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1236:. 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.
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892:, 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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500:. 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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1008: 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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524:, 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
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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
954:
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
561:
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
636:
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
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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
707:
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.
2134:
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:
673:, 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
1136:, 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.
1406:. 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.
880:
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
1425:, 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
1144:. 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.
345:, 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.
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1296:. 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.
496:. 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
2320:
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
915:, 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.
1993:
1379:, 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.
513:
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
896:, 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.
517:'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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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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1939:; 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.
337:
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
1077: 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.
1116:
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
972:
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
1147:
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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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"
853:, 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
669:
In 1924 a German engineer, Kurt Stille, developed the Poulsen wire recorder as a dictating machine. The following year a fellow German,
645:). 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
2638:"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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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.
17:
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Microcassette standard speed; Cassettes issued by the National Library Service For The Blind And Physically Handicapped
1053: 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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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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1980:
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2647:"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".
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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
748:'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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Standard tape speeds varied by factors of two: 15 and 30 in/s were used for professional audio recording;
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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
484:-inch-wide (4.8 mm) strip of wax-covered paper that was coated by dipping it in a solution of
200:
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2820:, Audio Technologies, Memory and Cultural Practices, Amsterdam University Press, pp. 25–42,
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Development of magnetic tape recorders in the late 1940s and early 1950s is associated with the
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2092:, 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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1983:, 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.
30:
This article is about machines used for audio (sound) recording. For video recording, see
8:
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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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2048:, 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.
828:. The equally important development of the magnetic tape medium itself was led by
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1328:, 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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2814:"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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2342:"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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1436:, 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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1343:, 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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2572:"Worldwide gamma ferric oxide shortage delays cassette tape production"
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35:
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3005:– a brief history of various sound recording methods used by the BBC.
1923:
1544:
Standard for Cassette tape. Common on portable reel-to-reel machines
1422:
1388:
1340:
1336:
1261:
1239:
1085:
984:
The typical professional audio tape recorder of the early 1950s used
850:
733:
720:
599:
315:
2711:
2241:
1285:
have been devised to ameliorate some noise and distortion problems.
89:
3503:
3480:
3470:
3410:
3197:
3008:
1025: in/s (19.1 cm/s) for home audiophile prerecorded tapes;
493:
1815:
1163:
923:
620:
3599:
3344:
1726:
1277:
1156:
1113:
1105:
780:
558:
485:
1872:– Magnetic tape in the context of the history of sound recording
1736:
Size comparison of Elcaset (left) with standard Compact Cassette
1716:
1644:
837:
following years. Tapes were initially made of paper coated with
310:
for storage. In its present-day form, it records a fluctuating
1461:
1445:
1363:
1265:
1095:
665:
Marconi-Stille steel tape recorder at BBC studios, London, 1937
520:
The waxed tape recording medium was later refined by Edison's
497:
311:
1308:
637:
were mostly sold as consumer technologies after World War II.
3665:
3635:
931:
908:
825:
403:
patented in 1886 by Alexander Graham Bell's Volta Laboratory.
927:
EMI BTR2 machines in a BBC recording room, 12 November 1961.
653:
the market, being "pretty much out of the picture" by 1952.
3435:
2884:
Terms commonly used for Tape Recorder. Tape Recorder Speed.
1749:
1177:. In 30 seconds the recorder adjusted its bias for minimum
1109:
841:. In 1947/48 Minnesota Mining & Manufacturing Company (
729:
275:
2767:
Brian Eno : his music and the vertical color of sound
1444:, and are still used today, although primarily to provide
3202:
940:
677:
2125:, date of publication unstated, likely c. February 1934.
2067:, United States Patent Office, 1936, Volume 463, pp.537.
1335:
Multitrack technology enabled the development of modern
708:
Rewinding was done at twice the speed of the recording.
585:
and demonstrated in practice in 1898 by Danish engineer
581:
was conceived as early as 1878 by the American engineer
306:
device that records and plays back sounds usually using
3544:
2628:
Recording Enters a New Era, And You Can't Find It on LP
2181:
United States Patent and Trademark Office Patent Images
2177:"Method of recording and reproducing sounds or signals"
1441:
877:
in using magnetic tape for movie soundtrack recording.
842:
724:
Magnetophon from a German radio station in World War II
2798:"The Capitol Story – A Decade of Growth and Success."
965:
The tape speed was eventually standardized at 15
1264:. Also, the magnetic characteristics of tape are not
1870:
History of sound recording § Magnetic recording
1300:, which are fluctuations in low-frequency response.
552:
2065:
Official Gazette Of The United States Patent Office
1108:'s development of the Compact Cassette in 1963 and
935:
Early model Studer professional tape recorder, 1969
783:technique, which radically improved sound quality.
114:. Unsourced material may be challenged and removed.
