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1225:. Usually combined with a rubber pinch roller, it ensures that the tape speed does not fluctuate. The other two motors, which are called torque motors, apply equal and opposite torques to the supply and take-up reels during recording and playback functions and maintain the tape's tension. During fast winding operations, the pinch roller is disengaged and the take-up reel motor produces more torque than the supply motor. The cheapest models use a single motor for all required functions; the motor drives the capstan directly and the supply and take-up reels are loosely coupled to the capstan motor with slipping belts, gears, or clutches. There are also variants with two motors, in which one motor is used for the capstan and one for driving the reels for playback, rewind, and fast forward.
423:
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881:, a top movie and singing star, was stunned by the amazing sound quality and instantly saw the huge commercial potential of the new machines. Live music was the standard for American radio at the time and the major radio networks didn't permit the use of disc recording in many programs because of their comparatively poor sound quality. Crosby disliked the regimentation of live broadcasts 39 weeks a year, preferring the recording studio's relaxed atmosphere and ability to retain the best parts of a performance. He asked NBC to let him pre-record his 1944–45 series on
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489:. The tape was then taken up on the other reel. The sharp recording stylus, actuated by a vibrating mica diaphragm, cut the wax from the strip. In playback mode, a dull, loosely mounted stylus, attached to a rubber diaphragm, carried the reproduced sounds through an ear tube to its listener. Both recording and playback styluses, mounted alternately on the same two posts, could be adjusted vertically so that several recordings could be cut on the same
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997: in (27 cm) reels, with a capacity of 2,400 ft (730 m). Typical speeds were initially 15 in/s (38.1 cm/s) yielding 30 minutes' recording time on a 2,400 ft (730 m) reel. Early professional machines used single-sided reels but double-sided reels soon became popular, particularly for domestic use. Tape reels were made from metal or transparent plastic.
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513:, and became the first widespread sound recording technology, used for both entertainment and office dictation. However, recordings on wax cylinders were unable to be easily duplicated, making them both costly and time consuming for large scale production. Wax cylinders were also unable to record more than 2 minutes of audio, a problem solved by
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flowing in the coils of the tape head creates a fluctuating magnetic field. This causes the magnetic material on the tape, which is moving past and in contact with the head, to align in a manner proportional to the original signal. The signal can be reproduced by running the tape back across the tape
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Professional decks will use higher tape speeds, with 15 and 30 inches per second being most common, while lower tape speeds are usually used for smaller recorders and cassette players, in order to save space where fidelity is not as critical as in professional recorders. By providing a range of
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Crosby realised that Mullin's tape recorder technology would enable him to pre-record his radio show with high sound quality and that these tapes could be replayed many times with no appreciable loss of quality. Mullin was asked to tape one show as a test and was subsequently hired as Crosby's chief
865:
Mullin was given two suitcase-sized AEG 'Magnetophon' high-fidelity recorders and fifty reels of recording tape. He had them shipped home and over the next two years he worked on the machines constantly, modifying them and improving their performance. His major aim was to interest
Hollywood studios
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recording, involve the use of a magnetizable medium which moves with a constant speed past a recording head. An electrical signal, which is analogous to the sound that is to be recorded, is fed to the recording head, inducing a pattern of magnetization similar to the signal. A playback head can then
943:
In the early 1950s, the EMI BTR 2 became available; a much-improved machine and generally liked. The machines were responsive, could run up to speed quite quickly, had light-touch operating buttons, forward-facing heads (The BTR 1s had rear-facing heads which made editing difficult), and were quick
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Crosby's season premier on 1 October 1947 was the first magnetic tape broadcast in
America. He became the first major American music star to use tape to pre-record radio broadcasts, and the first to master commercial recordings on tape. The taped Crosby radio shows were painstakingly edited through
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believed that the broadcasts had to be transcriptions, but their audio quality was indistinguishable from that of a live broadcast and their duration was far longer than was possible even with 16 rpm transcription discs. In the final stages of the war in Europe, the Allies' capture of a number
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of AEG built the recorders and developed a ring-shaped recording and playback head. It replaced the needle-shaped head which tended to shred the tape. Friedrich
Matthias of IG Farben/BASF developed the recording tape, including the oxide, the binder, and the backing material. Walter Weber, working
550:
radio engineer, created a tape recorder capable of recording both sounds and voice that used a low-cost chemically treated paper tape. During the recording process, the tape moved through a pair of electrodes which immediately imprinted the modulated sound signals as visible black stripes into the
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were key players in the commercial development of magnetic tape. Mullin served in the U.S. Army Signal Corps and was posted to Paris in the final months of WWII. His unit was assigned to find out everything they could about German radio and electronics, including the investigation of claims that
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Consumer wire recorders were marketed for home entertainment or as an inexpensive substitute for commercial office dictation recorders, but the development of consumer magnetic tape recorders starting in 1946, with the BK 401 Soundmirror, using paper-based tape, gradually drove wire recorders from
625:
The first wire recorder was the
Telegraphone invented by Valdemar Poulsen in the late 1890s. Wire recorders for law and office dictation and telephone recording were made almost continuously by various companies (mainly the American Telegraphone Company) through the 1920s and 1930s. These devices
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Tape enabled the radio industry for the first time to pre-record many sections of program content such as advertising, which formerly had to be presented live, and it also enabled the creation and duplication of complex, high-fidelity, long-duration recordings of entire programs. It also, for the
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Widespread use of wire recording occurred within the decades spanning from 1940 until 1960, following the development of inexpensive designs licensed internationally by the Brush
Development Company of Cleveland, Ohio and the Armour Research Foundation of the Armour Institute of Technology (later
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Franklin C. Goodale adapted movie film for analog audio recording. He received a patent for his invention in 1909. The celluloid film was inscribed and played back with a stylus, in a manner similar to the wax cylinders of Edison's gramophone. The patent description states that the machine could
825:
left
Germany and joined the Brush Development Company in the United States, where work continued but attracted little attention until the late 1940s when the company released the very first consumer tape recorder in 1946: the Soundmirror BK 401. Several other models were quickly released in the
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Magnetic tape brought about sweeping changes in both radio and the recording industry. Sound could be recorded, erased and re-recorded on the same tape many times, sounds could be duplicated from tape to tape with only minor loss of quality, and recordings could now be very precisely edited by
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They were not easy to handle. The reels were heavy and expensive and the steel tape has been described as being like a traveling razor blade. The tape was liable to snap, particularly at joints, which at 1.5 meters/second could rapidly cover the floor with loops of the sharp-edged tape.
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Magnetic tape revolutionized both the radio broadcast and music recording industries. It gave artists and producers the power to record and re-record audio with minimal loss in quality as well as edit and rearrange recordings with ease. The alternative recording technologies of the era,
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in March 1935. The quality and reliability were slightly improved, though it still tended to be obvious that one was listening to a recording. A reservoir system containing a loop of tape helped to stabilize the speed. The tape was 3 mm wide and traveled at 1.5 meters/second.
2123:
Engel, Friedrich Karl, ed. (2006) "Oberlin Smith and the invention of magnetic sound recording: An appreciation on the 150th anniversary of the inventor's birth". Smith's caveat of 4 October 1878 regarding the recording of sound on magnetic media appears on pp. 14–16. Available at:
662:, working in Britain, licensed Stille's device and started work on a machine which would instead record on a magnetic steel tape, which he called the Blattnerphone. The tape was 6 mm wide and 0.08 mm thick, traveling at 5 feet per second; the recording time was 20 minutes.
