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Brief History of Electronic and Computer Musical Instruments
Brief History of Electronic and Computer Musical Instruments Roman Kogan April 15th, 2008 1 Theremin: the birth of electronic music It is impossible to speak of electronic music and not speak of Theremin (remember that high-pitch melody sound sound in Good Vibrations ?) Theremin was the instrument that has started it all. Invented remarkably early - around 1917 - in Russia by Leon Termen (or Theremin, spelling varies) it was the first practical (and portable) electronic music instrument, and also the one that brought the electronic sound to the masses (see [27]). It was preceded by Thelarmonium, a multi-ton monstrocity that never really get a lot of attention (although technically very innovative, see [25]), and some other instruments that fell into obscurity. On the other hand, Leon Theremin got popular well beyond the Soviet Union (where even Lenin got to play his instrument once!). He became a star in the US and taught a generation of Theremin players, Clara Rockmore being the most famous one. In fact, RCA even manufactured Theremins under Leon's design in 1929 ( [27])!. So what was this instrument ? It was a box with two antennas that produced continuous, high-pitch sounds. The performer would approach the instrument and wave hands around the antennas to play it. The distance to the right (vertical) antenna would change the pitch, while the distance to the left (horizontal) antenna would change the volume of the sound (see [2], [3] for more technical details). The Theremin is difficult to play, since, like on violin, the notes and the volume are not quantized (the change in pitch is continuous). -
PNWAS Audioletter May 2011
May 2011 n a m t t i P e o J y b s o t o h p by Joe Pittman any members commented that club’s system) throughout the presenta- digital recorder changed the audiophile the April meeting was one of the tion (see play list). world. best meetings ever. We were fortunate Unfortunately, the presentation was The sample music was out- to have Jules Bloomenthal give us a so comprehensive, I can’t go over it all standing, with some of the members, slide-show presentation of the back- here (I was too busy listening and not immediately hunting for the recordings ground and history of the Soundstream taking notes anyway). But highlights on the internet after the meeting (a new digital recorder. He brought the original included the hard science involved with competitive event?) commercial unit (which he now owns) the original design by Dr. Thomas Jules mentioned that he’s writing a that was used to make the first re- Stockham, Jr., the early years of Sound- book about Soundstream. So I hope it cording (it was on static display) and he stream (1971-1979), the famous Telarc comes out some day, it would be a great played example recordings (on the recording of the 1812 Overture using read. Thanks Jules for the outstanding real canons, and how Soundstream’s presentation! Pacific Northwest Audio Society, P.O. Box 435, Mercer Island, WA 98040 ● www.audiosociety.org 2 first commercial digital recorder. cinating background and history ofJules the Bloomenthal creation kick’s of off the the meeting with the fas- Pacific Northwest Audio Society Audioletter May -
New Product Special Full-Sized Tape VHS Camcorder, Super Beta
Sword and Sandal Sagas The #1 Magazine of Home Vu New Product Special Full-sized Tape VHS Camcorder, Super Beta Heard Anv Grind MnvieQ? BERGER-BRAITHWAITE VIDEOTESTS Sansui VHS Hi-Fi VCR Canon Portable 8mm VCR Canon 8mm Color Camera Bib VHS Video Alarm £ ^eX Vietnam V>1 ,‘--^og^onf6«ed ca^*e^ iSi*'"*'*'" i MGM/UA Home Video, 1350 Ave. of the Americas, New York, NY 10019. ;tna\\-^ettjv . Can they I Available ‘n racked iollo^-np lheW"j“’‘^,Svd«‘ron^ D»e?Xe‘»yirien<i'*tt’e i raiders fi^rroitK.FiM«'lessiv into* t$s*#** sssi^SS*- %£03(2£$2* S&tS* April 1985 Contents Volume IX, Number 1 Features Program Guide Columns The Greatest Stories Ever Told News & Views Channel One Our critic makes a selective By Ken Winslow.43 The Digital Class.6 survey of ‘the epic, ’ the film Top 10 Fast Forward genre in which too much is enough. Tape & Disc Sales & Rentals.45 Dr. Jekyll & Mr. Sony.8 By Tom Soter.66 Reviews Feedback What's New Film & Video Clips/Quick Takes.46 Who’s the Sucker?.10 We’ll tell you what’s new. Super New Products Beta! Korean VCRs! Camcorders! Directory NEC’s Quadruplets: 2 Beta, 2 VHS.. 14 And accessories are multiplying What’s New on Tape & Disc.57 like Rabbits (which is the name Fine Tuning of one of ’em). Yes, we have seen The Proper Dub the future of video—or at least Videotests By Roderick Woodcock.26 this year’s version of it. Videogram Sansui SV-R9900HF VHS Hi-Fi VCR By Richard Jaccoma.70 Flying Blind? Canon VR-E10 Portable 8mm VCR By William Wolfe.30 Found Sound Canon VC-200A 8mm Color Camera Those who take the trouble can Bib VHS Video Alarm TV Den find free multichannel riches By Berger-Braithwaite Labs.92 Resolution Resolved buried in movie soundtracks. -
Aes 143Rd Convention Program October 18–21, 2017