34:. For the tape systems used for computer data, see
1616:Highest end of professional reel-to-reel machines
1243:A typical portable desktop cassette recorder from
2811:
2443:"The Marconi-Stille magnetic recorder-reproducer"
1067: in/s (4.8 cm/s) and occasionally even
3748:
1878:– Advanced usage of sophisticated tape recorders
1502:Found on some Microcassette pocket dictaphones
1377:invention of the first multitrack tape recorder
900:engineer to pre-record the rest of the series.
2857:"Ultimate Guide for Reel to Reel Tape Players"
3024:
2533:
2090:Record Of Voice Now Made On Moving Paper Tape
1605:machines, lower end of professional machines
656:
452:The earliest known audio tape recorder was a
341:had successfully demonstrated the concept of
2440:
2265:"Radio News, 'Radio - On a Flying Fortress'"
1935:Mullin claims to have been the first to use
918:
3651:Professional Lighting and Sound Association
2569:
1324:or – if it has no record functionality – a
756:, demonstrated in Berlin, Germany in 1935.
649:voice recorders for aviation in the 1950s.
531:
77:Learn how and when to remove these messages
3241:Comparison of analog and digital recording
3031:
3017:
2529:
2527:
2525:
2523:
2521:
2519:
2517:
2515:
2513:
2298:
2296:
1975:, United States National Museum Bulletin,
1967:
1965:
1590:Common on full-size reel-to-reel machines
2200:
1851:– Details of different audio tape formats
254:Learn how and when to remove this message
236:Learn how and when to remove this message
174:Learn how and when to remove this message
2937:A Selected History of Magnetic Recording
2196:
2194:
1830:
1814:
1798:
1764:
1748:
1731:
1715:
1698:
1682:
1675:
1659:
1643:
1362:
1350:
1307:
1303:
1238:
1211:
1162:
1094:
979:
930:
922:
815:
719:
715:
660:
619:
535:
265:
199:This article includes a list of general
2536:"How Bing Crosby Brought You Audiotape"
2510:
2293:
2175:Poulsen, Valdemar (13 November 1900) .
2174:
2044:
1962:
1332:(regardless of whether it can record).
14:
3749:
2950:Timeline from U of San Diego's Archive
2663:. Alfred Music Publishing. p. 7.
2570:Bruce-Jones, Henry (11 October 2019).
2262:
2223:
1889:– Details of using old-style recorders
1387:, which in turn led to the innovative
1383:school and avant-garde composers like
1312:Otari MX-80 24-track with 2-inch reels
1092:, which was launched earlier in 1963.
3712:New Interfaces for Musical Expression
3012:
2751:"Equalizing Tape Recorder Head Bumps"
2748:
2689:
2687:
2308:The Encyclopedia of Cleveland History
2234:Society for the History of Technology
2191:
2095:
1123:
911:, and the six-man concern (headed by
573:
447:
3038:
2763:
2693:
2281:from the original on 25 January 2022
2156:"Some possible forms of phonograph,"
810:
740:in cooperation with the state radio
624:Magnetic wire recorder, invented by
185:
112:adding citations to reliable sources
83:
42:
2660:Multi-Track Recording for Musicians
632:Industrial Museum, Lyngby, Denmark.
24:
2924:Museum of Magnetic Sound Recording
2684:
2656:
2154:Smith, Oberlin (1888 September 8)
1995:History of the Cylinder Phonograph
1882:Preservation of magnetic audiotape
1432:While they are primarily used for
994: in (6 mm) wide tape on
845:) replaced the paper backing with
830:Minnesota Mining and Manufacturing
205:it lacks sufficient corresponding
25:
3793:
3782:Audiovisual introductions in 1886
3261:Reel-to-reel audio tape recording
2917:
2854:
1887:Reel-to-reel audio tape recording
1744:Reel-to-reel audio tape recording
732:(then part of the chemical giant
609:
553:Photoelectric paper tape recorder
58:This article has multiple issues.
3730:
2441:Stewart Adam (18 October 2012).
2263:Porter, Kenneth (January 1944).
1981:Museum of History and Technology
1268:. They exhibit a characteristic
684:'s speech at the opening of the
643:Illinois Institute of Technology
510:-inch-wide (4.8 mm) strip.