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to record and play back performances of operas from
Germany. Delivery of tape was preferred as live relays over landlines were unreliable in the immediate post-war period. These machines were used until 1952, though most of the work continued to be done using the established media.
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The Studer range of machines had become pretty well the studio recording industry standard by the 1970s, and gradually these replaced the aging BTR2s in recording rooms and studios. By the mid-2000s tape was pretty well out of use and had been replaced by digital playout systems.
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the
Germans had been experimenting with high-energy directed radio beams as a means of disabling the electrical systems of aircraft. Mullin's unit soon amassed a collection of hundreds of low-quality magnetic dictating machines, but it was a chance visit to a studio at
1125:, or different microphones during live recording. The more versatile machines could be switched to record on some tracks while playing back others, permitting additional tracks to be recorded in synchronization with previously recorded material such as a rhythm track.
1395:. Philips advertised their reel-to-reel recorders as an audial family album and pushed families to purchase these recorders to capture and relive memories forever. But the use for recording music slowly but steadily rose as the main function for the tape recorder.
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Mullin gave two public demonstrations of his machines, and they caused a sensation among
American audio professionals; many listeners literally could not believe that what they heard was not a live performance. By luck, Mullin's second demonstration was held at
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Use of separate heads for recording and playback (three heads total, counting the erase head) enabled monitoring of the recorded signal a fraction of a second after recording. Mixing the playback signal back into the record input also created a primitive
1414:, enabled radio programs and advertisements to be pre-produced to a level of complexity and sophistication that was previously unattainable and tape also led to significant changes to the pacing of program content, thanks to the introduction of the
1133:. The use of separate record and play heads allowed each head to be optimized for its purpose rather than the compromise design required for a combined record/play head. The result was an improved signal-to-noise plus an extended frequency response.
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Computer-controlled analog tape recorders were introduced by Oscar
Bonello in Argentina. The mechanical transport used three DC motors and introduced two new advances: automated microprocessor transport control and automatic adjustment of bias and
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Despite these drawbacks, the ability to make replayable recordings proved useful, and even with subsequent methods coming into use (direct-cut discs and Philips-Miller optical film the Marconi-Stilles remained in use until the late 1940s.
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tape-splicing to give them a pace and flow that was wholly unprecedented in radio. Soon other radio performers were demanding the ability to pre-record their broadcasts with the high quality of tape, and the recording ban was lifted.
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a small current in the read head which approximates the original signal and is then amplified for playback. Many tape recorders are capable of recording and playing back simultaneously by means of separate record and playback heads.
334:, but they never offered audio quality comparable to the other recording and broadcast standards of the time. This German invention was the start of a long string of innovations that have led to present-day magnetic tape recordings.
1208:
2039:
1285:. Flutter can be reduced by using dual capstans. The higher the flutter the more noise that can be heard causing the quality of the recording to be worse. Higher tape speeds used in professional recorders are prone to cause
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in Hollywood and in the audience that day was Bing Crosby's technical director, Murdo Mackenzie. He arranged for Mullin to meet Crosby and in June 1947 he gave Crosby a private demonstration of his magnetic tape recorders.
485:. The wax strip passed from one eight-inch reel around the periphery of a pulley (with guide flanges) mounted above the V-pulleys on the main vertical shaft, where it came in contact with either its recording or playback
2309:
Mooney, Mark Jr. "The History of Magnetic Recording." Hi-Fi Tape Recording 5:3 (February 1958), 37. This detailed, illustrated 17-page article is a fundamental source for early history of magnetic (wire/tape) recording:
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when recording. The amount of bias needs careful adjustment for best results as different tape material requires differing amounts of bias. Most recorders have a switch to select this. Additionally, systems such as
904:, whose initials became part of the company name) soon became the world leader in the development of tape recording, with its Model 200 tape deck, released in 1948 and developed from Mullin's modified Magnetophons.
1982:
1368:, brought about another technical revolution in the recording industry. Tape made possible the first sound recordings totally created by electronic means, opening the way for the bold sonic experiments of the
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first time, allowed broadcasters, regulators and other interested parties to undertake comprehensive logging of radio broadcasts for legislative and commercial purposes, leading to the growth of the modern
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In 1948, a new British model became available from EMI: the BTR1. Though in many ways clumsy, its quality was good, and as it wasn't possible to obtain any more Magnetophons it was an obvious choice.
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While the machine was never developed commercially, it somewhat resembled the modern magnetic tape recorder in its design. The tapes and machine created by Bell's associates, examined at one of the
885:, but the network refused, so Crosby withdrew from live radio for a year. ABC agreed to let him use transcription discs for the 1946–47 season, but listeners complained about the sound quality.
506:'s museums, became brittle, and the heavy paper reels warped. The machine's playback head was also missing. Otherwise, with some reconditioning, they could be placed into working condition.
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1117:
Since their first introduction, analog tape recorders have experienced a long series of progressive developments resulting in increased sound quality, convenience, and versatility.
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aroused great interest. These recorders incorporated all the key technological features of modern analog magnetic recording and were the basis for future developments in the field.
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and then had one side scraped clean, with the other side allowed to harden. The machine was of sturdy wood and metal construction and hand-powered by means of a knob fastened to a
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were allowed to enhance their recordings at the BBC by overdubbing. The BBC didn't have any multi-track equipment; Overdubbing was accomplished by copying onto another tape.
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1928:; at the insistence of Crosby's head writer, Bill Morrow, he inserted a segment of raucous laughter from an earlier show into a joke in a later show that hadn't worked well.
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The use of magnetic tape for sound recording originated around 1930 in Germany as paper tape with oxide lacquered to it. Prior to the development of magnetic tape, magnetic
1066: in/s (2.4 cm/s) were used for voice, dictation, and applications where very long recording times were needed, such as logging police and fire department calls.
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and best frequency response to match the brand and batch of magnetic tape used. The microprocessor control of transport allowed fast location to any point on the tape.
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in 1979 led to widespread consumer use of magnetic audio tape. In 1990, the Compact Cassette was the dominant format in mass-market recorded music. The development of
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on tape works well, but is not perfect. In particular, the granular nature of the magnetic material adds high-frequency noise to the signal, generally referred to as
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Broadcasting House also used the EMI TR90 and a Philips machine which was lightweight but very easy and quick to use. Bush House used several Leevers-Rich models.
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in March 1932, a second machine also being installed. In September 1932, a new model was installed, using 3 mm tape with a recording time of 32 minutes.
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physically cutting the tape and rejoining it. In August 1948, Los Angeles-based Capitol Records became the first recording company to use the new process.
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store six records on the same strip of film, side by side, and it was possible to switch between them. In 1912, a similar process was used for the Hiller
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in the mid-1960s, popularized consumer audio playback in automobiles in the USA. Eventually, this standard was replaced by the smaller and more reliable
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Wasn't The Future Wonderful?: A View Of Trends And Technology From The 1930s: (article) Book Reads Itself Aloud: After 500 Years, Books Are Given Voice
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Dynamic range compression during recording and expansion during playback expanded the available dynamic range and improved the signal-to-noise ratio.
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2128:
2496:
Information in this section from 'BBC Engineering 1922-1972' by Edward Pawley, pp178-182; plus some from colleagues who worked in BH in the 1930s.
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United States Patent Office, Patent US2030973 A, "Method of and apparatus for electrically recording and reproducing sound or other vibrations"
842:, and coated it first with black oxide, and later, to improve signal-to-noise ratio and improve overall superior quality, with red oxide (
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tape speeds, users can trade-off recording time against recording quality with higher tape speeds providing greater frequency response.
