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Polk Audio, Inc. is an American manufacturer of audio products best known for its home and automobile speakers. The company also produces a wide range of other audio products, such as amplifiers and FM tuners. The company's headquarters is in San Diego, California. In 2006, it was bought by Directed Electronics. [1]
This list of car audio manufacturers and brands comprises brand labels and manufacturers of both original equipment manufacturer (OEM) and after-market products generally related to in-car entertainment that already have articles within Wikipedia. While components sold by these companies have much in common with other audio applications or may ...
Hozelock was floated in 1993, but CVC took the company private again in 1999 for £85m after a succession of wet summers and stock market turmoil halved the company's share price. [1] In 2009 the brand agency Haines McGregor was engaged to help develop the European positioning for the brand.
TEAC is known for its audio equipment, and was a primary manufacturer of high-end audio equipment in the 1970s and 1980s. During that time, TEAC produced reel-to-reel machines, cassette decks, CD players, turntables and amplifiers. TEAC produced an audio cassette with tape hubs that resembled reel-to-reel tape reels in appearance.
The most famous speakers were the Symbol B (1983) as well as the first Revox active speaker Agora B (1986). A milestone in the speaker development was the two digital active speakers Scala 4.7 (1994) and Scala 3.6 (1996). 1980 also saw the introduction of the Triton, one of the first sub-woofer / satellite systems for home high fidelity.
[citation needed] High-power in-car audio systems using 2-ohm speaker circuits require thicker wire than 4 to 8-ohm home audio applications. Most consumer applications use two conductor wire. A common rule of thumb is that the resistance of the speaker wire should not exceed 5 percent of the rated impedance of the system.
It could play stereo quarter-track tapes but record only in one quarter-track mono. Home equipment with missing features were fairly common in the 1950s and 1960s. For home use, simpler reel-to-reel recorders were available, and a number of track formats and tape speeds were standardized to permit interoperability and prerecorded music.
Standard tape speeds varied by factors of two: 15 and 30 in/s were used for professional audio recording; 7 + 1 ⁄ 2 in/s (19.1 cm/s) for home audiophile prerecorded tapes; 7 + 1 ⁄ 2 and 3 + 3 ⁄ 4 in/s (19.1 and 9.5 cm/s) for audiophile and consumer recordings (typically on 7 in (18 cm) reels).