432:
420:
408:
392:
304:sound recording and reproduction
190:
88:
47:
3246:Experimental musical instrument
2960:History of Recording Technology
2874:
2848:
2805:
2792:
2757:
2742:
2650:
2641:
2632:
2621:
2610:
2601:
2590:
2563:
2550:
2501:
2478:
2456:
2434:
2412:
2400:
2381:
2359:
2334:
2314:
2256:
2217:
2168:
2148:
1942:
1929:
1916:
1622:
1288:Variations in tape speed cause
99:needs additional citations for
66:or discuss these issues on the
2597:Web page about digital playout
2128:
2082:
2070:
2057:
2038:
2012:
1986:
1451:
1394:recordings of artists such as
1355:Klaudia Wilde from the German
1251:
13:
1:
3431:Electronic musical instrument
2930:History of Magnetic Recording
2617:First Sony Walkman introduced
2203:"Magnetic Recording Timeline"
2183:. No. 661,619. Archived from
1977:United States National Museum
1955:
1283:Dolby noise reduction systems
1272:curve, which causes unwanted
1227:
1190:
3737:Record production portal
3626:Institute of Broadcast Sound
2272:www.americanradiohistory.com
1777:
1185:
686:India Round Table Conference
314:by moving the tape across a
7:
3762:Sound production technology
3646:Musical Electronics Library
2770:. Boston: Faber and Faber.
2749:Dugan, Dan (October 1982).
2560:by Edward Pawley, page 387.
2534:Fenster, J.M. (Fall 1994).
2390:pub. Routledge, Nov. 2012.
1842:
832:(3M) corporation. In 1938,
779:at the RRG, discovered the
628:, 1898. It is exhibited at
562:paper tape's surface. The
27:Machine for recording sound
10:
3798:
3772:Sound recording technology
3393:Sound reinforcement system
3302:Sound reinforcement system
2976: (archived 2004-06-03)
2966: (archived 2004-06-03)
2956: (archived 2010-03-12)
2540:Invention & Technology
770:Hans Joachim von BraunmĂĽhl
657:Early steel tape recorders
613:
602:and played back through a
401:non-magnetic tape recorder
375:
371:
272:reel-to-reel tape recorder
29:
3726:
3674:
3616:Audio Engineering Society
3608:
3532:
3514:Software effect processor
3494:Digital audio workstation
3479:
3401:
3343:
3335:Digital signal processing
3320:
3274:
3216:
3158:
3099:Digital audio workstation
3074:
3046:
2696:"Magnetic Tape Recorders"
2558:BBC Engineering 1922–1972
2346:Google Arts & Culture
2121:. Article attributed to:
1849:Audio tape specifications
919:Tape recording at the BBC
822:Brush Development Company
570:technologies of the era.
378:Timeline of audio formats
3707:Professional audio store
3609:People and organizations
3595:Sound recording engineer
2970:History of Magnetic Tape
2421:Marconi-Stille recorders
2304:"BRUSH DEVELOPMENT CORP"
1909:
1671:Digital Compact Cassette
860:American audio engineer
532:Celluloid strip recorder
3125:Microphone preamplifier
2700:Music Educators Journal
2694:Kuhn, Wolfgang (1953).
2142:21 October 2006 at the
2105:, Dutton, 1979, pp.73,
1392:studio-as-an-instrument
1346:
1084:standard, developed by
515:Smithsonian Institution
220:more precise citations.
3066:Electronic and digital
2407:The BBC Year-Book 1932
2226:Technology and Culture
1835:
1819:
1803:
1770:
1753:
1737:
1720:
1703:
1687:
1680:
1664:
1655:Compact audio cassette
1648:
1427:endless tape cartridge
1368:
1360:
1313:
1248:
1224:
1223:Tape deck in operation
1168:
1112:'s development of the
1102:
936:
928:
913:Alexander M. Poniatoff
725:
666:
633:
541:
468:and patented in 1886 (
399:An early experimental
324:reel-to-reel tape deck
279:
2882:"Martel Electronics.
2165:(10) : 116–117.
1834:
1818:
1802:
1768:
1752:
1735:
1719:
1702:
1686:
1679:
1663:
1647:
1385:Karlheinz Stockhausen
1367:Editing magnetic tape
1366:
1354:
1339:and one such artist,
1311:
1304:Tape recorder variety
1242:
1222:
1166:
1118:Dolby noise reduction
1098:
980:Standardized products
934:
926:
816:American developments
744:. This was based on
723:
716:Modern tape recorders
664:
623:
593:, and its successor,
539:
462:Alexander Graham Bell
376:Further information:
269:
3524:Software synthesizer
3489:Digital audio editor
3275:Playback transducers
3135:Multitrack recording
3003:Recording at the BBC
2328:9 March 2021 at the
2159:The Electrical World
1971:Newville, Leslie J.
1926:and PVC-backed tape.
1876:Multitrack recording
1419:multitrack recording
460:version invented by
384:Early tape recorders
108:improve this article
2979:Description of the
2764:Tamm, Eric (1989).
2187:on 15 January 2019.
