DOCSLIB.ORG

Cassettes Ever Sold in the United States

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cassettes Ever Sold in the United States WELCOME WELCOME At National Audio Company we strive to provide all your analog and digital audio media needs. We are your one-stop source for professional cassette tapes, digital media, duplication, and packaging. Steve Stepp - Steve Stepp President, NAC This catalog supersedes all previous prices, fliers, and brochures. Prices are correct at the time of printing. We reserve the right to raise prices at any time. NATIONAL AUDIO COMPANY CELEBRATING 50 YEARS National Audio opened its doors in 1969, off ering some of the first audio cassettes ever sold in the United States. Professional grade Ampex recording tapes and Fidelipac broadcast cartridges were initially off ered. Manufacturing operations began in 1980 at the Springfield, Missouri plant with the introduction of the Audio Pro cassette brand. The new product line soon became the recognized industry standard in duplication, as production expanded to a 28,000 square foot facility to keep pace with demand. By the 2000’s, digital audio had come of age. Owner Steve Stepp did not follow competitors withdrawing from the audiocassette market. Instead, he pledged to manufacture the last audiocassette ever produced and envisioned a new horizon for the medium. National Audio’s 135,000 square foot manufacturing plant, for audio tape, duplicating, and packaging, is still located in Springfield, Missouri. Now in our 50th Anniversary Year, National Audio customers include major motion picture studios and 3500 record labels. Local and regional bands, government agencies, books on tape, instruction providers, religious organizations, and the scientific community are also among our family of customers. In-house audio engineers can clean up imperfections in sound. Our production group can transfer data, book duplication, magazines, and the spoken word at a rate of 32-1. We load 700 tons of professional grade cassette shells every year with more than 2,125,915 miles of tape. No one could have envisioned in 1969 that National Audio would become the vanguard of audiophiles and recording artists who were returning to the purity of analog sound in a new century. We have worked hard for fift y years to earn your trust. Packaging and duplication orders, large or small, always exceed expectations; and every order comes with courteous service, on time delivery and competitive pricing. WELCOME ORDER ONLINE www.nationalaudiocompany.com WELCOME NEW PRODUCTS WE DID IT... IN OUR 50TH ANNIVERSARY YEAR! Newly manufactured magnetic tape for audio cassettes had dwindled world-wide to near zero by late 2018, but demand for cassette tapes continued to trend upward. Anticipating the coming shortage two years earlier, our management team set their sights on creating and manufacturing our own magnetic tape stock for the first time. The National Audio team sought out leading scientific experts in the field and scoured the globe for equipment that warranted upgrade expense. In 2019, our 50th Anniversary Year, with orders from around the globe awaiting the first production runs, we are introducing FerroMaster C456, the highest quality ferric tape available in the world today. Our two-year investment in research, technology, and production capacity is an unqualified success. Our new, ultra-high performance Type I oxide delivers the highest signal-to-noise ratio (head room) ever achieved by a ferric cassette tape. All the cassette tape products off ered in our 2019 catalog are loaded with our own FerroMaster C456. Many of your favorite cassette tape brands off ered by other firms are also loaded with our tape. FerroMaster C456 is proudly manufactured in the U.S.A. at our production facility in Springfield, Missouri. If you’re in the area, we’d be happy to give you a tour of our production and assembly lines hard at work giving our