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Two-track and, later, multi-track heads permitted discrete recording and playback of individual sound sources, such as two channels for
658:
In 1924 a German engineer, Kurt Stille, developed the Poulsen wire recorder as a dictating machine. The following year a fellow German,
634:). These two organizations licensed dozens of manufacturers in the U.S., Japan, and Europe. Wire was also used as a recording medium in
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could be immediately replayed from the same recorder unit, which also contained photoelectric sensors, somewhat similar to the various
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noticed that certain German officials were making radio broadcasts from multiple time zones almost simultaneously. Analysts such as
2627:"A new tape transport system with digital control", Oscar Bonello, Journal of Audio Engineering Society, Vol 31 # 12, December 1983
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introduced add-on products in this area, originally for studio use, and later in versions for the consumer market. In particular,
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and easy to do fine editing. It became the standard in recording rooms for many years and was in use until the end of the 1960s.
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This article incorporates text from the United States National Museum Bulletin, a government publication in the public domain.
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The Allies were aware of the existence of the pre-war Magnetophon recorders, but not of the introduction of high-frequency
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technology in the 1960s brought audiophile-quality recording to the Compact Cassette also contributing to its popularity.
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2596:
Information in this section from 'BBC Engineering 1922-1972' by Edward Pawley, p387ff and 488ff plus personal experience.
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Within a few years of the introduction of the first commercial tape recorder, the Ampex 200 model, launched in 1948, the
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radio archive with a broadcast tape from 1990. This is a center hub with only a very short length of tape wound round it.
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Microcassette standard speed; Cassettes issued by the National Library Service For The Blind And Physically Handicapped
1042: in/s (19.1 and 9.5 cm/s) for audiophile and consumer recordings (typically on 7 in (18 cm) reels).
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1870:
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acquired some Magnetophon machines in 1946 on an experimental basis, and they were used in the early stages of the new
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Since some early refinements improved the fidelity of the reproduced sound, magnetic tape has been the highest quality
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Modern professional recorders usually use a three-motor scheme. One motor with a constant rotational speed drives the
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purchased the rights to the Blattnerphone, and newly developed Marconi-Stille recorders were installed in the BBC's
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1969:
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2636:"Grabador Magnético profesional controlado por microprocesador", Rev Telegráfica Electrónica, Julio-Agosto de 1982
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for almost all work at Broadcasting House, and at 15 ips for music and 7½ ips for speech at Bush House.
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Morton, David (April 1998). "Armour Research Foundation and the Wire Recorder: How Academic Entrepreneurs Fail".
2008:
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medium available. As of the first decade of the 21st century, analog magnetic tape has been largely replaced by
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There are many tape speeds in use in all sorts of tape recorders. Speed may be expressed in centimeters per
737:'s 1928 invention of paper tape with oxide powder lacquered onto it. The first practical tape recorder from
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on 12 November 1930. Though not considered suitable for music the machine continued in use and was moved to
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Video Recording Technology: Its Impact on Media and Home Entertainment, Aaron Foisi Nmungwun – Google Books
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machines. A machine with built-in speakers and audio power amplification to drive them is usually called a
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730:
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Standard tape speeds varied by factors of two: 15 and 30 in/s were used for professional audio recording;
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1937:
In a cassette recorder, bias settings are selected automatically based on cutouts in the cassette shell.
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In 1932, after six years of developmental work, including a patent application in 1931, Merle Duston, a
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Franklin C. Goodale built the first working tape recorder in 1909 and got the patent for this invention
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This tape recorder of Dr. Goodale is exhibited in the private Phonograph Museum in Mariazell, Austria.
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https://worldradiohistory.com/Archive-All-Audio/Archive-Tape-Recording/50s/Tape-Recording-1958-02.pdf
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pick up the changes in magnetic field from the tape and convert it into an electrical signal to be
473:-inch-wide (4.8 mm) strip of wax-covered paper that was coated by dipping it in a solution of
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3113:
2809:, Audio Technologies, Memory and Cultural Practices, Amsterdam University Press, pp. 25–42,
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89:
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Development of magnetic tape recorders in the late 1940s and early 1950s is associated with the
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2081:, Popular Science, Bonnier Corporation, February 1934, pp.40, Vol. 124, No. 2, ISSN 0161-7370.
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There is a wide variety of tape recorders in existence, from small hand-held devices to large
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installed a Blattnerphone at Avenue House in September 1930 for tests, and used it to record
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1972:, Washington, D.C., 1959, No. 218, Paper 5, pp.69–79. Retrieved from ProjectGutenberg.org.
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noise reduction became very common in all but the least expensive cassette tape recorders.
19:
This article is about machines used for audio (sound) recording. For video recording, see
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Bijsterveld, Karin; Jacobs, Annelies (2009), Bijsterveld, Karin; van Dijck, José (eds.),
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Magnetic tape recording as we know it today was developed in Germany during the 1930s at
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2037:, Goodale, Franklin C., "Sound-reproducing machine", published 1909-12-28
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of the signal. Some of this distortion is overcome by using inaudible high-frequency
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Size comparison of RCA tape cartridge (right) with the more common Compact Cassette
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Crosby invested $ 50,000 of his own money into the Californian electronics company
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near Frankfurt while investigating radio beam rumors, that yielded the real prize.
817:. The equally important development of the magnetic tape medium itself was led by
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1317:, while one that requires external amplification for playback is usually called a
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in the tape in proportion to the audio signal. Tape-recording devices include the
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p.101, British Broadcasting Corporation, London W.1, retrieved 30 September 2015
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Solidyne GMS200 tape recorder with computer self-adjustment. Argentina 1980–1990
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2803:"Storing Sound Souvenirs: The Multi-Sited Domestication of the Tape Recorder"
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Volta Laboratory and Bureau § Sound recording and phonograph development
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2331:"Magnetic tape recorder - Kurt Stille, Marconi's Wireless Telegraph Company"
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Prototype of the Goodale tape recorder. The patent is based on this machine.
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1909 analog tape recorder of Franklin C. Goodale. This machine had 15 Tracks
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346:, could not provide anywhere near this level of quality and functionality.
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1425:, tape machines were also important for data storage before the advent of
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head, where the reverse process occurs – the magnetic imprint on the tape
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Development of the Phonograph at Alexander Graham Bell's Volta Laboratory
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Lower speed, common on full-size reel-to-reel and some portable machines
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871:
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1332:, described the tape recorder as "an automatic musical collage device."
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Walter Weber's Technical Innovation at the Reichs-Rundfunk-Gesellschaft
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2561:"Worldwide gamma ferric oxide shortage delays cassette tape production"
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1262:
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24:
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2994:– a brief history of various sound recording methods used by the BBC.
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1533:
Standard for Cassette tape. Common on portable reel-to-reel machines
1411:
1377:
1329:
1325:
1250:
1228:
1074:
973:
The typical professional audio tape recorder of the early 1950s used
839:
722:
709:
588:
304:
2700:
2230:
1274:
have been devised to ameliorate some noise and distortion problems.
78:
3492:
3469:
3459:
3399:
3186:
2997:
1014: in/s (19.1 cm/s) for home audiophile prerecorded tapes;
482:
1804:
1152:
912:
609:
3588:
3333:
1715:
1266:
1145:
1102:
1094:
769:
547:
474:
1861:– Magnetic tape in the context of the history of sound recording
1725:
Size comparison of Elcaset (left) with standard Compact Cassette
1705:
1633:
826:
following years. Tapes were initially made of paper coated with
299:
for storage. In its present-day form, it records a fluctuating
1450:
1434:
1352:
1254:
1084:
654:
Marconi-Stille steel tape recorder at BBC studios, London, 1937
509:
The waxed tape recording medium was later refined by Edison's
486:
300:
1297:
626:
were mostly sold as consumer technologies after World War II.