2026:Library of Congress
2000:Library of Congress
1899:Video tape recorder
1473:
1472:Common tape speeds
894:transcription discs
471:U.S. patent 341,214
351:transcription discs
318:that polarizes the
284:audio tape recorder
32:video tape recorder
18:Steel tape recorder
3575:Re-recording mixer
3378:Keyboard amplifier
3094:Binaural recording
2465:Directly-cut discs
1836:
1820:
1804:
1771:
1760:RCA tape cartridge
1754:
1738:
1721:
1710:Digital Audio Tape
1704:
1688:
1681:
1665:
1649:
1471:
1417:Innovations, like
1369:
1361:
1314:
1256:The storage of an
1249:
1225:
1175:frequency response
1169:
1153:Dolby Laboratories
1134:stereophonic sound
1124:Later developments
1103:
937:
929:
855:gamma ferric oxide
824:and its licensee,
726:
701:Maida Vale Studios
690:Broadcasting House
667:
634:
589:. Analog magnetic
579:Magnetic recording
574:Magnetic recording
542:
448:Wax strip recorder
343:magnetic recording
286:, also known as a
280:
3744:
3743:
3550:Guitar technician
3446:Music workstation
3330:Digital recording
3307:Speaker enclosure
3226:8-track cartridge
3168:Phonograph record
2981:recording process
2827:978-90-8964-132-8
2670:978-1-4574-2484-7
2556:Information from
2123:Popular Mechanics
2119:978-0-525-47551-4
2088:Popular Science.
1860:Dictation machine
1855:Bootleg recording
1840:
1839:
1775:
1774:
1620:
1619:
1466:inches per second
1220:
847:cellulose acetate
811:Commercialization
796:Richard H. Ranger
474:). It employed a
366:digital recording
264:
263:
256:
246:
245:
238:
184:
183:
176:
158:
81:
16:(Redirected from
3789:
3735:
3734:
3733:
3621:Goji Electronics
3560:Monitor engineer
3519:Software sampler
3426:Electronic drums
3403:Electronic music
3373:Guitar amplifier
3218:Analog recording
3178:Compact cassette
3140:Music production
3048:Music technology
3040:Music technology
3033:
3026:
3019:
3010:
3009:
2902:
2901:
2899:
2897:
2888:. Archived from
2878:
2872:
2871:
2869:
2867:
2852:
2846:
2845:
2844:
2842:
2809:
2803:
2796:
2790:
2789:
2761:
2755:
2754:
2746:
2740:
2739:
2691:
2682:
2681:
2679:
2677:
2654:
2648:
2645:
2639:
2636:
2630:
2625:
2619:
2614:
2608:
2605:
2599:
2594:
2588:
2587:
2585:
2583:
2567:
2561:
2554:
2548:
2547:
2546:on 4 April 2011.
2542:. Archived from
2531:
2508:
2505:
2499:
2497:
2496:
2494:
2482:
2476:
2475:
2474:
2472:
2460:
2454:
2453:
2451:
2449:
2438:
2432:
2431:
2430:
2428:
2416:
2410:
2404:
2398:
2385:
2379:
2378:
2377:
2375:
2363:
2357:
2356:
2354:
2352:
2338:
2332:
2318:
2312:
2311:
2300:
2291:
2290:
2288:
2286:
2280:
2269:
2260:
2254:
2253:
2221:
2215:
2214:
2213:on 2 March 2004.
2209:. Archived from
2198:
2189:
2188:
2172:
2166:
2152:
2146:
2132:
2126:
2099:
2093:
2086:
2080:
2074:
2068:
2061:
2055:
2054:
2053:
2049:
2042:
2036:
2035:
2034:
2032:
2016:
2010:
2009:
2008:
2006:
1990:
1984:
1969:
1949:
1946:
1940:
1933:
1927:
1920:
1865:Electronic music
1782:
1781:
1627:
1626:
1587:
1586:
1582:
1579:
1564:
1563:
1559:
1556:
1541:
1540:
1536:
1533:
1518:
1517:
1513:
1499:
1498:
1494:
1474:
1470:
1412:media monitoring
1381:Musique Concrète
1221:
1201:electric current
1197:electromagnetism
1100:Compact cassette
1090:Compact Cassette
1076:
1075:
1071:
1066:
1065:
1061:
1058:
1052:
1051:
1047:
1044:
1038:
1037:
1033:
1030:
1024:
1023:
1019:
1016:
1007:
1006:
1002:
999:
993:
992:
988:
864:and entertainer
839:magnetite powder
805:Radio Luxembourg
778:
766:
626:Valdemar Poulsen
587:Valdemar Poulsen
526:gramophone discs
509:
508:
504:
483:
482:
478:
473:
466:Volta Laboratory
436:
424:
412:
396:
362:analog recording
320:magnetic domains
259:
252:
241:
234:
230:
227:
221:
216:this article by
207:inline citations
194:
193:
186:
179:
172:
168:
165:
159:
157:
116:
92:
84:
73:
51:
50:
43:
21:
3797:
3796:
3792:
3791:
3790:
3788:
3787:
3786:
3767:Sound recording
3747:
3746:
3745:
3740:
3731:
3729:
3722:
3670:
3604:
3570:Record producer
3555:Mixing engineer
3528:
3475:
3441:MIDI controller
3416:Circuit bending
3397:
3339:
3316:
3292:Monitor speaker
3270:
3212:
3160:Recording media
3154:
3145:Music sequencer
3130:Monitor speaker
3076:Sound recording
3070:
3042:
3037:
2983:with diagrams.