customers the quality they’ve come to expect from National Audio Company products and services. We’re so proud of our FerroMaster C456 tape that we made a t-shirt! They are for sale for $10.00 each. Ask customer service for size availability. CALL CUSTOMER SERVICE 417-863-1925 PAGE 1 AUDIO CASSETTE TAPES AUDIO PRO GOLD Packaged Blank Cassettes 60-Minute Individually Packaged Cassettes in 10 Pack Boxes COMING SOON PRODUCT OVERVIEW Audio Pro Gold is a high-performance Type I cassette loaded with our new FerroMaster C456TM super ferric tape, delivering the high output and frequency response previously available only in the best Type II tapes.These tapes feature a high signal-to-noise ratio (head room) far surpassing any other ferric cassette tape while providing deep, mellow bass, warm mid-range, and crystal clear high frequencies. It is designed to be recorded at very high levels. FEATURES • Records and plays at normal bias 120 µs EQ. • Record/duplicate on any equipment currently biased for TypeI tape. • Shell is imprinted with Audio Pro Gold brand. • Packed with traditional J-Card and strip labels to apply your own information. • Each tape in a clear Norelco-style box. • Individually cellophane overwrapped. • Packed in protective 10-pack boxes, shrink-wrapped to prevent contamination. PACKAGED BLANK CASSETTE PRICING CATALOG # PLAY TIME UNIT COST C456-C60PB 60 Minutes $44.40 per 10-pack box NOT YET AVAILABLE PAGE 2 ORDER ONLINE www.nationalaudiocompany.com AUDIO CASSETTE TAPES C456 TABS-IN CASSETTE TAPES - Bulk Music Quality, Type I Super Ferric Made with PRODUCT OVERVIEW These high-output , low-noise, extended frequency tapes are designed for the most demanding recording application. They come loaded with our new FerroMaster C456 tape, with an oxide/binder system formulated to provide the highest frequency response and maximum output levels of any tape on the market. FEATURES • Number 1 bulk audio cassette in the U.S. loaded in professional quality cassette shells. • Always made to order and can be loaded to any play time up to 64 minutes total. • Normal bias, for use in all recording equipment. • White, black, or clear with black liner, tabs-in shells. (A selection of additional colors in tabs-out shells is available – check online for availability or call Customer Service).* MUSIC QUALITY, TYPE I SUPER FERRIC TAPE PRICING* TOTAL 1 - 99 100 - 999 1000 + CATALOG # MIN/SIDE PLAY TIME UNIT COST UNIT COST UNIT COST** C456-C005 2.5 5.0 $0.79 ea $0.59 ea $0.57 ea C456-C010 5.0 10.0 $0.81 ea $0.61 ea $0.59 ea C456-C015 7.5 15.0 $0.84 ea $0.64 ea $0.62 ea C456-C020 10.0 20.0 $0.87 ea $0.67 ea $0.65 ea C456-C030 15.0 30.0 $0.93 ea $0.73 ea $0.71 ea C456-C045 22.5 45.0 $1.01 ea $0.81 ea $0.79 ea C456-C060 30.0 60.0 $1.10 ea $0.90 ea $0.88 ea ** Lengths may be mixed (100 each) to obtain 1000 quantity discount. *Specify shell color when ordering. Other shell colors available “tabs out." View shell color options online or call Customer Service. CALL CUSTOMER SERVICE 417-863-1925 PAGE 3 INSTANT RECORD CASSETTES C456 TABS-IN MAG LEADER Cassettes - Bulk Music Quality, Type I Super Ferric Made with PRODUCT OVERVIEW These high-output tapes are loaded with the same FerroMaster C456 tape as our regular bulk tabs-in cassettes, but with a magnetic oxide leader for instant recording. The recordable leader is for applications such as dictation and court recording where every word is important, not recommended for music releases. Audio recorded on the first few seconds of the tape will diff er in sound from the rest of the tape. FEATURES • Number 1 bulk audio cassette in the U.S. loaded in professional quality cassette shells. • Magnetic leader allows recording to begin as soon as the tape starts moving. • Normal bias, for use in all recording equipment. Recommended for auto-record machines. • White, black, or clear with black liner, tabs-in shells. • Can be made to any length from 1 to 64 minutes. Select