3654:
3624:
920:
897:
814:
392:
patented in 1886 by Alexander Graham Bell's Volta Laboratory.
916:
EMI BTR2 machines in a BBC recording room, 12 November 1961.
642:
the market, being "pretty much out of the picture" by 1952.
3424:
2873:
Terms commonly used for Tape Recorder. Tape Recorder Speed.
1738:
1166:. In 30 seconds the recorder adjusted its bias for minimum
1098:
830:. In 1947/48 Minnesota Mining & Manufacturing Company (
718:
264:
2756:
Brian Eno : his music and the vertical color of sound
1433:, and are still used today, although primarily to provide
3191:
929:
666:
2114:, date of publication unstated, likely c. February 1934.
2056:, United States Patent Office, 1936, Volume 463, pp.537.
1324:
Multitrack technology enabled the development of modern
697:
Rewinding was done at twice the speed of the recording.
574:
and demonstrated in practice in 1898 by Danish engineer
570:
was conceived as early as 1878 by the American engineer
295:
device that records and plays back sounds usually using
3533:
2617:
Recording Enters a New Era, And You Can't Find It on LP
2170:
United States Patent and Trademark Office Patent Images
2166:"Method of recording and reproducing sounds or signals"
1430:
866:
in using magnetic tape for movie soundtrack recording.
831:
713:
Magnetophon from a German radio station in World War II
2787:"The Capitol Story – A Decade of Growth and Success."
954:
The tape speed was eventually standardized at 15
1253:. Also, the magnetic characteristics of tape are not
1859:
History of sound recording § Magnetic recording
1289:, which are fluctuations in low-frequency response.
541:
2054:
Official Gazette Of The United States Patent Office
1097:'s development of the Compact Cassette in 1963 and
924:
Early model Studer professional tape recorder, 1969
772:technique, which radically improved sound quality.
103:. Unsourced material may be challenged and removed.
23:. For the tape systems used for computer data, see
1605:Highest end of professional reel-to-reel machines
1232:A typical portable desktop cassette recorder from
2800:
2432:"The Marconi-Stille magnetic recorder-reproducer"
1056: in/s (4.8 cm/s) and occasionally even
3737:
1867:– Advanced usage of sophisticated tape recorders
1491:Found on some Microcassette pocket dictaphones
1366:invention of the first multitrack tape recorder
889:engineer to pre-record the rest of the series.
2846:"Ultimate Guide for Reel to Reel Tape Players"
3013:
2522:
2079:Record Of Voice Now Made On Moving Paper Tape
1594:machines, lower end of professional machines
645:
441:The earliest known audio tape recorder was a
330:had successfully demonstrated the concept of
2429:
2254:"Radio News, 'Radio - On a Flying Fortress'"
1924:Mullin claims to have been the first to use
907:
3640:Professional Lighting and Sound Association
2558:
1313:or – if it has no record functionality – a
745:, demonstrated in Berlin, Germany in 1935.
638:voice recorders for aviation in the 1950s.
520:
66:Learn how and when to remove these messages
3230:Comparison of analog and digital recording
3020:
3006:
2518:
2516:
2514:
2512:
2510:
2508:
2506:
2504:
2502:
2287:
2285:
1964:, United States National Museum Bulletin,
1956:
1954:
1579:Common on full-size reel-to-reel machines
2189:
1840:– Details of different audio tape formats
243:Learn how and when to remove this message
225:Learn how and when to remove this message
163:Learn how and when to remove this message
2926:A Selected History of Magnetic Recording
2185:
2183:
1819:
1803:
1787:
1753:
1737:
1720:
1704:
1687:
1671:
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1200:
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1083:
968:
919:
911:
804:
708:
704:
649:
608:
524:
254:
188:This article includes a list of general
2525:"How Bing Crosby Brought You Audiotape"
2499:
2282:
2164:Poulsen, Valdemar (13 November 1900) .
2163:
2033:
1951:
1321:(regardless of whether it can record).
3738:
2939:Timeline from U of San Diego's Archive
2652:. Alfred Music Publishing. p. 7.
2559:Bruce-Jones, Henry (11 October 2019).
2251:
2212:
1878:– Details of using old-style recorders
1376:, which in turn led to the innovative
1372:school and avant-garde composers like
1301:Otari MX-80 24-track with 2-inch reels
1081:, which was launched earlier in 1963.
3701:New Interfaces for Musical Expression
3001:
2740:"Equalizing Tape Recorder Head Bumps"
2737:
2678:
2676:
2297:The Encyclopedia of Cleveland History
2223:Society for the History of Technology
2180:
2084:
1112:
900:, and the six-man concern (headed by
562:
436:
3027:
2752:
2682:
2270:from the original on 25 January 2022
2145:"Some possible forms of phonograph,"
799:
729:in cooperation with the state radio
613:Magnetic wire recorder, invented by
174:
101:adding citations to reliable sources
72:
31:
2649:Multi-Track Recording for Musicians
621:Industrial Museum, Lyngby, Denmark.
13:
2913:Museum of Magnetic Sound Recording
2673:
2645:
2143:Smith, Oberlin (1888 September 8)
1984:History of the Cylinder Phonograph
1871:Preservation of magnetic audiotape
1421:While they are primarily used for
983: in (6 mm) wide tape on
834:) replaced the paper backing with
819:Minnesota Mining and Manufacturing
194:it lacks sufficient corresponding
14:
3782:
3771:Audiovisual introductions in 1886
3250:Reel-to-reel audio tape recording
2906:
2843:
1876:Reel-to-reel audio tape recording
1733:Reel-to-reel audio tape recording
721:(then part of the chemical giant
598:
542:Photoelectric paper tape recorder
47:This article has multiple issues.
3719:
2430:Stewart Adam (18 October 2012).
2252:Porter, Kenneth (January 1944).
1970:Museum of History and Technology
1257:. They exhibit a characteristic
673:'s speech at the opening of the
632:Illinois Institute of Technology
499:-inch-wide (4.8 mm) strip.
421:
409:
397:
381:
293:sound recording and reproduction
179:
77:
36:
3235:Experimental musical instrument
2949:History of Recording Technology
2863:
2837:
2794:
2781:
2746:
2731:
2639:
2630:
2621:
2610:
2599:
2590:
2579:
2552:
2539:
2490:
2467:
2445:
2423:
2401:
2389:
2370:
2348:
2323:
2303:
2245:
2206:
2157:
2137:
1931:
1918:
1905:
1611:
1277:Variations in tape speed cause
88:needs additional citations for
55:or discuss these issues on the
2586:Web page about digital playout
2117:
2071:
2059:
2046:
2027:
2001:
1975:
1440:
1383:recordings of artists such as
1344:Klaudia Wilde from the German
1240:
1:
3420:Electronic musical instrument
2919:History of Magnetic Recording
2606:First Sony Walkman introduced
2192:"Magnetic Recording Timeline"
2172:. No. 661,619. Archived from
1966:United States National Museum
1944:
1272:Dolby noise reduction systems
1261:curve, which causes unwanted
1216:
1179:
3726:Record production portal
3615:Institute of Broadcast Sound
2261:www.americanradiohistory.com
1766:
1174:
675:India Round Table Conference
303:by moving the tape across a
7:
3751:Sound production technology
3635:Musical Electronics Library
2759:. Boston: Faber and Faber.
2738:Dugan, Dan (October 1982).
2549:by Edward Pawley, page 387.
2523:Fenster, J.M. (Fall 1994).