2974:Wayback Machine
2964:Wayback Machine
2954:Wayback Machine
2920:
2915:
2906:
2905:
2895:
2893:
2892:on 1 March 2012
2880:
2879:
2875:
2865:
2863:
2853:
2849:
2840:
2838:
2828:
2818:Sound Souvenirs
2810:
2806:
2802:, 2 August 1952
2797:
2793:
2778:
2762:
2758:
2747:
2743:
2712:10.2307/3387651
2692:
2685:
2675:
2673:
2671:
2655:
2651:
2646:
2642:
2637:
2633:
2626:
2622:
2615:
2611:
2606:
2602:
2595:
2591:
2581:
2579:
2576:www.factmag.com
2568:
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2386:
2382:
2373:
2371:
2365:
2364:
2360:
2350:
2348:
2340:
2339:
2335:
2330:Wayback Machine
2319:
2315:
2302:
2301:
2294:
2284:
2282:
2278:
2267:
2261:
2257:
2242:10.2307/3107045
2222:
2218:
2201:Nagra Company.
2199:
2192:
2173:
2169:
2153:
2149:
2144:Wayback Machine
2137:RichardHess.com
2133:
2129:
2100:
2096:
2087:
2083:
2075:
2071:
2062:
2058:
2051:
2043:
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2028:
2018:
2017:
2013:
2004:
2002:
1992:
1991:
1987:
1970:
1963:
1958:
1953:
1952:
1947:
1943:
1937:canned laughter
1934:
1930:
1921:
1917:
1912:
1845:
1780:
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1584:
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1575:
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1511:
1510:
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1492:
1491:
1454:
1434:sound recording
1349:
1306:
1254:
1230:
1212:
1193:
1188:
1126:
1073:
1069:
1068:
1063:
1059:
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1031:
1028:
1026:
1021:
1017:
1014:
1012:
1004:
1000:
997:
995:
990:
986:
985:
982:
945:Third Programme
921:
818:
813:
803:recorders from
772:
760:
758:Eduard SchĂĽller
718:
697:Marconi Company
659:
618:
612:
576:
555:
534:
506:
502:
501:
480:
476:
475:
469:
450:
445:
444:
443:
440:
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428:
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404:
397:
386:
385:
380:
374:
330:, which uses a
260:
249:
248:
247:
242:
231:
225:
222:
212:Please help to
211:
195:
191:
180:
169:
163:
160:
123:"Tape recorder"
117:
115:
105:
93:
52:
48:
39:
28:
23:
22:
15:
12:
11:
5:
3795:
3785:
3784:
3779:
3777:Tape recording
3774:
3769:
3764:
3759:
3742:
3741:
3727:
3724:
3723:
3721:
3720:
3715:
3709:
3704:
3699:
3694:
3689:
3684:
3678:
3676:
3675:Related topics
3672:
3671:
3669:
3668:
3663:
3658:
3653:
3648:
3643:
3638:
3633:
3631:Lejaren Hiller
3628:
3623:
3618:
3612:
3610:
3606:
3605:
3603:
3602:
3597:
3592:
3590:Sound operator
3587:
3585:Sound follower
3582:
3580:Sound designer
3577:
3572:
3567:
3562:
3557:
3552:
3547:
3542:
3540:Audio engineer
3536:
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3405:
3399:
3398:
3396:
3395:
3390:
3385:
3380:
3375:
3370:
3365:
3360:
3358:Bass amplifier
3355:
3353:Mixing console
3349:
3347:
3341:
3340:
3338:
3337:
3332:
3326:
3324:
3318:
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3089:Mixing console
3086:
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3013:
3007:
3006:
3000:
2977:
2967:
2957:
2947:
2940:
2933:
2926:
2919:
2918:External links
2916:
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2313:
2310:. 29 May 2002.
2292:
2274:. p. 21.
2255:
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2069:
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2037:
2021:The Gramophone
2011:
1985:
1960:
1959:
1957:
1954:
1951:
1950:
1941:
1928:
1914:
1913:
1911:
1908:
1907:
1906:
1901:
1896:
1893:Sound follower
1890:
1884:
1879:
1873:
1867:
1862:
1857:
1852:
1844:
1841:
1838:
1837:
1828:
1826:Wire recording
1822:
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1601:Higher end of
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1573:
1569:
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1565:
1550:
1546:
1545:
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1519:
1508:
1504:
1503:
1500:
1489:
1485:
1484:
1481:
1478:
1453:
1450:
1404:the Beach Boys
1348:
1345:
1305:
1302:
1253:
1250:
1229:
1226:
1192:
1189:
1187:
1184:
1183:
1182:
1161:
1160:
1145:
1142:echo generator
1137:
1125:
1122:
981:
978:
920:
917:
862:John T. Mullin
817:
814:
812:
809:
754:Magnetophon K1
746:Fritz Pfleumer
717:
714:
671:Louis Blattner
658:
655:
616:Wire recording
614:Main article:
611:
610:Wire recorders
608:
591:wire recording
575:
572:
554:
551:
533:
530:
449:
446:
442:
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438:
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368:technologies.