options online or call Customer Service. MUSIC QUALITY, TYPE I SUPER FERRIC TAPE PRICING* TOTAL 1 - 99 100 - 999 1000 + CATALOG # MIN/SIDE PLAY TIME UNIT COST UNIT COST UNIT COST** C456-C005-MAG 2.5 5.0 $0.79 ea $0.59 ea $0.57 ea C456-C010-MAG 5.0 10.0 $0.81 ea $0.61 ea $0.59 ea C456-C015-MAG 7.5 15.0 $0.84 ea $0.64 ea $0.62 ea C456-C020-MAG 10.0 20.0 $0.87 ea $0.67 ea $0.65 ea C456-C030-MAG 15.0 30.0 $0.93 ea $0.73 ea $0.71 ea C456-C045-MAG 22.5 45.0 $1.01 ea $0.81 ea $0.79 ea C456-C060-MAG 30.0 60.0 $1.10 ea $0.90 ea $0.88 ea ** Lengths may be mixed (100 each) to obtain 1000 quantity discount. *Specify shell color when ordering. PAGE 4 ORDER ONLINE www.nationalaudiocompany.com PROFESSIONAL AUDIO CASSETTES COURT REPORTING Instant Record Cassettes Made with Tamper-proof seal optional PRODUCT OVERVIEW Tested, trusted and used by federal, state, and local court reporters and court systems across the U.S. Instant Record cassettes provide guaranteed reliable performance. FEATURES • Designed for critical professional recording applications and will deliver excellence every time – the same standard you demand of yourself! • Features studio quality tape loaded in smooth-running shells. Each cassette comes packaged in an individual Norelco style plastic storage box. • Two custom label systems to meet the specific needs of each court application. STANDARD LEADER FOR OPTICAL AUTO REVERSE MINIMUM ORDER CATALOG # PLAY TIME SHELL COLOR UNIT COST C456-C060-5WTILB C60 White $1.35 100 Cassettes C456-C060-5BTILB C60 Black $1.35 MASTER CARTON C456-C060-5CTILB C60 Clear $1.35 250 Cassettes INSTANT RECORD FOR MECHANICAL AUTO REVERSE PLEASE SPECIFY CATALOG # PLAY TIME SHELL COLOR UNIT COST C456-C060-5WTIMLB C60 White $1.35 A-A or A-B Labeling C456-C060-5BTIMLB C60 Black $1.35 C456-C060-5CTIMLB C60 Clear $1.35 PACKAGING OPTIONS ADD • Tamper-proof adhesive seal on individual cassette box $0.50 ea • Clear over-wrap with folded, heat sealed corners on cassette box $0.05 ea • Clear over-wrap, heat sealed with convenient tear strip for opening $0.08 ea • J-card packed with cassette in each individual Norelco box $0.32 ea A-A LABELS Both sides are to be recorded.
Load more

Recommended publications
  • 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]
  • The Evolution of DVD ECE 571G March 10, 1998
    The Evolution of DVD ECE 571G March 10, 1998 Raed Sunna Dave Tompkins This report is dedicated to some of the (relatively) unsuccessful or short-lived video and audio formats from the past 40 years: 3D Television 8 -Track ADAT Audiopak Betamax CD Plus CD Video CD-I Cinerama DAT DCC Echomatic EVR Fidelipac MiniDisc Photo CD Playtape Port-a-Pak ScoopMan S-DAT Selectavision Smell-O-Vision U-Matic Videodisc Introduction The DVD (Digital Versatile Disc) is on the verge of defining history in both the computer industry and the home entertainment industry. Millions of dollars have been invested into DVD, with a lot of investors hoping it becomes the next home appliance. In order to consider where DVD will end up it will help to examine a few key questions: · What does the scene look like before DVD? · How does DVD fit into the existing scene? · How does the technology of DVD compare? · What will happen with DVD? This report tries to answer those questions, by tracing the history from the turn of 20th century to the turn of the 21st and beyond. Taking a qualitative approach to how DVD will be accepted, this report will help answer some of the questions that numbers just can’t answer. It should be noted that many of the views, dates and statistics in this report are based on very North American (or more simply, American) perspectives. This was done for several reasons, but primarily because numbers and information about American culture is commonly available. However, it should be noted that this Ameri-centric view is an outdated concept, and that the world and global economies are more important now than ever before.