2379:pub. Routledge, Nov. 2012.
1831:
821:(3M) corporation. In 1938,
768:at the RRG, discovered the
617:, 1898. It is exhibited at
551:paper tape's surface. The
16:Machine for recording sound
10:
3787:
3761:Sound recording technology
3382:Sound reinforcement system
3291:Sound reinforcement system
2965: (archived 2004-06-03)
2955: (archived 2004-06-03)
2945: (archived 2010-03-12)
2529:Invention & Technology
759:Hans Joachim von BraunmĂĽhl
646:Early steel tape recorders
602:
591:and played back through a
390:non-magnetic tape recorder
364:
360:
261:reel-to-reel tape recorder
18:
3715:
3663:
3605:Audio Engineering Society
3597:
3521:
3503:Software effect processor
3483:Digital audio workstation
3468:
3390:
3332:
3324:Digital signal processing
3309:
3263:
3205:
3147:
3088:Digital audio workstation
3063:
3035:
2685:"Magnetic Tape Recorders"
2547:BBC Engineering 1922–1972
2335:Google Arts & Culture
2110:. Article attributed to:
1838:Audio tape specifications
908:Tape recording at the BBC
811:Brush Development Company
559:technologies of the era.
367:Timeline of audio formats
3696:Professional audio store
3598:People and organizations
3584:Sound recording engineer
2959:History of Magnetic Tape
2410:Marconi-Stille recorders
2293:"BRUSH DEVELOPMENT CORP"
1898:
1660:Digital Compact Cassette
849:American audio engineer
521:Celluloid strip recorder
3114:Microphone preamplifier
2689:Music Educators Journal
2683:Kuhn, Wolfgang (1953).
2131:21 October 2006 at the
2094:, Dutton, 1979, pp.73,
1381:studio-as-an-instrument
1335:
1073:standard, developed by
504:Smithsonian Institution
209:more precise citations.
3055:Electronic and digital
2396:The BBC Year-Book 1932
2215:Technology and Culture
1824:
1808:
1792:
1759:
1742:
1726:
1709:
1692:
1676:
1669:
1653:
1644:Compact audio cassette
1637:
1416:endless tape cartridge
1357:
1349:
1302:
1237:
1213:
1212:Tape deck in operation
1157:
1101:'s development of the
1091:
925:
917:
902:Alexander M. Poniatoff
714:
655:
622:
530:
457:and patented in 1886 (
388:An early experimental
313:reel-to-reel tape deck
268:
2871:"Martel Electronics.
2154:(10) : 116–117.
1823:
1807:
1791:
1757:
1741:
1724:
1708:
1691:
1675:
1668:
1652:
1636:
1374:Karlheinz Stockhausen
1356:Editing magnetic tape
1355:
1343:
1328:and one such artist,
1300:
1293:Tape recorder variety
1231:
1211:
1155:
1107:Dolby noise reduction
1087:
969:Standardized products
923:
915:
805:American developments
733:. This was based on
712:
705:Modern tape recorders
653:
612:
582:, and its successor,
528:
451:Alexander Graham Bell
365:Further information:
258:
3513:Software synthesizer
3478:Digital audio editor
3264:Playback transducers
3124:Multitrack recording
2992:Recording at the BBC
2317:9 March 2021 at the
2148:The Electrical World
1960:Newville, Leslie J.
1915:and PVC-backed tape.
1865:Multitrack recording
1408:multitrack recording
449:version invented by
373:Early tape recorders
97:improve this article
2968:Description of the
2753:Tamm, Eric (1989).
2176:on 15 January 2019.
2015:Library of Congress
1989:Library of Congress
1888:Video tape recorder
1462:
1461:Common tape speeds
883:transcription discs
460:U.S. patent 341,214
340:transcription discs
307:that polarizes the
273:audio tape recorder
21:video tape recorder
3564:Re-recording mixer
3367:Keyboard amplifier
3083:Binaural recording
2454:Directly-cut discs
1825:
1809:
1793:
1760:
1749:RCA tape cartridge
1743:
1727:
1710:
1699:Digital Audio Tape
1693:
1677:
1670:
1654:
1638:
1460:
1406:Innovations, like
1358:
1350:
1303:
1245:The storage of an
1238:
1214:
1164:frequency response
1158:
1142:Dolby Laboratories
1123:stereophonic sound
1113:Later developments
1092:
926:
918:
844:gamma ferric oxide
813:and its licensee,
715:
690:Maida Vale Studios
679:Broadcasting House
656:
623:
578:. Analog magnetic
568:Magnetic recording
563:Magnetic recording
531:
437:Wax strip recorder
332:magnetic recording
275:, also known as a
269:
3733:
3732:
3539:Guitar technician
3435:Music workstation
3319:Digital recording
3296:Speaker enclosure
3215:8-track cartridge
3157:Phonograph record
2970:recording process
2816:978-90-8964-132-8
2659:978-1-4574-2484-7
2545:Information from
2112:Popular Mechanics
2108:978-0-525-47551-4
2077:Popular Science.
1849:Dictation machine
1844:Bootleg recording
1829:
1828:
1764:
1763:
1609:
1608:
1455:inches per second
1209:
836:cellulose acetate
800:Commercialization
785:Richard H. Ranger
463:). It employed a
355:digital recording
253:
252:
245:
235:
234:
227:
173:
172:
165:
147:
70:
3778:
3724:
3723:
3722:
3610:Goji Electronics
3549:Monitor engineer
3508:Software sampler
3415:Electronic drums
3392:Electronic music
3362:Guitar amplifier
3207:Analog recording
3167:Compact cassette
3129:Music production
3037:Music technology
3029:Music technology
3022:
3015:
3008:
2999:
2998:
2891:
2890:
2888:
2886:
2877:. Archived from
2867:
2861:
2860:
2858:
2856:
2841:
2835:
2834:
2833:
2831:
2798:
2792:
2785:
2779:
2778:
2750:
2744:
2743:
2735:
2729:
2728:
2680:
2671:
2670:
2668:
2666:
2643:
2637:
2634:
2628:
2625:
2619:
2614:
2608:
2603:
2597:
2594:
2588:
2583:
2577:
2576:
2574:
2572:
2556:
2550:
2543:
2537:
2536:
2535:on 4 April 2011.
2531:. Archived from
2520:
2497:
2494:
2488:
2486:
2485:
2483:
2471:
2465:
2464:
2463:
2461:
2449:
2443:
2442:
2440:
2438:
2427:
2421:
2420:
2419:
2417:
2405:
2399:
2393:
2387:
2374:
2368:
2367:
2366:
2364:
2352:
2346:
2345:
2343:
2341:
2327:
2321:
2307:
2301:
2300:
2289:
2280:
2279:
2277:
2275:
2269:
2258:
2249:
2243:
2242:
2210:
2204:
2203:
2202:on 2 March 2004.