AES 143RD CONVENTION PROGRAM OCTOBER 18–21, 2017 JAVITS CONVENTION CENTER, NY, USA The Winner of the 143rd AES Convention To be presented on Friday, Oct. 20, Best Peer-Reviewed Paper Award is: in Session 15—Posters: Applications in Audio A Statistical Model that Predicts Listeners’ * * * * * Preference Ratings of In-Ear Headphones: Session P1 Wednesday, Oct. 18 Part 1—Listening Test Results and Acoustic 9:00 am – 11:00 am Room 1E11 Measurements—Sean Olive, Todd Welti, Omid Khonsaripour, Harman International, Northridge, SIGNAL PROCESSING CA, USA Convention Paper 9840 Chair: Bozena Kostek, Gdansk University of Technology, Gdansk, Poland To be presented on Thursday, Oct. 18, in Session 7—Perception—Part 2 9:00 am P1-1 Generation and Evaluation of Isolated Audio Coding * * * * * Artifacts—Sascha Dick, Nadja Schinkel-Bielefeld, The AES has launched an opportunity to recognize student Sascha Disch, Fraunhofer Institute for Integrated members who author technical papers. The Student Paper Award Circuits IIS, Erlangen, Germany Competition is based on the preprint manuscripts accepted for the Many existing perceptual audio codec standards AES convention. define only the bit stream syntax and associated decod- A number of student-authored papers were nominated. The er algorithms, but leave many degrees of freedom to the excellent quality of the submissions has made the selection process encoder design. For a systematic optimization of encod- both challenging and exhilarating. er parameters as well as for education and training of The award-winning student paper will be honored during the experienced test listeners, it is instrumental to provoke Convention, and the student-authored manuscript will be consid- and subsequently assess individual coding artifact types ered for publication in a timely manner for the Journal of the Audio in an isolated fashion with controllable strength. -
VHS and VCR (Edited from Wikipedia)
VHS And VCR (Edited from Wikipedia) SUMMARY A videocassette recorder, VCR, or video recorder is an electromechanical device that records analog audio and analog video from broadcast television or other source on a removable, magnetic tape videocassette, and can play back the recording. Use of a VCR to record a television program to play back at a more convenient time is commonly referred to as timeshifting. VCRs can also play back prerecorded tapes. In the 1980s and 1990s, prerecorded videotapes were widely available for purchase and rental, and blank tapes were sold to make recordings. Most domestic VCRs are equipped with a television broadcast receiver (tuner) for TV reception, and a programmable clock (timer) for unattended recording of a television channel from a start time to an end time specified by the user. These features began as simple mechanical counter-based single-event timers, but were later replaced by more flexible multiple-event digital clock timers. In later models the multiple timer events could be programmed through a menu interface displayed on the playback TV screen ("on-screen display" or OSD). This feature allowed several programs to be recorded at different times without further user intervention, and became a major selling point. The Video Home System (VHS) is a standard for consumer-level analog video recording on tape cassettes. Developed by Victor Company of Japan (JVC) in the early 1970s, it was released in Japan in late 1976 and in the United States in early 1977. From the 1950s, magnetic tape video recording became a major contributor to the television industry, via the first commercialized video tape recorders (VTRs). -
MINIDISC MANUAL V3.0E Table of Contents
MINIDISC MANUAL V3.0E Table of Contents Introduction . 1 1. The MiniDisc System 1.1. The Features . 2 1.2. What it is and How it Works . 3 1.3. Serial Copy Management System . 8 1.4. Additional Features of the Premastered MD . 8 2. The production process of the premastered MD 2.1. MD Production . 9 2.2. MD Components . 10 3. Input components specification 3.1. Sound Carrier Specifications . 12 3.2. Additional TOC Data / Character Information . 17 3.3. Label-, Artwork- and Print Films . 19 3.4. MiniDisc Logo . 23 4. Sony DADC Austria AG 4.1. The Company . 25 5. Appendix Form Sheets Introduction T he quick random access of Compact Disc players has become a necessity for music lovers. The high quality of digital sound is now the norm. The future of personal audio must meet the above criteria and more. That’s why Sony has created the MiniDisc, a revolutionary evolution in the field of digital audio based on an advanced miniature optical disc. The MD offers consumers the quick random access, durability and high sound quality of optical media, as well as superb compactness, shock- resistant portability and recordability. In short, the MD format has been created to meet the needs of personal music entertainment in the future. Based on a dazzling array of new technologies, the MiniDisc offers a new lifestyle in personal audio enjoyment. The Features 1. The MiniDisc System 1.1. The Features With the MiniDisc, Sony has created a revolutionary optical disc. It offers all the features that music fans have been waiting for. -
High Bandwidth Acoustics – Transients/Phase/ and the Human Ear
Project Number: FB IQP HB10 HIGH BANDWIDTH ACOUSTICS – TRANSIENTS/PHASE/ AND THE HUMAN EAR An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science By Samir Zutshi 8/26/2010 Approved: Professor Frederick Bianchi, Major Advisor Daniel Foley, Co-Advisor Abstract Life over 20 kHz has been a debate that resides in the audio society today. The research presented in this paper claims and confirms the existence of data over 20 kHz. Through a series of experiments involving various microphone types, sampling rates and six instruments, a short-term Fourier transform was applied to the transient part of a single note of each instrument. The results are graphically shown in spectrum form alongside the wave file for comparison and analysis. As a result, the experiment has given fundamental evidence that may act as a base for many branches of its application and understanding, primarily being the effect of this lost data on the ears and the mind. Table of Contents 1. List of Figures 3 2. Introduction 5 3. Terminology 5 4. Background Information 11 a. Timeline of Digital Audio 12 5. Preparatory 17 6. Theory 17 7. Zero-Degree Phase Shift Environment 17 8. Short Term Fourier Transform 20 9. Experimental Data 22 10. Analysis and Discussion 34 11. Conclusion 36 12. Bibliography 36 Page | 2 List of Figures 1. Amplitude and Phase diagram 6 2. Harmonic Series 8 3. Reduction of continuous to discrete signal 9 4. Analog Signal 9 5. Resulting Sampled Signal 9 6. -