355:wire recorders
339:wire recorders
262:
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182:
181:
96:
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87:
82:
56:
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53:
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26:
9:
6:
4:
3:
2:
3794:
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3780:
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3775:
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3770:
3768:
3765:
3763:
3760:
3758:
3757:Audio storage
3755:
3754:
3752:
3739:
3738:
3725:
3719:
3718:Vehicle audio
3716:
3713:
3710:
3708:
3705:
3703:
3700:
3698:
3695:
3693:
3690:
3688:
3687:High fidelity
3685:
3683:
3680:
3679:
3677:
3673:
3667:
3664:
3662:
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3404:
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3359:
3356:
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3351:
3350:
3348:
3346:
3342:
3336:
3333:
3331:
3328:
3327:
3325:
3323:
3322:Digital audio
3319:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3295:
3293:
3290:
3288:
3285:
3283:
3280:
3279:
3277:
3273:
3267:
3266:Tape recorder
3264:
3262:
3259:
3257:
3254:
3252:
3249:
3247:
3244:
3242:
3239:
3237:
3236:Cassette deck
3234:
3232:
3229:
3227:
3224:
3223:
3221:
3219:
3215:
3209:
3206:
3204:
3201:
3199:
3196:
3194:
3191:
3189:
3186:
3184:
3181:
3179:
3176:
3174:
3173:Magnetic tape
3171:
3169:
3166:
3165:
3163:
3161:
3157:
3151:
3150:Outboard gear
3148:
3146:
3143:
3141:
3138:
3136:
3133:
3131:
3128:
3126:
3123:
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3118:
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3097:
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3090:
3087:
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3084:Audio channel
3082:
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3051:
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3029:
3027:
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3020:
3015:
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2922:
2921:
2912:
2909:
2908:
2891:
2887:
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2877:
2862:
2858:
2855:Reels, R. X.
2851:
2837:
2836:j.ctt45kf7f.6
2833:
2829:
2823:
2819:
2815:
2808:
2801:
2795:
2787:
2783:
2779:
2777:0-571-12958-7
2773:
2769:
2768:
2760:
2752:
2745:
2737:
2733:
2729:
2725:
2721:
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2672:
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2415:
2408:
2403:
2397:
2396:9781136466045
2393:
2389:
2384:
2370:
2369:
2368:Blattnerphone
2362:
2347:
2343:
2337:
2331:
2327:
2324:
2317:
2309:
2305:
2299:
2297:
2277:
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2251:
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2197:
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2160:
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2145:
2141:
2138:
2131:
2124:
2120:
2116:
2112:
2111:0-525-47551-6
2108:
2104:
2101:Onosko, Tim.
2098:
2091:
2085:
2079:
2073:
2066:
2060:
2047:
2041:
2027:
2023:
2022:
2015:
2001:
1997:
1996:
1989:
1982:
1978:
1974:
1968:
1966:
1961:
1945:
1938:
1932:
1925:
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1824:
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1813:
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1808:
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1797:
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1794:Cassette deck
1792:
1791:
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1783:
1767:
1763:
1761:
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1728:
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1718:
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1697:
1695:
1694:Microcassette
1692:
1691:
1685:
1678:
1674:
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1658:
1656:
1653:
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1501:
1490:
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1486:
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1475:
1469:
1467:
1464:(cm/s) or in
1463:
1458:
1449:
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1443:
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1413:
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1397:
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1373:
1365:
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1353:
1344:
1342:
1338:
1333:
1331:
1327:
1323:
1322:tape recorder
1319:
1310:
1301:
1299:
1295:
1291:
1286:
1284:
1279:
1275:
1271:
1267:
1263:
1259:
1258:analog signal
1246:
1241:
1237:
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1210:
1207:
1202:
1198:
1180:
1176:
1171:
1170:
1165:
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949:
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916:
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897:
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872:
867:
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848:
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831:
827:
823:
808:
806:
802:
797:
793:
789:
784:
782:
776:
771:
764:
759:
755:
751:
747:
743:
739:
735:
731:
722:
713:
709:
705:
702:
698:
695:In 1933, the
693:
691:
687:
683:
682:King George V
679:
674:
672:
663:
654:
650:
648:
644:
638:
631:
627:
622:
617:
607:
605:
601:
596:
595:magnetic tape
592:
588:
584:
583:Oberlin Smith
580:
571:
569:
568:sound-on-film
565:
560:
550:
548:
547:talking clock
538:
529:
527:
523:
518:
516:
511:
499:
495:
491:
487:
472:
467:
463:
459:
455:
435:
430:
423:
418:
411:
406:
402:
395:
390:
389:
379:
369:
367:
363:
358:
356:
352:
346:
344:
340:
335:
334:for storage.