    [Show full text]
  • Master File of Catalogued Tape Heads
    Nortronics/world leader in magnetic tape heads MASTER FILE OF CATALOGUED TAPE HEADS Experience and I magi nation Unequalled Research and Quality control Manufacturing Facilities More than 150 combined yea rs of Between incoming inspection and use engineering experi ence, a heavy Th e n ew 40,000 square foot Nortronics tests just before packaging, each head re search budget, and a stimulating bui ld ing was designed to provide undergoes an average of 30 inspections, environment for imagination are contro l of dust, noise, humidity and and is subjected to an ave rage of important elements in Nortronics' temperature. Equipment, from the seven different microscopic, visual, and efforts to d es ign and build better resea rch laboratory's binocular Unitron electri ca l tests. Mechanically, the two tape heads. m etallurgical microscope with Xenon half sections of a Nortronics head must li ght source, to the production line's be precision lapped to fl atness Nortronics' innovations w hich are now 10-7 Toar vacuum q uartz gap tolerances of one-quarter wave length standard throughout the industry depOSitors, is the best avai lable, much of monochromatic helium light. Include use of the hyperbolic tape head of it designed and built at Nortronics, Electrically, completed heads are face to eliminate pressure pads, to accommodate new departures in checked for inductance, impedance, DC laminated cores, and quartz-deposited product design requiring equally resistance, long and short wave length gaps for popular priced tape heads; dramatic departures in manufacturing response, record and biasing all-metal-face heads; 8-tra ck stereo tape techn ique.
    [Show full text]
  • Welcome to the World of Media Preservation!
    Welcome to the World of Media Preservation! Joshua Harris Media Preservation Coordinator UIUC Libraries “Some believe that the challenge of preserving sound recording collections is narrow and easily framed— simply a matter of copying old recordings to a new medium. The preservation process, however, entails much more than transferring a recording and saving it as a digital file; indeed, these two steps fall somewhere in the middle of a lengthy chain of events.” The preservation of recorded sound collections entails a set of processes requiring careful planning and a sophisticated technical infrastructure. It comprises several steps and requires important decisions that will affect what recordings are saved and what compromises may have to be made to ensure that the greatest number of recordings will be saved.” -The State of Recorded Sound Preservation in the United States. Council on Library and Information Resources and The Library of Congress. August 2010. So what really is “A/V (Media) Preservation???” • Conservation: Safeguarding and protection of original materials from damage. Involves hands-on intervention and repair of physical materials. • Preservation: All actions taken to maintain an object in its existing condition, minimize the rate of change, and slow down further deterioration. Includes duplication, copying, or migration of objects with limited life expectancy • Restoration: Actions taken to modify the existing material and structure of an object in order to return it to a known earlier condition, e.g. as new, or original. So what really is “A/V (Media) Preservation???” • "Preservation is the totality of the steps necessary to ensure the permanent accessibility – forever - of an audiovisual document with the maximum integrity“ -CCAAA • In reality, A/V Preservation includes preservation, conservation and restoration.