7-IN-1 TURNTABLE Important Safety Instructions
MODEL: VTA-204B 7-IN-1 TURNTABLE Important Safety Instructions......................................................................................................................... 3 Product Overview .......................................................................................................................................... 4 Setup / Basic Operation................................................................................................................................. 7 Listening to a Vinyl Record ............................................................................................................................ 7 Listening to a CD ........................................................................................................................................... 8 Listening to the FM Radio.............................................................................................................................. 9 Listening to an External Audio Device (AUX Mode) ...................................................................................... 9 Listening to an External Audio Device (Bluetooth Mode) ............................................................................ 10 Listening to a Cassette Tape ....................................................................................................................... 10 USB Recording Operation........................................................................................................................... 10 Maintenance / Proper -
ARSC Guide to Audio Preservation
ARSC Guide to Audio Preservation Sam Brylawski, Maya Lerman, Robin Pike, Kathlin Smith, editors from last round: National Recording Preservation Board OF THE LIBRARY OF CONGRESS ASSOCIATION FOR RECORDED SOUND COLLECTIONS Council on Library and Information Resources revised: National Recording Preservation Board OF THE LIBRARY OF CONGRESS National Recording Registry OF THE LIBRARY OF CONGRESS ISBN 978-1-932326-50-5 CLIR Publication No. 164 Copublished by: Association for Recorded Council on Library and The Library of Congress Sound Collections Information Resources 101 Independence Avenue, SE c/o Nathan Georgitis, Knight Library 1707 L Street NW, Suite 650 Washington, DC 20540 1299 University of Oregon Washington, DC 20036 Website at http://www.loc.gov Eugene, OR 97403 Website at http://www.clir.org Website at http://arsc-audio.org Commissioned for and sponsored by the National Recording Preservation Board of the Library of Congress. Publication inquiries should be directed to Kathlin Smith at the Council on Library and Information Resources (CLIR). Additional copies are available for $30 each. Orders may be placed through CLIR’s website at http://www.clir.org/pubs/reports/pub164. The paper in this publication meets the minimum requirements of the American National Standard 8 for Information Sciences—Permanence of Paper for Printed Library Materials ANSI Z39.48-1984. The ARSC Guide to Audio Preservation is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Photos with credits are excluded from -
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfilm Master
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 8913647 Competition and acculturation: VCRs and CATV uses among Koreans in the Columbus area Han, Gwang-Jub, Ph.D. -
History of the Early Days of Ampex Corporation
PAPER History of The Early Days of Ampex Corporation As recalled by JOHN LESLIE and ROSS SNYDER Alexander M. Poniatoff founded Ampex in 1944, primarily to manufacture small motors and generators for military applications. When WWII ended, the military contracts dropped off, and Alex had to search for a new line of business to continue his company’s existence. He and his small group of engineers heard a demonstration of a Magnetophon, a German magnetic tape recorder used by Hitler during WWII. The demonstration quickly convinced Alex to redirect his company and soon it was designing and manufacturing professional-quality magnetic tape recorders. Bing Crosby was a great help in Ampex’s early years. The company grew quickly and, within a short time, dominated the magnetic tape recorder market in radio, television, the record industry, and industrial and military markets for instrumentation recorders . Alex was born in Russia in 1892. His father was well-to- 0 INTRODUCTION do, and sent Alex to Germany for an education in engineering. After college, he returned to Russia only to see his country It has been amazing how many people today are asking become engaged in a civil war. Alex escaped to China, where questions about Ampex and the Company’s contribution to the he went to work for the Shanghai Power Company. He music recording industry, the radio and television broadcast immigrated to the United States in 1927 where he worked for industry and the stereophonic home entertainment field. There General Electric, Pacific Gas & Electric, and the Dalmo Victor is no question that Ampex was a major factor in each of these Corporation in San Carlos, California. -