2198:. Archived from
2187:
2178:
2177:
2161:
2155:
2141:
2135:
2121:
2115:
2088:
2082:
2075:
2069:
2063:
2057:
2050:
2044:
2043:
2042:
2038:
2031:
2025:
2024:
2023:
2021:
2005:
1999:
1998:
1997:
1995:
1979:
1973:
1958:
1938:
1935:
1929:
1922:
1916:
1909:
1854:Electronic music
1771:
1770:
1616:
1615:
1576:
1575:
1571:
1568:
1553:
1552:
1548:
1545:
1530:
1529:
1525:
1522:
1507:
1506:
1502:
1488:
1487:
1483:
1463:
1459:
1401:media monitoring
1370:Musique Concrète
1210:
1190:electric current
1186:electromagnetism
1089:Compact cassette
1079:Compact Cassette
1065:
1064:
1060:
1055:
1054:
1050:
1047:
1041:
1040:
1036:
1033:
1027:
1026:
1022:
1019:
1013:
1012:
1008:
1005:
996:
995:
991:
988:
982:
981:
977:
853:and entertainer
828:magnetite powder
794:Radio Luxembourg
767:
755:
615:Valdemar Poulsen
576:Valdemar Poulsen
515:gramophone discs
498:
497:
493:
472:
471:
467:
462:
455:Volta Laboratory
425:
413:
401:
385:
351:analog recording
309:magnetic domains
248:
241:
230:
223:
219:
216:
210:
205:this article by
196:inline citations
183:
182:
175:
168:
161:
157:
154:
148:
146:
105:
81:
73:
62:
40:
39:
32:
3786:
3785:
3781:
3780:
3779:
3777:
3776:
3775:
3756:Sound recording
3736:
3735:
3734:
3729:
3720:
3718:
3711:
3659:
3593:
3559:Record producer
3544:Mixing engineer
3517:
3464:
3430:MIDI controller
3405:Circuit bending
3386:
3328:
3305:
3281:Monitor speaker
3259:
3201:
3149:Recording media
3143:
3134:Music sequencer
3119:Monitor speaker
3065:Sound recording
3059:
3031:
3026:
2972:with diagrams.
2963:Wayback Machine
2953:Wayback Machine
2943:Wayback Machine
2909:
2904:
2895:
2894:
2884:
2882:
2881:on 1 March 2012
2869:
2868:
2864:
2854:
2852:
2842:
2838:
2829:
2827:
2817:
2807:Sound Souvenirs
2799:
2795:
2791:, 2 August 1952
2786:
2782:
2767:
2751:
2747:
2736:
2732:
2701:10.2307/3387651
2681:
2674:
2664:
2662:
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2644:
2640:
2635:
2631:
2626:
2622:
2615:
2611:
2604:
2600:
2595:
2591:
2584:
2580:
2570:
2568:
2565:www.factmag.com
2557:
2553:
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2360:
2354:
2353:
2349:
2339:
2337:
2329:
2328:
2324:
2319:Wayback Machine
2308:
2304:
2291:
2290:
2283:
2273:
2271:
2267:
2256:
2250:
2246:
2231:10.2307/3107045
2211:
2207:
2190:Nagra Company.
2188:
2181:
2162:
2158:
2142:
2138:
2133:Wayback Machine
2126:RichardHess.com
2122:
2118:
2089:
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2072:
2064:
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2051:
2047:
2040:
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2019:
2017:
2007:
2006:
2002:
1993:
1991:
1981:
1980:
1976:
1959:
1952:
1947:
1942:
1941:
1936:
1932:
1926:canned laughter
1923:
1919:
1910:
1906:
1901:
1834:
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1573:
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1480:
1443:
1423:sound recording
1338:
1295:
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1201:
1182:
1177:
1115:
1062:
1058:
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1015:
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1006:
1003:
1001:
993:
989:
986:
984:
979:
975:
974:
971:
934:Third Programme
910:
807:
802:
792:recorders from
761:
749:
747:Eduard SchĂĽller
707:
686:Marconi Company
648:
607:
601:
565:
544:
523:
495:
491:
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469:
465:
464:
458:
439:
434:
433:
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429:
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417:
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402:
393:
386:
375:
374:
369:
363:
319:, which uses a
249:
238:
237:
236:
231:
220:
214:
211:
201:Please help to
200:
184:
180:
169:
158:
152:
149:
112:"Tape recorder"
106:
104:
94:
82:
41:
37:
28:
17:
12:
11:
5:
3784:
3774:
3773:
3768:
3766:Tape recording
3763:
3758:
3753:
3748:
3731:
3730:
3716:
3713:
3712:
3710:
3709:
3704:
3698:
3693:
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3683:
3678:
3673:
3667:
3665:
3664:Related topics
3661:
3660:
3658:
3657:
3652:
3647:
3642:
3637:
3632:
3627:
3622:
3620:Lejaren Hiller
3617:
3612:
3607:
3601:
3599:
3595:
3594:
3592:
3591:
3586:
3581:
3579:Sound operator
3576:
3574:Sound follower
3571:
3569:Sound designer
3566:
3561:
3556:
3551:
3546:
3541:
3536:
3531:
3529:Audio engineer
3525:
3523:
3519:
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3505:
3500:
3495:
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3394:
3388:
3387:
3385:
3384:
3379:
3374:
3369:
3364:
3359:
3354:
3349:
3347:Bass amplifier
3344:
3342:Mixing console
3338:
3336:
3330:
3329:
3327:
3326:
3321:
3315:
3313:
3307:
3306:
3304:
3303:
3298:
3293:
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3278:
3273:
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3131:
3126:
3121:
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3101:
3096:
3091:
3085:
3080:
3078:Mixing console
3075:
3069:
3067:
3061:
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3058:
3057:
3052:
3047:
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3033:
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3017:
3010:
3002:
2996:
2995:
2989:
2966:
2956:
2946:
2936:
2929:
2922:
2915:
2908:
2907:External links
2905:
2903:
2902:
2896:
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2892:
2862:
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2815:
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2299:. 29 May 2002.
2281:
2263:. p. 21.
2244:
2205:
2179:
2156:
2136:
2116:
2083:
2070:
2058:
2045:
2026:
2010:The Gramophone
2000:
1974:
1949:
1948:
1946:
1943:
1940:
1939:
1930:
1917:
1903:
1902:
1900:
1897:
1896:
1895:
1890:
1885:
1882:Sound follower
1879:
1873:
1868:
1862:
1856:
1851:
1846:
1841:
1833:
1830:
1827:
1826:
1817:
1815:Wire recording
1811:
1810:
1801:
1795:
1794:
1785:
1779:
1778:
1775:
1768:
1765:
1762:
1761:
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1624:
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1607:
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1600:
1596:
1595:
1590:Higher end of
1588:
1585:
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1580:
1577:
1562:
1558:
1557:
1554:
1539:
1535:
1534:
1531:
1516:
1512:
1511:
1508:
1497:
1493:
1492:
1489:
1478:
1474:
1473:
1470:
1467:
1442:
1439:
1393:the Beach Boys
1337:
1334:
1294:
1291:
1242:
1239:
1218:
1215:
1181:
1178:
1176:
1173:
1172:
1171:
1150:
1149:
1134:
1131:echo generator
1126:
1114:
1111:
970:
967:
909:
906:
851:John T. Mullin
806:
803:
801:
798:
743:Magnetophon K1
735:Fritz Pfleumer
706:
703:
660:Louis Blattner
647:
644:
605:Wire recording
603:Main article:
600:
599:Wire recorders
597:
580:wire recording
564:
561:
543:
540:
522:
519:
438:
435:
431:
430:
427:
420:
418:
415:
408:
406:
403:
396:
394:
387:
380:
377:
376:
372:
371:
370:
362:
359:
357:technologies.
