he hnpp to tend than to int . Please wrote, speeding the BIC products slid, uuerest ou. Address Dept. A V- /v BRITISH INDUSTRIES CORPORATION PORT WASHINGTON, N. Y. AUGUST, 1959 VOL. 43, No. 8 Successor to RADIO, Est. 1917. Discover for yourself why Sherwood is the most honored line of high fidel- ity components in the field. Sherwood Tuners (the first ever to achieve sensi- tivity under 0.95 microvolts) feature: Inter -Channel Hush, a noise muting system which makes FM tuning easier than ever FM Multiplex Output "Feather -Ray" Tuning Eye Automatic Frequency Control Flywheel Tuning. AU D Combine these tuners with either of Io Sherwood's "mated" ENGINEERING MUSIC SOUND REPRODUCTION stereo amplifier choices; 20 +20 watts or 36+36 C. G. McProud, Editor and Publisher watts. And only Sherwood offers all these features: Single /Dual Bass & Henry A. Schober, Business Manager Treble Controls Mid -Range Presence Harrie K. Richardson, Associate Editor Rise Stereo -Mono Function Indicator Linda Sueskind, Assistant Editor Lights Phase -Reverse Switch Damping Factor selection. Sherwood Janet M. Durgin, Production Manager also offers either 36 or 60 watt mon- Edgar E. Newman, Circulation Director aural amplifiers, FM Multiplex Adapters and a complete decorator- styledline of cabinetry and 3 -way speaker systems - The Finest in High Fidelity. Sherwood Electronic Laboratories, Inc., 4300 N. Sanford L. Cahn, Advertising Director California Avenue, Chicago 18, Illinois. Midwest Representative - W. A. Cook and Associates Model S -5000. 20 + 20W Slew Dual Amplifier -5189.50 161 East Grand Ave., Chicago 11,111. West Coast Representative - 0 0 ©6) 450: lames C. Galloway 6535 Wilshire Boulevard, Los Angeles 48, Cali!. Model S -3000 U. FM Tuner -$105.50 CONTENTS Audioclinic- Joseph Giovanelli 2 Model 5.4400. Stereo Peins,. f 36W Amp. - $159.50 Letters 6 Audio ETC -Edward Tainan Canby 12 C3.C, ©6)0.x. Editor's Review 18 Model S.200013, FM -AM Tuner -$145.50 Transistor Music System Using Direct Coupling- Richard S. Burwen 21 Hi -Fi Speaker Enclosure Damping Materials -James A. Huff, Jr. 26 ©- Tape Guide -What to Look for in a Tape Recorder-Herman Burstein 32 Model 5.1000 a, 36W Monaural Amplifier- 5109 50 Variable Electronic Crossover and Biamplifier- George C. Kane 42 only for those who want the ultimate: Hi -Fi for Lo -Do-S. G. Lucas 50 Errors and Mistakes of Engineers-A lbert Woodruff Gray 56 Product Preview 67 STEREO Jazz and All That-Charles A. Robertson SG Record Revue-Edward Tatnall Canby 92 Book Review The Audio Cyclopedia 99 About Music- Harold Lawrence 100 Coming Hi Fi Shows 101 Advertising Index 114 COVER PHOTO: Custom installation in North Stamford, Connecticut, designed F. Barton, by C. with cabinetry by Russ Lang Corp., Bridgeport Conn. Unit is 14 feet long ill three sections; the record cabinet is two feet long and features an interior light. For further data and a close -up picture of control panel, record changer compartment, and ventilating ducts, turn to page 104. Photos by Frederick Schulze. AUDIO (title registered U. S. Pat. OP.) Is published monthly by Radio Magazines, Inc, Henry A. Schober, C. G. 3IcProud, Secretary. Executive President; and Editorial Omees, 204 Front St., Mineola. N. Y. Subscription Possessions, canada and Mexico, $4.00 rates -U. S. for one year, $7.00 for two years, all other countries. $5.00 per year. copies 504. Printed In U.S.A. at Lancaster, P.. Single All rights reserved. Entire contents copyrighted 1959 by Radio Magazines. Inc. Entered as Second Class Matter February 9. 1950 at the Post Office. Lancaster. Pa. under the act of March 3, 1879. RADIO MAGAZINES, INC., P. O. Box 629, MINEOLA, N. Y. Postmaster: Send Form 3579 to AUDIO, P. O. Box 629, Mineola, N. Y. For complete technical details write Dept. -8. AUDIO AUGUST, 1959 1 AUDIOCLINIC ?? JOSEPH GIOVANELLI' Power and Voltage Considerations that same direction, and the two arrive at that .maximum at the same instant. When Q. The specifications of my Dynakit am- this same current is applied across the plifier indicate that 1.6 volts input are re- terminals of an inductance, the situation WAYS quired for 60 watts output. It therefore is quite different. This can be made clear seems like an easy matter to measure the by considering what happens when d.c. is To ENJoY voltage at the output terminals when the applied to the inductance. When the volt- amplifier was fed by a 1.6 -volt signal. This age is applied, there is a magnetic field set E voltage was found to be approximately 40 up around the inductance. This field cuts volts. Since my speaker cannot handle 60 the turns of the inductance, causing a watts, this was a no -load measurement. I second voltage to be generated within the RoBERTS could not experiment with a lower input coil. By the rules of magnetic theory we because I did not know the corresponding know that when this happens, the direction output wattage. It would seem that the of this newly created back voltage is op- %;; !.+ Ohm's law a.c. formulas should be applica- posite to that of the originally applied volt- ble to this problem. Please tell me a simple age. This tends to oppose the flow of cur- way to determine wattage from voltage. rent. Soon the magnetic field reaches a What is the relation between input voltage maximum intensity because we are feeding and watts output! Tell me how to deter- d.c. to the coil, and this will ultimately mine the phase angle, for I understand cause the current to stabilize. From that that this may have some bearing upon the time on, the inductance behaves as though problem. Richard Meyer, East Lansing, it were resistive.