333:
329:
328:cassette deck
325:
321:
317:
313:
309:
308:magnetic tape
305:
301:
300:tape recorder
297:
293:
289:
285:
277:
273:
268:
258:
255:
240:
237:
229:
219:
215:
209:
208:
202:
197:
188:
187:
178:
175:
167:
156:
153:
149:
146:
142:
139:
135:
132:
128:
125: –
124:
120:
119:Find sources:
113:
109:
103:
102:
97:This article
95:
91:
86:
85:
80:
78:
71:
70:
65:
64:
59:
54:
45:
44:
41:
37:
33:
19:
3728:
3461:Sound module
3421:Drum machine
3363:Effects unit
3265:
3256:Player piano
3183:Compact disc
3105:Effects unit
2943:
2936:
2910:
2894:. Retrieved
2890:the original
2883:
2876:
2864:. Retrieved
2860:
2850:
2839:, retrieved
2817:
2807:
2799:
2794:
2766:
2759:
2744:
2703:
2699:
2674:. Retrieved
2659:
2652:
2643:
2634:
2623:
2612:
2603:
2592:
2580:. Retrieved
2575:
2565:
2557:
2552:
2544:the original
2539:
2503:
2491:, retrieved
2487:Optical film
2486:
2480:
2469:, retrieved
2464:
2458:
2446:. Retrieved
2436:
2425:, retrieved
2420:
2414:
2402:
2383:
2372:, retrieved
2367:
2361:
2349:. Retrieved
2345:
2336:
2316:
2307:
2283:. Retrieved
2271:
2258:
2229:
2225:
2219:
2211:the original
2206:
2185:the original
2180:
2170:
2162:
2158:
2150:
2130:
2097:
2084:
2072:
2059:
2040:
2029:, retrieved
2020:
2014:
2003:, retrieved
1994:
1988:
1944:
1931:
1918:
1810:Helical scan
1639:8-track tape
1623:Tape formats
1459:
1455:
1438:floppy disks
1431:
1416:
1408:
1374:
1370:
1334:
1329:
1325:
1321:
1315:
1297:
1287:
1255:
1231:
1194:
1127:
1104:
1082:8-track tape
1079:
1010:
983:
974:
971:
964:
957:
953:
950:
938:
906:
902:
898:
888:
879:
875:
859:
819:
788:World War II
785:
727:
710:
706:
694:
675:
668:
651:
639:
635:
577:
564:audio signal
556:
543:
522:wax cylinder
519:
512:
458:non-electric
454:non-magnetic
451:
400:
359:
347:
336:
299:
298:or simply a
296:tape machine
295:
291:
287:
283:
281:
250:
232:
223:
204:
170:
161:
151:
144:
137:
130:
118:
106:Please help
101:verification
98:
74:
67:
61:
60:Please help
57:
40:
3702:Music store
3697:Home cinema
3656:Robert Moog
3641:Max Mathews
3565:Piano tuner
3533:Professions
3509:Scorewriter
3466:Synthesizer
3282:Loudspeaker
2657:Hurtig, B.
2493:11 December
2471:11 December
2448:25 December
2427:11 December
2374:11 December
2285:13 February
2236:: 213–244.
2031:24 February
2005:24 February
1452:Tape speeds
1400:the Beatles
1396:Frank Zappa
1326:tape player
1252:Limitations
960:the Beatles
890:Bing Crosby
883:MGM Studios
871:Bad Nauheim
866:Bing Crosby
801:Magnetophon
773: [
761: [
630:Brede works
604:loudspeaker
292:tape player
218:introducing
164:August 2024
3751:Categories
3692:Home audio
3682:Audiophile
3499:GarageBand
3345:Live music
3287:Headphones
3251:Phonograph
3120:Microphone
3115:Headphones
3061:Electrical
3056:Mechanical
1956:References
1895:– For film
1414:industry.
1318:multitrack
1298:head bumps
1274:distortion
1270:hysteresis
1245:RadioShack
1228:Mechanical
1191:Electrical
834:S.J. Begun
799:of German
781:AC biasing
201:references
134:newspapers
63:improve it
36:tape drive
3456:Sequencer
3383:PA system
3312:Subwoofer
3297:PA system
3231:Amplifier
3193:Hard disk
3110:Equalizer
2800:Billboard
2736:144400351
2720:0027-4321
2706:(3): 40.