344:wire recorders
328:wire recorders
251:
250:
233:
232:
187:
185:
178:
171:
170:
85:
83:
76:
71:
45:
44:
42:
35:
15:
9:
6:
4:
3:
2:
3783:
3772:
3769:
3767:
3764:
3762:
3759:
3757:
3754:
3752:
3749:
3747:
3746:Audio storage
3744:
3743:
3741:
3728:
3727:
3714:
3708:
3707:Vehicle audio
3705:
3702:
3699:
3697:
3694:
3692:
3689:
3687:
3684:
3682:
3679:
3677:
3676:High fidelity
3674:
3672:
3669:
3668:
3666:
3662:
3656:
3653:
3651:
3648:
3646:
3643:
3641:
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3600:
3596:
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3413:
3411:
3408:
3406:
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3401:
3398:
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3383:
3380:
3378:
3375:
3373:
3370:
3368:
3365:
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3358:
3355:
3353:
3350:
3348:
3345:
3343:
3340:
3339:
3337:
3335:
3331:
3325:
3322:
3320:
3317:
3316:
3314:
3312:
3311:Digital audio
3308:
3302:
3299:
3297:
3294:
3292:
3289:
3287:
3284:
3282:
3279:
3277:
3274:
3272:
3269:
3268:
3266:
3262:
3256:
3255:Tape recorder
3253:
3251:
3248:
3246:
3243:
3241:
3238:
3236:
3233:
3231:
3228:
3226:
3225:Cassette deck
3223:
3221:
3218:
3216:
3213:
3212:
3210:
3208:
3204:
3198:
3195:
3193:
3190:
3188:
3185:
3183:
3180:
3178:
3175:
3173:
3170:
3168:
3165:
3163:
3162:Magnetic tape
3160:
3158:
3155:
3154:
3152:
3150:
3146:
3140:
3139:Outboard gear
3137:
3135:
3132:
3130:
3127:
3125:
3122:
3120:
3117:
3115:
3112:
3110:
3107:
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3100:
3097:
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3089:
3086:
3084:
3081:
3079:
3076:
3074:
3073:Audio channel
3071:
3070:
3068:
3066:
3062:
3056:
3053:
3051:
3048:
3046:
3043:
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3040:
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3030:
3023:
3018:
3016:
3011:
3009:
3004:
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3000:
2993:
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2987:
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2911:
2910:
2901:
2898:
2897:
2880:
2876:
2874:
2866:
2851:
2847:
2844:Reels, R. X.
2840:
2826:
2825:j.ctt45kf7f.6
2822:
2818:
2812:
2808:
2804:
2797:
2790:
2784:
2776:
2772:
2768:
2766:0-571-12958-7
2762:
2758:
2757:
2749:
2741:
2734:
2726:
2722:
2718:
2714:
2710:
2706:
2702:
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2686:
2679:
2677:
2661:
2655:
2651:
2650:
2642:
2633:
2624:
2618:
2613:
2607:
2602:
2593:
2587:
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2566:
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2555:
2548:
2542:
2534:
2530:
2526:
2519:
2517:
2515:
2513:
2511:
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2493:
2478:
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2470:
2456:
2455:
2448:
2433:
2426:
2412:
2411:
2404:
2397:
2392:
2386:
2385:9781136466045
2382:
2378:
2373:
2359:
2358:
2357:Blattnerphone
2351:
2336:
2332:
2326:
2320:
2316:
2313:
2306:
2298:
2294:
2288:
2286:
2266:
2262:
2255:
2248:
2240:
2236:
2232:
2228:
2224:
2220:
2216:
2209:
2201:
2197:
2193:
2186:
2184:
2175:
2171:
2167:
2160:
2153:
2149:
2146:
2140:
2134:
2130:
2127:
2120:
2113:
2109:
2105:
2101:
2100:0-525-47551-6
2097:
2093:
2090:Onosko, Tim.
2087:
2080:
2074:
2068:
2062:
2055:
2049:
2036:
2030:
2016:
2012:
2011:
2004:
1990:
1986:
1985:
1978:
1971:
1967:
1963:
1957:
1955:
1950:
1934:
1927:
1921:
1914:
1908:
1904:
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1822:
1818:
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1806:
1802:
1800:
1797:
1796:
1790:
1786:
1784:
1783:Cassette deck
1781:
1780:
1776:
1773:
1772:
1756:
1752:
1750:
1747:
1746:
1740:
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1719:
1717:
1714:
1713:
1707:
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1697:
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1684:
1683:Microcassette
1681:
1680:
1674:
1667:
1663:
1661:
1658:
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1642:
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1494:
1490:
1479:
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1475:
1471:
1468:
1465:
1464:
1458:
1456:
1453:(cm/s) or in
1452:
1447:
1438:
1436:
1432:
1428:
1424:
1419:
1417:
1413:
1409:
1404:
1402:
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1386:
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1371:
1367:
1362:
1354:
1347:
1342:
1333:
1331:
1327:
1322:
1320:
1316:
1312:
1311:tape recorder
1308:
1299:
1290:
1288:
1284:
1280:
1275:
1273:
1268:
1264:
1260:
1256:
1252:
1248:
1247:analog signal
1235:
1230:
1226:
1224:
1199:
1196:
1191:
1187:
1169:
1165:
1160:
1159:
1154:
1147:
1143:
1139:
1135:
1132:
1127:
1124:
1120:
1119:
1118:
1110:
1108:
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1100:
1096:
1090:
1086:
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1080:
1076:
1072:
1067:
998:
966:
962:
959:
957:
952:
950:
945:
941:
938:
935:
931:
922:
914:
905:
903:
899:
894:
890:
886:
884:
880:
876:
873:
867:
863:
861:
856:
852:
847:
845:
841:
837:
833:
829:
824:
820:
816:
812:
797:
795:
791:
786:
782:
778:
773:
771:
765:
760:
753:
748:
744:
740:
736:
732:
728:
724:
720:
711:
702:
698:
694:
691:
687:
684:In 1933, the
682:
680:
676:
672:
671:King George V
668:
663:
661:
652:
643:
639:
637:
633:
627:
620:
616:
611:
606:
596:
594:
590:
585:
584:magnetic tape
581:
577:
573:
572:Oberlin Smith
569:
560:
558:
557:sound-on-film
554:
549:
539:
537:
536:talking clock
527:
518:
516:
512:
507:
505:
500:
488:
484:
480:
476:
461:
456:
452:
448:
444:
424:
419:
412:
407:
400:
395:
391:
384:
379:
378:
368:
358:
356:
352:
347:
345:
341:
335:
333:
329:
324:
323:for storage.
322:
318:
317:cassette deck
314:
310:
306:
302:
298:
297:magnetic tape
294:
290:
289:tape recorder
286:
282:
278:
274:
266:
262:
257:
247:
244:
229:
226:
218:
208:
204:
198:
197:
191:
186:
177:
176:
167:
164:
156:
145:
142:
138:
135:
131:
128:
124:
121:
117:
114: –
113:
109:
108:Find sources:
102:
98:
92:
91:
86:This article
84:
80:
75:
74:
69:
67:
60:
59:
54:
53:
48:
43:
34:
33:
30:
26:
22:
3717:
3450:Sound module
3410:Drum machine
3352:Effects unit
3254:
3245:Player piano
3172:Compact disc
3094:Effects unit
2932:
2925:
2899:
2883:. Retrieved
2879:the original
2872:
2865:
2853:. Retrieved
2849:
2839:
2828:, retrieved
2806:
2796:
2788:
2783:
2755:
2748:
2733:
2692:
2688:
2663:. Retrieved
2648:
2641:
2632:
2623:
2612:
2601:
2592:
2581:
2569:. Retrieved
2564:
2554:
2546:
2541:
2533:the original
2528:
2492:
2480:, retrieved
2476:Optical film
2475:
2469:
2458:, retrieved
2453:
2447:
2435:. Retrieved
2425:
2414:, retrieved
2409:
2403:
2391:
2372:
2361:, retrieved
2356:
2350:
2338:. Retrieved
2334:
2325:
2305:
2296:
2272:. Retrieved
2260:
2247:
2218:
2214:
2208:
2200:the original
2195:
2174:the original
2169:
2159:
2151:
2147:
2139:
2119:
2086:
2073:
2061:
2048:
2029:
2018:, retrieved
2009:
2003:
1992:, retrieved
1983:
1977:
1933:
1920:
1907:
1799:Helical scan
1628:8-track tape
1612:Tape formats
1448:
1444:
1427:floppy disks
1420:
1405:
1397:
1363:
1359:
1323:
1318:
1314:
1310:
1304:
1286:
1276:
1244:
1220:
1183:
1116:
1093:
1071:8-track tape
1068:
999:
972:
963:
960:
953:
946:
942:
939:
927:
895:
891:
887:
877:
868:
864:
848:
808:
777:World War II
774:
716:
699:
695:
683:
664:
657:
640:
628:
624:
566:
553:audio signal
545:
532:
511:wax cylinder
508:
501:
447:non-electric
443:non-magnetic
440:
389:
348:
336:
325:
288:
287:or simply a
285:tape machine
284:
280:
276:
272:
270:
239:
221:
212:
193:
159:
150:
140:
133:
126:
119:
107:
95:Please help
90:verification
87:
63:
56:
50:
49:Please help
46:
29:
3691:Music store
3686:Home cinema
3645:Robert Moog
3630:Max Mathews
3554:Piano tuner
3522:Professions
3498:Scorewriter
3455:Synthesizer
3271:Loudspeaker
2646:Hurtig, B.