Load more

Recommended publications
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Antarctica: Music, Sounds and Cultural Connections
    Antarctica Music, sounds and cultural connections Antarctica Music, sounds and cultural connections Edited by Bernadette Hince, Rupert Summerson and Arnan Wiesel Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Antarctica - music, sounds and cultural connections / edited by Bernadette Hince, Rupert Summerson, Arnan Wiesel. ISBN: 9781925022285 (paperback) 9781925022292 (ebook) Subjects: Australasian Antarctic Expedition (1911-1914)--Centennial celebrations, etc. Music festivals--Australian Capital Territory--Canberra. Antarctica--Discovery and exploration--Australian--Congresses. Antarctica--Songs and music--Congresses. Other Creators/Contributors: Hince, B. (Bernadette), editor. Summerson, Rupert, editor. Wiesel, Arnan, editor. Australian National University School of Music. Antarctica - music, sounds and cultural connections (2011 : Australian National University). Dewey Number: 780.789471 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press Cover photo: Moonrise over Fram Bank, Antarctica. Photographer: Steve Nicol © Printed by Griffin Press This edition © 2015 ANU Press Contents Preface: Music and Antarctica . ix Arnan Wiesel Introduction: Listening to Antarctica . 1 Tom Griffiths Mawson’s musings and Morse code: Antarctic silence at the end of the ‘Heroic Era’, and how it was lost . 15 Mark Pharaoh Thulia: a Tale of the Antarctic (1843): The earliest Antarctic poem and its musical setting . 23 Elizabeth Truswell Nankyoku no kyoku: The cultural life of the Shirase Antarctic Expedition 1910–12 .
    [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]
  • 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.
    [Show full text]
  • Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme
    Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alan Campbell, B.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee Ryan T. Skinner, Advisor Danielle Fosler-Lussier Barry Shank 1 Copyrighted by Matthew Alan Campbell 2019 2 Abstract For members of the United States Armed Forces, communicating with one’s loved ones has taken many forms, employing every available medium from the telegraph to Twitter. My project examines one particular mode of exchange—“audio letters”—during one of the US military’s most trying and traumatic periods, the Vietnam War. By making possible the transmission of the embodied voice, experiential soundscapes, and personalized popular culture to zones generally restricted to purely written or typed correspondence, these recordings enabled forms of romantic, platonic, and familial intimacy beyond that of the written word. More specifically, I will examine the impact of war and its sustained separations on the creative and improvisational use of prosthetic culture, technologies that allow human beings to extend and manipulate aspects of their person beyond their own bodies. Reel-to-reel was part of a constellation of amateur recording technologies, including Super 8mm film, Polaroid photography, and the Kodak slide carousel, which, for the first time, allowed average Americans the ability to capture, reify, and share their life experiences in multiple modalities, resulting in the construction of a set of media-inflected subjectivities (at home) and intimate intersubjectivities developed across spatiotemporal divides.
