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How to Tape-Record Primate Vocalisations Version June 2001
How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates. -
L--Ficjfs'------I National Criminal Justice Reference Service
If you have issues viewing or accessing this file contact us at NCJRS.gov. -----------------------------------~---------------.---.~------.--~--------------- l--fiCjfS'--------i National Criminal Justice Reference Service This microfiche was produced from documents received for inclusion in the NCJRS data base. Since NCJRS cannot exercise control over the physical condition of the documents submitted, the individual frame quality will vary. The resolution chart on this frame may be used to evaluate the document quality. 1.0 1.1 U.S. ~t or Jultlcl 111111.8 NlilonallMtftut. or .Julltlee 7111,. oo."'Umt>nt hall bElon reproduC$d exactly all recolved flom tho per$Oo Of organizalloo originating It. Points of view oroplnions stated " 10 thls dccumont IIro those of tho authors and do not necessarily 111111.25 111111.4- 111111.6 1, , f!prrlSOOI Itlo Q't'Iiclal posltlon orpollcllHl of tht! Natlonallnstltulo of JulStiCO. Pormills/on to reproduce this Cepilifjhl.d malarial hall boon \)f8nled~ II, FBI Law Enforcement Bulletin MICROCOPY RESOLUTION TEST CHART NATIONAL BUREAU OF SlANDARDS·1963 A 10 the Nntional Criminal JuilUce Rtlfttrooco Servlco (NCJRS). r:urlhor loproducHon OYtslde of the NCJRS syst.m requlros permls· Glen 01 the ~ ~er. Microfilming procedures used to create this fiche comply with the standards set forth in 41CFR 101-11.504. Points of view or opinions stated in this document are those of the author(s) and do not represent the official position or policies of the U. S. Department of Justice. National Institute of Justice United States Department of Justice Washington, D. C. 20531 6/B/ B4 . l:1 f f',;( S-S3 ~ORCEMENT rr@~@~i© ~©~@m©@ rBI BULLETIN NOVEMBER 1983. -
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1. -
Direct-To-Master Recording
Direct-To-Master Recording J. I. Agnew S. Steldinger Magnetic Fidelity http://www.magneticfidelity.com info@magneticfidelity.com July 31, 2016 Abstract Direct-to-Master Recording is a method of recording sound, where the music is performed entirely live and captured directly onto the master medium. This is usually done entirely in the analog domain using either magnetic tape or a phonograph disk as the recording medium. The result is an intense and realistic sonic image of the performance with an outstandig dynamic range. 1 The evolution of sound tracks can now also be edited note by note to recording technology compile a solid performance that can be altered or \improved" at will. Sound recording technology has greatly evolved This technological progress has made it pos- since the 1940's, when Direct-To-Master record- sible for far less competent musicians to make ing was not actually something special, but more a more or less competent sounding album and like one of the few options for recording music. for washed out rock stars who, if all put in the This evolution has enabled us to do things that same room at the same time, would probably would be unthinkable in those early days, such as murder each other, to make an album together. multitrack recording, which allows different in- Or, at least almost together. This ability, how- struments to be recorded at different times, and ever, comes at a certain cost. The recording pro- mixed later to create what sounds like a perfor- cess has been broken up into several stages, per- mance by many instruments at the same time. -
Automation: from Consoles to Daws
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2016 Automation: From Consoles to DAWs Christian Ekeke California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Education Commons Recommended Citation Ekeke, Christian, "Automation: From Consoles to DAWs" (2016). Capstone Projects and Master's Theses. 41. https://digitalcommons.csumb.edu/caps_thes_all/41 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Christian Ekeke 12/19/16 Capstone 2 Dr. Lanier Sammons Automation: From Consoles to DAWs Since the beginning of modern music there has always been a need to implement movement into a mix. Whether it is bringing down dynamics for a classic fade out or a filter sweep slowly building into a chorus, dynamic activity in a song has always been pleasing to the average music listeners. The process that makes these mixing techniques possible is automation. Before I get into details about automation in regards to mixing I will explain common ways automation is used. Automation in a nutshell is the use of various techniques, method, and system of operating or controlling a process by highly automatic means generally through electronic devices. In music however, automation is simply the use of a combination of multiple control devices to alter parameters in real time while a mix is being played. -
Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: a Critical Analysis Joel L
Hastings Communications and Entertainment Law Journal Volume 16 | Number 2 Article 4 1-1-1993 Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis Joel L. McKuin Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Joel L. McKuin, Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis, 16 Hastings Comm. & Ent. L.J. 311 (1993). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol16/iss2/4 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Home Audio Taping of Copyrighted Works and The Audio Home Recording Act of 1992: A Critical Analysis by JOEL L. McKuIN* Table of Contents I. Home Taping: The Problem and its Legal Status ....... 315 A. Constitutional and Statutory Background ........... 315 B. Home Taping or Home "Taking"?: The History of Home Taping's Legal Status ........................ 318 C. New Technologies Sharpen the Home Taping Problem ............................................ 321 1. The DAT Debacle .............................. 321 2. Other New Technologies ........................ 322 II. The Audio Home Recording Act of 1992 (AHRA) ..... 325 A. Serial Copy Management System (SCMS) .......... 325 B. Royalties on Digital Hardware and Media .......... 326 C. Prohibition of Copyright Infringement Actions ..... 328 III. -
Delivery of Recorded Music Projects
TECHNICAL DOCUMENT AES TECHNICAL COUNCIL Document AESTD1002.1.03-10 Recommendation for delivery of recorded music projects Nashville members of the P&E Wing of The Recording Academy® formed a Delivery Specifications Committee, and in collaboration with the Audio Engineering Society’s Technical Committee on Studio Practices and Production have created The Delivery Recommendations for Master Recordings document. AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520 . New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520, New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org The Audio Engineering Society’s Technical Council and its Technical Committees respond to the interests of the membership by providing technical information at an appropriate level via conferences, conventions, workshops, and publications. They work on developing tutorial information of practical use to the members and concentrate on tracking and reporting the very latest advances in technology and applications. This activity is under the direction of the AES Technical Council and its Committees. The Technical Council and its first Technical Committees were founded by the Audio Engineering Society in 1979, and standing rules covering their activities were established in 1986, with the intention of defining and consolidating the technical leadership of the Society for the benefit of the membership. The Technical Council consists of the officers of the Technical Council, the chairs of the Technical Committees, the editor of the Journal, and as ex-officio members without vote, the other officers of the Society. -
Chapter 10 • Digital Audio Recording Devices And
Chapter 10 1 Digital Audio Recording Devices and Media section page 1001 Definitions ................................................274 1002 Incorporation of copying controls ..............................276 1003 Obligation to make royalty payments ...........................277 1004 Royalty payments . 278 1005 Deposit of royalty payments and deduction of expenses . 279 1006 Entitlement to royalty payments . 279 1007 Procedures for distributing royalty payments . 281 1008 Prohibition on certain infringement actions ......................282 1009 Civil remedies ..............................................282 1010 Determination of certain disputes . 284 § 1001 Digital Audio Recording Devices and Media subchapter a — defiNitioNs § 1001 · Definitions As used in this chapter, the following terms have the following meanings: (1) A “digital audio copied recording” is a reproduction in a digital re- cording format of a digital musical recording, whether that reproduction is made directly from another digital musical recording or indirectly from a transmission. (2) A “digital audio interface device” is any machine or device that is de- signed specifically to communicate digital audio information and related interface data to a digital audio recording device through a nonprofessional interface. (3) A “digital audio recording device” is any machine or device of a type commonly distributed to individuals for use by individuals, whether or not included with or as part of some other machine or device, the digital record- ing function of which is designed or marketed for the primary purpose of, and that is capable of, making a digital audio copied recording for private use, except for— (A) professional model products, and (B) dictation machines, answering machines, and other audio record- ing equipment that is designed and marketed primarily for the creation of sound recordings resulting from the fixation of nonmusical sounds. -
