Sound recording and reproduction - Wikipedia. Sound recording and reproduction is an electrical, mechanical, electronic, or digital inscription and re- creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Acoustic analog recording is achieved by a microphone diaphragm that can detect and sense the changes in atmospheric pressure caused by acoustic sound waves and record them as a mechanical representation of the sound waves on a medium such as a phonograph record (in which a stylus cuts grooves on a record). In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current, which is then converted to a varying magnetic field by an electromagnet, which makes a representation of the sound as magnetized areas on a plastic tape with a magnetic coating on it. Analog sound reproduction is the reverse process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Oscillations may also be recorded directly from devices such as an electric guitar pickup or a synthesizer, without the use of acoustics in the recording process, other than the need for musicians to hear how well they are playing during recording sessions via headphones. Digital recording and reproduction converts the analog sound signal picked up by the microphone to a digital form by the process of digitization. This lets the audio data be stored and transmitted by a wider variety of media. Digital recording stores audio as a series of binary numbers (zeros and ones) representing samples of the amplitude of the audio signal at equal time intervals, at a sample rate high enough to convey all sounds capable of being heard. Digital recordings are considered higher quality than analog recordings not necessarily because they have higher fidelity (wider frequency response or dynamic range), but because the digital format can prevent much loss of quality found in analog recording due to noise and electromagnetic interference in playback, and mechanical deterioration or damage to the storage medium. Whereas successive copies of an analog recording tend to degrade in quality, as more noise is added, a digital audio recording can be reproduced endlessly with no degradation in sound quality. A digital audio signal must be reconverted to analog form during playback before it is amplified and connected to a loudspeaker to produce sound. Prehistory. Automatic music reproduction traces back as far as the 9th century, when the Ban. According to Charles B. Similar designs appeared in barrel organs (1. The fairground organ, developed in 1. Page contains free recording software, vst audio plugins and audio related utilites that home and pro studios will find usefull. RAC Showcase is about spotlighting, representing, and providing facilitative support to rising artists on a non-profit basis, yielding a premier hub for you to experience great new music in the process. Showcase comprises four. Don't like the sound of your voice? CamStudio can also add high-quality, anti-aliased (no jagged edges) screen captions to your recordings in seconds and with the unique Video Annotation. Intro from Jay Allison: One of Transom's most popular features ever is TOOLS Editor Jeff Towne's primer on setting up a small recording studio, but the page hasn't had an update in six years. So, Jeff has created a completely. How to Make a Recording Studio. Do you want to set up your own home recording studio? With all the gear required, it can be tough to know where to start. While studio-making can be overwhelming, the basics. The player piano, first demonstrated in 1. The most sophisticated of the piano rolls were . This technology to record a live performance onto a piano roll was not developed until 1. Piano rolls were in continuous mass production from 1. Supreme Court copyright case noted that, in 1. The earliest known recordings of the human voice are phonautograph recordings, called . They consist of sheets of paper with sound- wave- modulated white lines created by a vibrating stylus that cut through a coating of soot as the paper was passed under it. An 1. 86. 0 phonautogram of Au Clair de la Lune, a French folk song, was played back as sound for the first time in 2. Though no trace of a working paleophone was ever found, Cros is remembered as the earliest inventor of a sound recording and reproduction machine. The first practical sound recording and reproduction device was the mechanical phonograph cylinder, invented by Thomas Edison in 1. The development of mass- production techniques enabled cylinder recordings to become a major new consumer item in industrial countries and the cylinder was the main consumer format from the late 1. Disc phonograph. Sales of the gramophone record overtook the cylinder ca. World War I the disc had become the dominant commercial recording format. Edison, who was the main producer of cylinders, created the Edison Disc Record in an attempt to regain his market. In various permutations, the audio disc format became the primary medium for consumer sound recordings until the end of the 2. Although there was no universally accepted speed, and various companies offered discs that played at several different speeds, the major recording companies eventually settled on a de facto industry standard of nominally 7. America and the rest of the world. The specified speed was 7. America and 7. 