    [Show full text]
  • Econ Board Wants More Info
    1A WEEKEND EDITION FRIDAY & SATURDAY, OCTOBER 12 & 13, 2012 | YOUR COMMUNITY NEWSPAPER SINCE 1874 | 75¢ Lake City Reporter LAKECITYREPORTER.COM EVENTS CENTER ‘A lot of pink’ PROPOSAL Econ Oct. 12 board Classic car parade On Friday, Oct. 12 from 6 to 9 p.m. American wants Hometown Veteran Assist Inc. will host a cruise in and classic car parade at Hardees on U.S. 90. All of more the proceeds benefit local veterans. Oct. 13 info Monument rededication Please join the Sons of Possible Ellisville Confederate Veterans and location prompts the United Daughters of the Confederacy on questions. Saturday, Oct. 13 at 11 a.m. for the Rededication of the By TONY BRITT Confederate Monument, [email protected] which was originally dedi- cated 100 years ago. The Columbia County Economic Development Department board of direc- Zumba charity tors is Zumba to benefit local interested breast cancer awareness in the Oct. 13 from 5:30 to 7 p.m. at c o u n t y ’ s the Teen Town Recreation JASON MATTHEW WALKER/Lake City Reporter proposed Building, 533 NW Desoto Lake City resident Marcelle Bedenbaugh is in the market for a pink flamingo after attending the Standing up to Breast e v e n t s St. The Zumbathon Charity Cancer luncheon Thursday. ‘I’ve had breast cancer two times. I enjoyed the chemo the first time I said what the heck, c e n t e r , Event will benefit the I’ll do it again,’ Bedenbaugh joked. but wants Suwannee River Breast Quillen m o r e Cancer Awareness Assn.
    [Show full text]
  • To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibli
    CC:DA/MLA/2002/2 August 22, 2002 page 1 To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibliographic Control Committee Subcommittee on Descriptive Cataloging Re: 4JSC/CCC/6: Expanded response to 4JSC/CCC/6 & Rule revision proposal for 6.5B to include optional conventional term qualifiers The Subcommittee on Descriptive Cataloging and the Bibliographic Control Committee of the Music Library Association have given consideration to the CCC proposal to revise 6.5B1 to record the specific format of the physical carrier using conventional terminology as the base rule and the current instructions as the option. Our initial comments were presented in an earlier document. This is a slightly expanded version, which includes our response to 4JSC/CCC/6 and lays out our counter-proposal in its entirety. Part I: Response to 4JSC/CCC/6 MLA adamantly opposes the CCC proposal as it currently stands. While we agree there is a benefit in introducing the possibility of more flexible terminology in Area 5, we strongly disagree with the suggested revisions. Our main reasons, with short discussion, follow. 1. Lack of adequate justification for the rule change The chief reason for this proposal, consistency of rules across formats, is inadequate justification for the magnitude of the proposed change and its consequences. Changing the rules of one chapter (or more) simply to parallel the rules of a different, unrelated chapter is flawed reasoning in and of itself, much less sufficient grounds for such a major revision. If we were to follow this logic, we would also need to introduce a rule revision for Chapter 2, so that the physical description could state “1 book” or “1 duodecimo.” The further justifying statement that the “revision will allow for greater flexibility, the provision of more meaningful information for end-users and the accommodation of information pertaining to new and emerging formats” is only partially correct.
    [Show full text]
  • Evaluation of Sound Quality of High Resolution Audio
    Proceedings of the 1st IEEE/IIAE International Conference on Intelligent Systems and Image Processing 2013 Evaluation of Sound Quality of High Resolution Audio Naoto Kanetadaa,*, Ryuta Yamamotob, Mitsunori Mizumachi aKyushu Institute of Technology,1-1 Sensui-cho, Tobata-ku, Kitakyushu 804-8550, Japan bDigifusion Japan Co.,Ltd 1-1-68 Futabanosato Higashi-ku Hirosima,7320057 Japan *Corresponding Author: [email protected] Abstract 1. Introduction High resolution audio (HRA), which is recorded in the digital audio format with high sound quality, appears on the In recent years, high resolution audio (HRA), which is audio market. HRA has the quality equal to or better than sampled at 96 kHz or 192 kHz with 24 bits accuracy, is the standard compact disc (CD), and is distributed as the becoming popular in the audio market. HRA is super audio CD (SACD), DVD-audio, Blue-ray audio, and commercially distributed as the lossless encoded file via the a data file through the internet. In this paper, sound quality internet, and is also available in the Blu-ray audio disc. of HRA is investigated in the view point of auditory Compact disc (CD) and lossy compression such as MPEG perception. Perceptual characteristics of HRA have been Audio Layer-3 (MP3) are the current major audio formats examined by listening tests as compared with the standard as the storage medium and the data file, respectively. As a audio CD and the compressed MPEG audio layer-3 (MP3) memory capacity increases and a wide communication qualities. The listening tests were carried out by the method network spreads out, HRA must be increasingly popular.