2046:US 944608
1778:Recorders
1423:tape echo
1389:pop music
1341:Brian Eno
1337:art music
1330:tape deck
1262:tape hiss
1186:Operation
1086:Bill Lear
958:In 1963,
851:polyester
734:IG Farben
647:black box
600:amplified
316:tape head
288:tape deck
278:, c. 1978
69:talk page
3504:ProTools
3481:Software
3471:Theremin
3411:Chiptune
3368:Foldback
3198:MiniDisc
2932:BBC/H2G2
2896:26 April
2861:RX Reels
2841:16 April
2786:18870418
2676:9 August
2326:Archived
2276:Archived
2140:Archived
1979:and the
1843:See also
1603:prosumer
1468:(in/s).
752:was the
494:flywheel
490:paraffin
332:cassette
326:and the
226:May 2020
3600:Tape op
3451:Sampler
2972:at the
2962:at the
2952:at the
2866:11 June
2728:3387651
2582:8 April
2351:20 June
2250:3107045
2076:USPTO.
2063:USPTO.
1727:Elcaset
1583:⁄
1560:⁄
1537:⁄
1514:⁄
1495:⁄
1294:flutter
1278:AC bias
1234:capstan
1206:induces
1195:Due to
1157:Dolby B
1114:Walkman
1106:Philips
1072:⁄
1062:⁄
1048:⁄
1034:⁄
1020:⁄
1003:⁄
989:⁄
786:During
559:Detroit
505:⁄
486:beeswax
479:⁄
372:History
302:, is a
214:improve
148:scholar
3714:(NIME)
3388:Reverb
2834:
2824:
2784:
2774:
2734:
2726:
2718:
2667:
2578:. Fact
2394:
2248:
2117:
2109:
2052:
1788:Image
1633:Image
1483:Usage
1462:second
1446:backup
1402:, and
1266:linear
792:Allies
790:, the
736:) and
498:stylus
312:signal
203:, but
150:
143:
136:
129:
121:
3666:STEIM
3661:SMPTE
3636:IRCAM
3101:(DAW)
2997:pg. 5
2993:pg. 4
2989:pg. 3
2985:pg. 2
2832:JSTOR
2732:S2CID
2724:JSTOR
2279:(PDF)
2268:(PDF)
2246:JSTOR
2232:(2).
1910:Notes
1712:(DAT)
1526:4.75
1480:in/s
1477:cm/s
909:Ampex
826:Ampex
777:]
765:]
274:from
155:JSTOR
141:books
3436:MIDI
3208:Opus
2898:2008
2868:2024
2843:2022
2822:ISBN
2782:OCLC
2772:ISBN
2716:ISSN
2678:2024
2665:ISBN
2584:2020
2495:2013
2473:2013
2450:2022
2429:2013
2392:ISBN
2376:2013
2353:2020
2287:2019
2207:ACMI
2115:ISBN
2107:ISBN
2033:2024
2007:2024
1924:bias
1785:Type
1630:Type
1549:9.5
1507:2.4
1488:1.2
1440:and
1421:and
1347:Uses
1292:and
1151:and
1110:Sony
1080:The
1039:and
939:The
768:for
730:BASF
676:The
488:and
353:and
276:Akai
127:news
3203:MP3
3188:DAT
2708:doi
2238:doi
1613:30
1610:76
1598:15
1595:38
1572:19
1442:CDs
1357:WDR
1290:wow
1179:THD
1149:dbx
967:ips
941:BBC
857:).
849:or
750:AEG
742:RRG
738:AEG
678:BBC
464:'s
294:or
282:An
110:by
3753::
3545:DJ
2995:,
2991:,
2987:,
2928:A
2859:.
2830:,
2816:,
2780:.
2730:.
2722:.
2714:.
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2702:.
2698:.
2686:^
2574:.
2538:.
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2344:.
2306:.
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2270:.
2244:.
2230:39
2228:.
2205:.
2193:^
2179:.
2163:12
2161:,
2113:,
2024:,
1998:,
1964:^
1516:16
1512:15
1497:32
1493:15
1448:.
1429:.
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1199:,
1074:16
1070:15
996:10
843:3M
775:de
763:de
606:.
549:.
528:.
507:16
481:16
456:,
290:,
270:A
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3025:t
3018:v
2999:.
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2870:.
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2753:.
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2452:.
2355:.
2289:.
2252:.
2240::
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1581:1
1578:+
1576:7
1562:4
1558:3
1555:+
1553:3
1539:8
1535:7
1532:+
1530:1
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1064:8
1060:7
1057:+
1055:1
1050:4
1046:3
1043:+
1041:3
1036:2
1032:1
1029:+
1027:7
1022:2
1018:1
1015:+
1013:7
1005:2
1001:1
998:+
991:4
987:1
503:3
477:3
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251:(
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233:(
228:)
224:(
210:.
177:)
171:(
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162:(
152:·
145:·
138:·
131:·
104:.
79:)
75:(
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20:)
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