7. AC power driving the stroboscopes used to calibrate recording lathes and turntables. Discs were made of shellac or similar brittle plastic- like materials, played with needles made from a variety of materials including mild steel, thorn and even sapphire. Discs had a distinctly limited playing life that varied depending on how they were produced. Earlier, purely acoustic methods of recording had limited sensitivity and frequency range. Mid- frequency range notes could be recorded, but very low and very high frequencies could not. Instruments such as the violin were difficult to transfer to disc. One technique to deal with this involved using a Stroh violin. The horn was no longer required once electrical recording was developed. The long- playing 3. The short- playing but convenient 7- inch 4. RCA Victor in 1. 94. In the US and most developed countries, the two new vinyl formats completely replaced 7. Vinyl was much more expensive than shellac, one of several factors that made its use for 7. Vinyl offered improved performance, both in stamping and in playback. If played with a good diamond stylus mounted in a lightweight pickup on a well- adjusted tonearm, it was long- lasting. If protected from dust, scuffs and scratches there was very little noise. Vinyl records were, over- optimistically, advertised as . They were not, but they were much less fragile than shellac, which had itself once been touted as . Similar units were widely used for recording and broadcasting in the 1. Between the invention of the phonograph in 1. This innovation eliminated the . Except for a few crude telephone- based recording devices with no means of amplification, such as the Telegraphone. These included improved microphones and auxiliary devices such as electronic filters, all dependent on electronic amplification to be of practical use in recording. In 1. 90. 6, Lee De Forest invented the Audiontriode vacuum tube, an electronic valve that could amplify weak electrical signals. By 1. 91. 5, it was in use in long- distance telephone circuits that made conversations between New York and San Francisco practical. Refined versions of this tube were the basis of all electronic sound systems until the commercial introduction of the first transistor- based audio devices in the 1. During World War I, engineers in the United States and Great Britain worked on ways to record and reproduce, among other things, the sound of a German U- boat (submarine) for training purposes. Acoustical recording methods of the time could not reproduce the sounds accurately. The earliest results were not promising. The first electrical recording issued to the public, with little fanfare, was of November 1. Unknown Soldier in Westminster Abbey, London. The recording engineers used four microphones like those in contemporary telephones, discreetly set up in the abbey and wired to recording equipment in a vehicle outside. Although electronic amplification was used, the audio was weak and unclear. The procedure did, however, produce a recording that would otherwise not have been possible in those circumstances. For several years, this little- noted disc remained the only issued electrical recording. Several record companies and independent inventors, notably Orlando Marsh, experimented with equipment and techniques for electrical recording in the early 1. Marsh's electrically recorded Autograph Records were already being sold to the public in 1. Marsh's microphone technique was idiosyncratic and his work had little if any impact on the systems being developed by others. They had the best microphone, a condenser type developed there in 1. They had already patented an electromagnetic recorder in 1. Their engineers pioneered the use of mechanical analogs of electrical circuits and developed a superior . Both soon licensed the system and both made their earliest published electrical recordings in February 1. To avoid making their existing catalogs instantly obsolete, the two long- time arch rivals agreed privately not to publicize the new process until November 1. During the next few years the lesser record companies licensed or developed other electrical recording systems. By 1. 92. 9 only the budget label Harmony was still issuing new recordings made by the old acoustical process. Comparison of some surviving Western Electric test recordings with early commercial releases indicates that the record companies . The amplitude variations comprising the signal were used to modulate a light source which was imaged onto the moving film through a narrow slit, allowing the signal to be photographed as variations in the density or width of a . The projector used a steady light and a photoelectric cell to convert these variations back into an electrical signal, which was amplified and sent to loudspeakers behind the screen. Ironically, the introduction of . Optical sound became the standard motion picture audio system throughout the world and remains so for theatrical release prints despite attempts in the 1. Currently, all release prints on 3. Dolby SR noise reduction. In addition, an optically recorded digital soundtrack in Dolby Digital and/or Sony SDDS form is likely to be present. An optically recorded timecode is also commonly included to synchronise CDROMs that contain a DTS soundtrack.
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