    [Show full text]
  • Createworld 2011 Proceedings [PDF]
    CreateWorld 2011 Proceedings CreateWorld11 Conference 28 November - 30 November 2011 Griffith University, Brisbane Queensland Australia Editors Michael Docherty :: Queensland University of Technology Matt Hitchcock :: Griffith University, Qld Conservatorium CreateWorld 2011 Proceedings of the CreateWorld11 Conference 20 - 30 November Griffith University, Brisbane Queensland Australia Editor Michael Docherty :: Queensland University of Technology Matt HItchcock :: Griffith University Web Content Editor Andrew Jeffrey http://www.auc.edu.au/Create+World+2011 ISBN: 978-0-947209-38-4 © Copyright 2011, Apple University Consortium Australia, and individual authors. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without the written permission of the copyright holders. CreateWorld 2011 Proceedings of the CreateWorld11 Conference 28 - 30 November, 2011 Griffith University, Brisbane Queensland Australia Contents Robert Burrell, Queensland Conservatorium, Griffith University 1 Zoomusicology, Live Performance and DAW [email protected] Dean Chircop, Griffith Film School (Film and Screen Media Productions) 10 The Digital Cinematography Revolution & 35mm Sensors: Arriflex Alexa, Sony PMW-F3, Panasonic AF100, Sony HDCAM HDW-750 and the Cannon 5D DSLR. [email protected] Kim Cunio, Queensland Conservatorium Griffith University 18 ISHQ: A collaborative film and music project – art music and image as an installation, joint art as boundary crossing. [email protected]; Louise Harvey,
    [Show full text]
  • 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.
    [Show full text]
  • Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound Susan Schmidt Horning
    ABSTRACT At the dawn of sound recording, recordists were mechanical engineers whose only training was on the job. As the recording industry grew more sophisticated, so did the technology used to make records, yet the need for recording engineers to use craft skill and tacit knowledge in their work did not diminish. This paper explores the resistance to formalized training of recording engineers and the persistence of tacit knowledge as an indispensable part of the recording engineer’s work. In particular, the concept of ‘microphoning’ – the ability to choose and use microphones to best effect in the recording situation – is discussed as an example of tacit knowledge in action. The recording studio also becomes the site of collaboration between technologists and artists, and this collaboration is at its best a symbiotic working relationship, requiring skills above and beyond either technical or artistic, which could account for one level of ‘performance’ required of the recording engineer. Described by one studio manager as ‘a technician and a diplomat’, the recording engineer performs a number of roles – technical, artistic, socially mediating – that render the concept of formal training problematic, yet necessary for the operation of technically complex equipment. Keywords audio engineering, aural thinking, ‘microphoning’, sound recording, tacit knowledge Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound Susan Schmidt Horning Listening to recorded music can be a deeply personal experience, whether through headphones to a portable compact disk (CD) player or to ‘muzak’ intruding on (or enhancing) our retail shopping experience (DeNora, 2002); whether seated in an automobile (Bull, 2001, 2002), at a computer, or in the precisely positioned audiophile listening chair (Perlman, 2004).
    [Show full text]
  • The Smooth Space of Field Recording
    1 The Smooth Space of Field Recording Four Projects Sonicinteractions, Doublerecordings, “Dense Boogie” and ‘For the Birds’ Ruth Hawkins Goldsmiths, University of London PhD MUSIC (Sonic Arts) 2013 2 The work presented in the thesis is my own, except where otherwise stated 3 Acknowledgments Many thanks to Dr John Levack Drever, who supervised this thesis, and to the following individuals and organizations who gave me permission to record their work; provided information, technical and other support; and gave me opportunities to publish or screen parts of the work presented here. Sebastian Lexer. Natasha Anderson; Sean Baxter; David Brown; Rob Lambert; John Lely; Anthony Pateras; Eddie Prevost; Seymour Wright. Oliver Bown; Lawrence Casserley; Li Chuan Chong; Thomas Gardner; Chris Halliwell; Dominic Murcott; Aki Pasoulas; Lukas Pearce; Alejandro Viñao; Simon Zagourski-Thomas. Anya Bickerstaff. Lucia H. Chung. Dr Peter Batchelor; Marcus Boon; Mike Brown; Brian Duguid; Prof Elisabeth Le Guin; Dr Luciana Parisi; Prof Keith Potter; Dr Dylan Robinson; Geoff Sample. Rick Campion; Emmanuel Spinelli; Ian Stonehouse. David Nicholson; Francis Nicholson. Dr Cathy Lane; Dr Angus Carlyle - CRiSAP; Prof Leigh Landy; Dr Katharine Norman - Organised Sound; Helen Frosi - SoundFjord; EMS; Unit for Sound Practice Research - Goldsmiths, University of London. 4 Abstract This practice/theory PhD focuses on four projects that evolved from a wider objects, each of the projects was concerned with the ways in which ‘straight’ recording and real-world environments. The dissertation and projects attempt to reconcile, what has been depicted within the acoustic ecology movement as, the detrimental effects of ‘millions’ of recording productions and playbacks on individuals and global environments, by exploring alternative conceptions of environmental recorded sound.
    [Show full text]