2482:11 December
2460:11 December
2437:25 December
2416:11 December
2363:11 December
2274:13 February
2225:: 213–244.
2020:24 February
1994:24 February
1441:Tape speeds
1389:the Beatles
1385:Frank Zappa
1315:tape player
1241:Limitations
949:the Beatles
879:Bing Crosby
872:MGM Studios
860:Bad Nauheim
855:Bing Crosby
790:Magnetophon
762: [
750: [
619:Brede works
593:loudspeaker
281:tape player
207:introducing
153:August 2024
3740:Categories
3681:Home audio
3671:Audiophile
3488:GarageBand
3334:Live music
3276:Headphones
3240:Phonograph
3109:Microphone
3104:Headphones
3050:Electrical
3045:Mechanical
1945:References
1884:– For film
1403:industry.
1307:multitrack
1287:head bumps
1263:distortion
1259:hysteresis
1234:RadioShack
1217:Mechanical
1180:Electrical
823:S.J. Begun
788:of German
770:AC biasing
190:references
123:newspapers
52:improve it
25:tape drive
3445:Sequencer
3372:PA system
3301:Subwoofer
3286:PA system
3220:Amplifier
3182:Hard disk
3099:Equalizer
2789:Billboard
2725:144400351
2709:0027-4321
2695:(3): 40.
2035:US 944608
1767:Recorders
1412:tape echo
1378:pop music
1330:Brian Eno
1326:art music
1319:tape deck
1251:tape hiss
1175:Operation
1075:Bill Lear
947:In 1963,
840:polyester
723:IG Farben
636:black box
589:amplified
305:tape head
277:tape deck
267:, c. 1978
58:talk page
3493:ProTools
3470:Software
3460:Theremin
3400:Chiptune
3357:Foldback
3187:MiniDisc
2921:BBC/H2G2
2885:26 April
2850:RX Reels
2830:16 April
2775:18870418
2665:9 August
2315:Archived
2265:Archived
2129:Archived
1968:and the
1832:See also
1592:prosumer
1457:(in/s).
741:was the
483:flywheel
479:paraffin
321:cassette
315:and the
215:May 2020
3589:Tape op
3440:Sampler
2961:at the
2951:at the
2941:at the
2855:11 June
2717:3387651
2571:8 April
2340:20 June
2239:3107045
2065:USPTO.
2052:USPTO.
1716:Elcaset
1572:⁄
1549:⁄
1526:⁄
1503:⁄
1484:⁄
1283:flutter
1267:AC bias
1223:capstan
1195:induces
1184:Due to
1146:Dolby B
1103:Walkman
1095:Philips
1061:⁄
1051:⁄
1037:⁄
1023:⁄
1009:⁄
992:⁄
978:⁄
775:During
548:Detroit
494:⁄
475:beeswax
468:⁄
361:History
291:, is a
203:improve
137:scholar
3703:(NIME)
3377:Reverb
2823:
2813:
2773:
2763:
2723:
2715:
2707:
2656:
2567:. Fact
2383:
2237:
2106:
2098:
2041:
1777:Image
1622:Image
1472:Usage
1451:second
1435:backup
1391:, and
1255:linear
781:Allies
779:, the
725:) and
487:stylus
301:signal
192:, but
139:
132:
125:
118:
110:
3655:STEIM
3650:SMPTE
3625:IRCAM
3090:(DAW)
2986:pg. 5
2982:pg. 4
2978:pg. 3
2974:pg. 2
2821:JSTOR
2721:S2CID
2713:JSTOR
2268:(PDF)
2257:(PDF)
2235:JSTOR
2221:(2).
1899:Notes
1701:(DAT)
1515:4.75
1469:in/s
1466:cm/s
898:Ampex
815:Ampex
766:]
754:]
263:from
144:JSTOR
130:books
3425:MIDI
3197:Opus
2887:2008
2857:2024
2832:2022
2811:ISBN
2771:OCLC
2761:ISBN
2705:ISSN
2667:2024
2654:ISBN
2573:2020
2484:2013
2462:2013
2439:2022
2418:2013
2381:ISBN
2365:2013
2342:2020
2276:2019
2196:ACMI
2104:ISBN
2096:ISBN
2022:2024
1996:2024
1913:bias
1774:Type
1619:Type
1538:9.5
1496:2.4
1477:1.2
1429:and
1410:and
1336:Uses
1281:and
1140:and
1099:Sony
1069:The
1028:and
928:The
757:for
719:BASF
665:The
477:and
342:and
265:Akai
116:news
3192:MP3
3177:DAT
2697:doi
2227:doi
1602:30
1599:76
1587:15
1584:38
1561:19
1431:CDs
1346:WDR
1279:wow
1168:THD
1138:dbx
956:ips
930:BBC
846:).
838:or
739:AEG
731:RRG
727:AEG
667:BBC
453:'s
283:or
271:An
99:by
3742::
3534:DJ
2984:,
2980:,
2976:,
2917:A
2848:.
2819:,
2805:,
2769:.
2719:.
2711:.
2703:.
2693:39
2691:.
2687:.
2675:^
2563:.
2527:.
2501:^
2487:),
2333:.
2295:.
2284:^
2259:.
2233:.
2219:39
2217:.
2194:.
2182:^
2168:.
2152:12
2150:,
2102:,
2013:,
1987:,
1953:^
1505:16
1501:15
1486:32
1482:15
1437:.
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1387:,
1188:,
1063:16
1059:15
985:10
832:3M
764:de
752:de
595:.
538:.
517:.
496:16
470:16
445:,
279:,
259:A
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3014:t
3007:v
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2441:.
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2241:.
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1570:1
1567:+
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1547:3
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1528:8
1524:7
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1519:1
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1053:8
1049:7
1046:+
1044:1
1039:4
1035:3
1032:+
1030:3
1025:2
1021:1
1018:+
1016:7
1011:2
1007:1
1004:+
1002:7
994:2
990:1
987:+
980:4
976:1
492:3
466:3
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240:(
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222:(
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213:(
199:.
166:)
160:(
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151:(
141:·
134:·
127:·
120:·
93:.
68:)
64:(
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