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The Sony MZ1, the first MiniDisc player, released in 1992. MiniDisc (MD) is an erasable magneto-optical disc-based data storage format offering a capacity of 60, 74, and later, 80 minutes of digitized audio. Sony announced the MiniDisc in September 1992 and released it in November [2] of that year for sale in Japan and in December in Europe ...
The Digital Audio Stationary Head or DASH standard is a reel-to-reel, digital audio tape format introduced by Sony in early 1982 for high-quality multitrack studio recording and mastering, as an alternative to analog recording methods. DASH is capable of recording two channels of audio on a quarter-inch tape, and 24 or 48 tracks on -inch-wide ...
NT cassette compared to various memory cards. The system was an R-DAT based system which stored memos using helical scan on special microcassettes, which were 30 mm × 21.5 mm × 5 mm with a tape width of 2.5 mm, with a recording capacity of up to 120 minutes similar to Digital Audio Tape.
Digital Data Storage. Released. 1987; 37 years ago (1987) Digital Audio Tape (DAT or R-DAT) is a signal recording and playback medium developed by Sony and introduced in 1987. [1] In appearance it is similar to a Compact Cassette, using 3.81 mm / 0.15" (commonly referred to as 4 mm) magnetic tape enclosed in a protective shell, but is roughly ...
Sony expanded MiniDisc's possibilities with the introduction of NetMD (NetworkMD). These allowed the use of a PC to convert music from CDs or MP3s into ATRAC3 format, and use a USB cable to transfer the music to the MiniDisc at a much faster rate than was possible when using a line-in cable. The MZ-N10 was released in 2002.
Digital Compact Cassette. Digital Compact Cassette (DCC) is a magnetic tape sound recording format introduced by Philips and Matsushita Electric in late 1992 and marketed as the successor to the standard analog Compact Cassette. It was also a direct competitor to Sony 's MiniDisc (MD), but neither format toppled the then-ubiquitous analog ...
With analog, this comes in the form of outboard hardware components, and with digital, the same is typically accomplished with plug-ins in a digital audio workstation (DAW). A comparison of analog and digital filtering shows technical advantages to both methods. Digital filters are more precise and flexible.
The higher the dynamic range of music, the more demanding it is of tape quality; alternatively, heavily compressed music sources can do well even with basic, inexpensive tapes. [8] Sensitivity of the tape, referred to that of an IEC reference tape and expressed in dB, was usually measured at 315 Hz and 10 kHz. [19] Stability of playback in time.
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