    [Show full text]
  • 1969 INTERNATIONAL TAPE DIRECTORY RECORD MANUFACTURER! 7 FAI IDI E I 1)I Sin Li Rol with TAPE PRODUCT
    MARCH 29, 1969 SECTION 2 Bi 1969 INTERNATIONAL TAPE DIRECTORY RECORD MANUFACTURER! 7 FAI IDI E I 1)I sin lI rol WITH TAPE PRODUCT TAPE I V PO TES/ EXPORTE S STORAGE OPS RAW TAPE CESES MANUFACTURERS MANUFACTURERS fr REPRESENTATIVES MANUFACTURERS OF EMPTY CARTRIDGE, CASSETTE TAPE DUPLICATING & REEL MACRERS EQUIPMENT MEAD & DEMAGNATIZERS DESIGN & ARTWORK SS AY ZAC T .CUS 'OU ¡,ÌCA:CION BLANK ! GADED .TAPE MANUFACTURERS 1 CARTRIDGE PARTS MANUFACTURERS PACKAGINr & LABELING 2J113 PRODUCT AVAILABLE Oh TAPE 011LV FEATURING: Tape CARtridge Historical Notes Where Tapes Are Sold Did the fact that we created Dynapak, the world's first no -return cartridge, saddle us with the responsibility of designing a no -return cassette, too? imm Damn right. created a cassette So we did. so simple in design We call it Dynapak Cassette. that it can be put together It's as superior to the cassette on a 100% automated assembly you're accustomed to as Dynapak line. is to old-fashioned tape cartridges. In short, the Dynapak Cas- It contains only ten parts. The sette is so brilliantly engineered to present most -widely used cassette be fool -proof that it is now the has seventeen. Thus, the Dyna- cassette against which all others pak Cassette eliminates seven must be judged. chances for assembly line or oper- ating foul-ups. Simplicity is the keynote of its TROY MICHIGAN design. TORONTO ONTARIO For example: Its two halves LOS ANGELES CALIFORNI, snap onto a one-piece hub. No sonic welding. No screws. For example: The loading of its spring pad assembly is so un- complicated, its slot design so in- genious, the tape can be dropped into place.
    [Show full text]
  • Meeting the Challenge of Media Preservation: Strategies and Solutions August 2011
    Meeting the Challenge of Media Preservation: Strategies and Solutions August 2011 Meeting the Challenge of Media Preservation: Strategies and Solutions Indiana University Bloomington Media Preservation Initiative Task Force August 2011 Our history is at risk Indiana University Bloom- ington is home to at least 3 million sound and moving image recordings, photos, documents, and artifacts. Well over half a milion of these special holdings are part of audio, video, and film collections, and a large num- ber of them are one of a kind. These invaluable cultural and historical gems, and many more, may soon be lost. Forever. IMAGES, PREVIOUS PAGE: g The Archives of African g Gloria Gibson, Frances Stubbs, and founding director Phyllis American Music and Culture Klotman pose in 1985 with part of the Black Film Center/Archive’s has ninety-one audiocas- rich collection of films and related materials by and about African settes of interviews conducted Americans. Photo courtesy of the Black Film Center/Archive. by Michael Lydon with Ray Charles and his associates as background for the book Ray Charles: Man and Music. Image from IU News Room. g The Blackbird (1926), star- g Herman B Wells was an edu- g In 1947 Bill Garrett broke a ring Lon Chaney, is one of cational visionary who helped color barrier in major college many historically important transform Indiana University basketball by becoming the films found in the David S. into an internationally recog- first black player signed in Bradley Collection. Photo nized center of research and the Big Ten. He led the team courtesy of Lilly Library.
    [Show full text]
  • Db Magazines in Condenser Microphone Is Sensitive to Studer-Revox America 5 Neat Order
    Collll111 Next Menth • Next month, db goes to the movies, to see and hear what's been happening to soundtracks since the days of the "Jazz Singer." We'll offer a general overview on THE SOUND ENGINEERING MAGAZINE sound for the cinema, plus some details FEBRUARY1980 VOLUME14, NUMBER2 about Comtrak 's four-track discrete stereo soundtrack system. And, there will be a review of speaker system require• ments for the motion picture theater, as well as a look at what it takes to create the sound effects for "Star Trek (-The Motion Picture)." What else? Find out EDITORIAL 25 next month, in the March issue of db• The Sound Engineering Magazine. AN AUDIO MICRO-COMPUTER FOR 28 TESTS AND MEASUREMENTS William Sommerwerck THE MITSUBISHI DIGITAL AUDIO SYSTEM I 33 Kunimaro Tanaka ELECTRONIC DIGITAL EDITING FOR I 38 MULTI-TRACK COMES OF AGE Robert J. Youngquist A COMPUTERIZED RECORDING STUDIO CONSOLE I 42 Robert Halsall & Dr. Hubert S. Howe, Jr. DIGITAL TAPE RECORDER DIRECTORY I 45 A db SPECIAL REPORT: 46 THE DIGITAL FORMAT DILEMMA LETTERS 2 CALENDAR 6 THEORY AND PRACTICE 10 Norman H. Crowhurst SOUND WITH IMAGES I 16 Martin Dickstein NEW PRODUCTS AND SERVICES 20 CLASSIFIED 49 PEOPLE, PLACES, HAPPENINGS 52 @ is listed in Current Contents: Engineering and Technology Larry Zide Ann Russell PUBLISHER ADVERTISING PRODUCTION John M. Woram Eloise Beach EDITOR CIRCULATION MANAGER Sam Zambuto Lydia Anderson ASSOCIATE EDITOR BOOK SALES • Digital Recording promises to have a Bob Laurie major impact on sound reproduction in ART DIRECTOR the 80s. Electronic digital editing is the latest advancement, extending the crea• Crescent Art Service GRAPHICS AND LAYOUT tive as well as the practical potential of this recording technology.
