Tape recorder - Knowledge

383: 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: 1722: 411: 399: 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 181: 1673: 1821: 526: 1755: 1666: 651: 1689: 1341: 2165: 710: 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 256: 1789: 1229: 79: 1805: 610: 913: 38: 2173: 1706: 1085: 1298: 921: 3721: 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. 1353: 1739: 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 1650: 1202: 1192:

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

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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

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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

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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

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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.

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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. 936:

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. 869:

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. 1161:

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 874:

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 1399:

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. 1153: 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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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. 1204: 1170:

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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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"

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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

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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 3770: 3229: 3019: 2938: 555:

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 2560: 1144:

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.

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Microcassette standard speed; Cassettes issued by the National Library Service For The Blind And Physically Handicapped

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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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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

737:'s 1928 invention of paper tape with oxide powder lacquered onto it. The first practical tape recorder from 677:

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

473:-inch-wide (4.8 mm) strip of wax-covered paper that was coated by dipping it in a solution of 189: 2144: 3765: 3113: 2809:, Audio Technologies, Memory and Cultural Practices, Amsterdam University Press, pp. 25–42, 1222: 503: 89: 809:

Development of magnetic tape recorders in the late 1940s and early 1950s is associated with the

793: 3745: 1721: 1643: 1415: 1345: 901: 780: 312: 206: 2985: 2981: 2977: 2973: 2081:, Popular Science, Bonnier Corporation, February 1934, pp.40, Vol. 124, No. 2, ISSN 0161-7370. 1305:

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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noise reduction became very common in all but the least expensive cassette tape recorders.

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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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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 614: 575: 454: 350: 320: 308: 2739: 1317:, while one that requires external amplification for playback is usually called a 311:

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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Volta Laboratory and Bureau § Sound recording and phonograph development

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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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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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Walter Weber's Technical Innovation at the Reichs-Rundfunk-Gesellschaft

2716: 2684: 2561:"Worldwide gamma ferric oxide shortage delays cassette tape production" 2238: 1262: 1258: 1233: 24: 2408: 1788: 255: 3300: 3219: 2994:– a brief history of various sound recording methods used by the BBC. 1912: 1533:

Standard for Cassette tape. Common on portable reel-to-reel machines

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The typical professional audio tape recorder of the early 1950s used

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have been devised to ameliorate some noise and distortion problems.

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Size comparison of Elcaset (left) with standard Compact Cassette

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following years. Tapes were initially made of paper coated with

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for storage. In its present-day form, it records a fluctuating

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Marconi-Stille steel tape recorder at BBC studios, London, 1937

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The waxed tape recording medium was later refined by Edison's

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were mostly sold as consumer technologies after World War II.

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patented in 1886 by Alexander Graham Bell's Volta Laboratory.

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EMI BTR2 machines in a BBC recording room, 12 November 1961.

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the market, being "pretty much out of the picture" by 1952.

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Terms commonly used for Tape Recorder. Tape Recorder Speed.

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Brian Eno : his music and the vertical color of sound

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Multitrack technology enabled the development of modern

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Rewinding was done at twice the speed of the recording.

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and demonstrated in practice in 1898 by Danish engineer

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was conceived as early as 1878 by the American engineer

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device that records and plays back sounds usually using

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Recording Enters a New Era, And You Can't Find It on LP

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United States Patent and Trademark Office Patent Images

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in using magnetic tape for movie soundtrack recording.

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Magnetophon from a German radio station in World War II

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The tape speed was eventually standardized at 15

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History of sound recording § Magnetic recording

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Official Gazette Of The United States Patent Office

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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: 1664: 1648: 1632: 1351: 1339: 1296: 1292: 1227: 1200: 1151: 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 Braunmühl 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:. 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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: 2660: 2644: 2640: 2635: 2631: 2626: 2622: 2615: 2611: 2604: 2600: 2595: 2591: 2584: 2580: 2570: 2568: 2565:www.factmag.com 2557: 2553: 2544: 2540: 2521: 2500: 2495: 2491: 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971: 934:Third Programme 910: 807: 802: 792:recorders from 761: 749: 747:Eduard Schüller 707: 686:Marconi Company 648: 607: 601: 565: 544: 523: 495: 491: 490: 469: 465: 464: 458: 439: 434: 433: 432: 429: 426: 417: 414: 405: 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: 3688: 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: 3518: 3516: 3515: 3510: 3505: 3500: 3495: 3490: 3485: 3480: 3474: 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2444: 2422: 2400: 2388: 2369: 2347: 2322: 2302: 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: 1751: 1745: 1744: 1735: 1729: 1728: 1718: 1712: 1711: 1702: 1695: 1694: 1685: 1679: 1678: 1662: 1656: 1655: 1646: 1640: 1639: 1630: 1624: 1623: 1620: 1613: 1610: 1607: 1606: 1603: 1600: 1596: 1595: 1590:Higher end of 1588: 1585: 1581: 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 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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: 3638: 3636: 3633: 3631: 3628: 3626: 3623: 3621: 3618: 3616: 3613: 3611: 3608: 3606: 3603: 3602: 3600: 3596: 3590: 3587: 3585: 3582: 3580: 3577: 3575: 3572: 3570: 3567: 3565: 3562: 3560: 3557: 3555: 3552: 3550: 3547: 3545: 3542: 3540: 3537: 3535: 3532: 3530: 3527: 3526: 3524: 3520: 3514: 3511: 3509: 3506: 3504: 3501: 3499: 3496: 3494: 3491: 3489: 3486: 3484: 3481: 3479: 3476: 3475: 3473: 3471: 3467: 3461: 3458: 3456: 3453: 3451: 3448: 3446: 3443: 3441: 3438: 3436: 3433: 3431: 3428: 3426: 3423: 3421: 3418: 3416: 3413: 3411: 3408: 3406: 3403: 3401: 3398: 3397: 3395: 3393: 3389: 3383: 3380: 3378: 3375: 3373: 3370: 3368: 3365: 3363: 3360: 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: 3105: 3102: 3100: 3097: 3095: 3092: 3089: 3086: 3084: 3081: 3079: 3076: 3074: 3073:Audio channel 3071: 3070: 3068: 3066: 3062: 3056: 3053: 3051: 3048: 3046: 3043: 3042: 3040: 3038: 3034: 3030: 3023: 3018: 3016: 3011: 3009: 3004: 3003: 3000: 2993: 2990: 2987: 2983: 2979: 2975: 2971: 2967: 2964: 2960: 2957: 2954: 2950: 2947: 2944: 2940: 2937: 2935: 2934: 2930: 2928: 2927: 2923: 2920: 2916: 2914: 2911: 2910: 2901: 2898: 2897: 2880: 2876: 2874: 2866: 2851: 2847: 2844:Reels, R. 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