Compact Disc Minidisc Deck
4-245-486-12(1) Compact Disc MiniDisc Deck Operating Instructions MXD-D400 ©2003 Sony Corporation Owner’s Record WARNING The model and serial numbers are located on the rear of the unit. Record the serial number in the space To prevent fire or shock hazard, do not provided below. Refer to them whenever you call upon expose the unit to rain or moisture. your Sony dealer regarding this product. To prevent fire, do not cover the ventilation of the Model No. MXD-D400 Seral No. apparatus with news papers, table-cloths, curtains, etc. And don’t place lighted candles on the apparatus. Caution To prevent fire or shock hazard, do not place objects The use of optical instruments with this product will filled with liquids, such as vases, on the apparatus increase eye hazard. This appliance is WARNING classified as a CLASS 1 This equipment has been tested and found to comply LASER product. This with the limits for a Class B digital device, pursuant to label is located on the Part 15 of the FCC Rules. These limits are designed to rear exterior. provide reasonable protection against harmful interference in a residential installation. This The following caution label is located inside the equipment generates, uses, and can radiate radio apparatus. frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: – Reorient or relocate the receiving antenna. -
Notes on Sound Recording
The Kino-Eye.com handout collection Some notes on sound recording v.3 David Tamés, March 6, 2015 This document is in perpetual beta, please send suggestions and/or corrections to the author at [email protected] What is sound? Characteristics of sound Sound is vibrations in air. A movement, like those of Te unique pattern of air pressure variations or sound human vocal cords, or perhaps hitting the head of a refections produced by a particular disturbance are nail with a hammer, creates waves in the air, much known as waveforms. Below is a perfect sine wave, like the waves caused by a rock throw into water or a however, actual sounds actually have much more duck swimming in a pond. Tese waves go in all complex waveforms that are made up of a directions, bounce off walls, travel around corners, combination of the fundamental frequency and a it’s very messy. It’s not like camera and light. Tere is series of overtones (a.k.a. harmonics). More on this no edge of the frame. Sound from all over mixes in later in this handout. with the specifc sound you want to record. Sound is often measured and described using two Acoustic energy travels from the source of distinct reference points: 1. our psychophysical disturbance outward as a wave, the air molecules perception of sound (as perceived by our ear and vibrate, yet, the air itself is not moving from the brain), and 2. quantifcation of sound phenomena source to our ears or to the microphone, instead the with measuring devices. -
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. -
Digital Audio Tapes: Their Preservation and Conversion 1 Smithsonian Institution Archives Summer 2010
Digital Audio Tapes: Their Preservation and Conversion 1 Smithsonian Institution Archives Summer 2010 Digital Audio Tapes: Their Preservation and Conversion Susan Eldridge, Digital Services Intern Overview Digital Audio Tapes (DATs) are 4mm (or 3.81mm) magnetic tape cassettes that store audio information in a digital manner. DATS are visually similar to compact audio cassettes, though approximately half the size, use thinner tapes, and can only be recorded on one side. Developed by Sony in 1987, DATs were quite popular in recording studios and were one of the first digital recording systems to become employed in archives in the late 1980s and 1990s due to their lossless encoding. Commercial use of DATs, on the other hand, never achieved the same success as the machines were expensive and commercial recordings were not available on DAT. Depending on the tape and machine used, DATs allow four different sampling modes: 32 kHz at 12 bits quantization, and 32 kHz, 44.1 kHz, and 48 kHz at 16 bits.1 All support two-channel stereo recording. Some of the later DATs (before being discontinued) could extend the bit-depth to 24 and up to 98 kHz, however, these tapes were likely rarely playable on other models.2 DATs can run between 15 and 180 minutes in length, one again depending on the tape and quality of the sampling. Unlike some other digital media, DATs do not use lossy data compression, which is important in the lossless transferring of a digital source to a DAT. Sony ultimately discontinued the production of DAT machines in 2005.3 Composition A digital magnetic tape is composed of two primary layers: the base film and magnetic layer.