    [Show full text]
  • Sound Design and Recorded Music Part One
    PART ONE: SOUND DESIGN AND RECORDED MUSIC Far too often in today’s production work the individual assigned to be the designer of sound and other accompanying music simply goes to a collection of prerecorded music (or “101 Sound Effects”) and transfers the required piece to whatever medium of playback is being used for production. Anyone trained on the equipment can do this and the expenditure of creative thought and planning is practically nil. If a sound designer is participating on a production team, the evolution of the production will be influenced by each designer’s input and indeed, the final effect may not be found on a prerecorded compact disc (CD). And why should it be? The costume designer cannot shop for flapper dresses of the 1920s nor can the scenic elements be procured at any hardware store. Part of the pleasure, indeed responsibility, of each designer is to create the solution that captures the look and feel required by the specific production. And part of that feel is certainly enhanced by the choices of the sound designer. Because theatrical production is a total design effort, it is incumbent on each designer to understand the script, and be in accord with the other designers, the director, the producer, and the writers. This should include not only theatre but film, television and any other installation which is designed to affect an audience in a particular planned and organized manner. This is not always the case. The best assurance of good teamwork is understanding and acceptance between designers about the paths the production will take.
    [Show full text]
  • Indiana University Bloomington Media Preservation Survey a Report by Mike Casey
    Indiana University Bloomington Media Preservation Survey A Report By Mike Casey Data Collection, Interpretation, and Analysis: Patrick Feaster Survey Planning and Design, Data Analysis: Mike Casey Survey Supervision and Editorial Contributions: Alan Burdette SURVEY TASK FORCE Julie Bobay, Associate Dean for Collection Development and Digital Publishing, Wells Library Alan Burdette, Director, Archives of Traditional Music and Director, EVIA Digital Archive Mike Casey, Associate Director for Recording Services, Archives of Traditional Music Stacy Kowalczyk, Associate Director for Projects and Services, Digital Library Program, Wells Library Brenda Nelson‐Strauss, Head of Collections/Technical Services, Archives of African American Music and Culture Barbara Truesdell, Assistant Director, Center for the Study of History and Memory CONSULTANTS David Francis, Former Chief, Motion Picture, Broadcasting and Recorded Sound Division, Library of Congress Dietrich Schüller, Director Emeritus, Vienna Phonogrammarchiv Chris Lacinak, President, AudioVisual Preservation Solutions (technical consultant) SPECIAL THANKS Project Guidance: Ruth Stone, Associate Vice Provost, Office of the Vice Provost for Research Mark Hood, Susan Hooyenga, Martha Harsanyi, Julie Bobay, Mary Huelsbeck, Rachael Stoeltje, Phil Ponella, Phil Sutton, J. Kevin Wright, and the staff of the participating survey units PHOTO CREDITS Patrick Feaster, Alan Burdette, and Mike Lee Table of Contents Foreword…………………………………………………………………………………………………………………….….i List of Tables .....................................................................................................................iv
    [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 first 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 first Japanese tape recorder.
    [Show full text]
  • Manual the MOST IMPORTANT AUDIO CONTROL EQUIPMENT WORKS from HERE 10 HERE Keeping Sound Clean and Accuratecan Make Or Break Your Audio Projects
    ANBRoa INTERTEC PUBLICATION cast 1991 ANNUAL ISSUE/$20 lenoneela Equipment Reference Manual THE MOST IMPORTANT AUDIO CONTROL EQUIPMENT WORKS FROM HERE 10 HERE Keeping sound clean and accuratecan make or break your audio projects. SONEX from illbruck ensures that you're getting the sound you want. Our complete line of acoustical materials givesyou total control-in the studio, the control room, or wherever sound quality is critical. There's a reason SONEX continues to lead- nothing works better. Put the leader to work foryou; call today for all our performancespecs and application guides -800-662-0032. SONEX SONEX 1 SONEX BARRIERS & The only acoustical foam The same unbeatable per- CEILINGS COMPOSITES with the illbruck anechoic- formance of SONEX but in Suspended ceiling treat- When the problem requires wedge-over 400% more materials that meet all Class ments that deliver new levels more than absorption, surface area than flat 1 regulations. For demanding of acoustical performance. illbruck barriers deliver. materials. Controls reverb, applications where heat or Unique, contemporary reflections, and resonances- Single layer vinyls to multi- fire are factors. Safe for you designs. Available in a variety level laminates. Lead per- beautifully. The proven but deadly for sound. of styles and colors. performer. formance without lead price or problems. a illbruck Sonex Acoustical Division 5155 River Road N.E. Minneapolis, MN 55421 1-800-662-0032 Circle (13) on Reply Card In MN: 612-521-3555 The Whole is Greater Than the Sum of Its Parts. .......The Price is $13,000 Less. /- nan Starting with a Four -Field Wt. A vil,Pp am gm., 467( "P,P, PV tAP t.
    [Show full text]
  • MARS LANDING Broadcasting from Space
    EXCLUSIVES beyerdynamic MCD100 RSP Circle Surround Sonodore RCM -402 Grace Design 201 Yamaha 02R v2 GPS SoundPals Vac Raac TEQ -1 SA &V Octavia Joemeek SC3 Symetrix 628 Orban 9200 Jünger e07 MARS LANDING broadcasting from space TAPELESS LOCATION RECORDERS PAFI INTERCHANGE ARRIVES The POSTING CONTACT NARADA EQ: THE GUIDE MICHAEL WALDEN Interview 0 9 770144 59 ii i www.americanradiohistory.com Coi 131 While other companies wrestle with the digital learning curve, AMS Neve provides sixteen years of experience as LOGIC 2 Digital Mixing Console the leading designer of digital mixing and editing solutions. With over 300 digital consoles LOGIC DFC in daily service around the Digital Film : onsole world, no other company provides a greater range of advanced digital audio post -production systems. ., . 1 b we ` .. +I,1,Ì',i .1.I 01.1 AUDIOFILE Hard Disk Editor HEAD OFFICE AMS Neve plc Billington Road Burnley Lancs BB11 SUB England AMS Tel: +44 (0) 1282 457011 Fax: +44 (0) 1282 417282 LONDON - Tel: 0171 916 282E Fax: 0171 916 2827 GERMANY - Tel: 61 31 9 42 520 Fax: 61 31 9 42 5210 ' NEW YORK - Tel: (212) 965 1400 Fax: (212) 965 3739 HOLLYWOOD Tel: (818) 753 8789 Fax: (818) 623 4839 TORONTO Tel: (416) 365 3363 Fax: (416) 365 1044 NEVE e -mail: enquiry®ams- neve.com - http: / /www.ams- neve.com www.americanradiohistory.com 6 Editorial 85 Event horizons: Studio Sound on Broadcast: the Web and pro-audio options Mars landing 8 Putting the Red Planet on the map -and the television Soundings Intcrnational nc\\ :md contracts 95 10 Facility: World Events Vonk Sound ABOVE: Jodle Foster is making Contact.
    [Show full text]