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The result was the 3M Digital Audio Mastering System, which consisted of a 32-track deck (16-bit, 50 kHz audio) running 1-inch tape and a 4-track, 1/2-inch mastering recorder. 3M's 32-track recorder was priced at $115,000 in 1978 (equivalent to $537,000 in 2023).
DASH is capable of recording two channels of audio on a quarter-inch tape, and 24 or 48 tracks on 1 ⁄ 2-inch-wide (13 mm) tape [1] [2] [3] on open reels of up to 14 inches. The data is recorded on the tape linearly, [ 4 ] with a stationary recording head , [ 5 ] as opposed to the DAT format, where data is recorded helically with a rotating ...
Label for 2.0 sound (stereo) In common usage, a "stereo" is a two-channel sound reproduction system, and a "stereo recording" is a two-channel recording. This is cause for much confusion, since five (or more)-channel home theater systems are not popularly described as "stereo", but instead as "surround". [clarification needed (see talk)]
SQ is compatible with two-channel stereo, but there are some problems. The front channels are totally compatible, the rear channels have a smaller width. But the great problems are the sounds between front and rear. They will turn to the left and the middle point of the room goes only to the left speaker in 2-channel stereo.
Dolby Digital 3/2 – 5-channel surround (left, center, right, left surround, right surround) These configurations optionally include the extra low-frequency effects (LFE) channel, but only if at least three channels are present. [39] The last two with stereo surrounds can optionally use Dolby Digital EX matrix encoding to add an extra Rear ...
A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a practical system of two-channel stereo, using dual optical sound tracks on film. [28] Major movie studios quickly developed three-track and four-track sound systems, and the first stereo sound recording for a commercial film was made by Judy ...
At the front of the HTD, Soundstream installed track selector hardware. The left side selector allowed the operator to choose which audio channel pair (1,2; 3,4) was assigned to which tape track pair (1,2; 3,4; 5,6; or 7,8). The right-side selector controlled the application of record circuitry power for each of the eight tracks.
The 144 was the first product that made it possible for musicians to affordably record several instrumental and vocal parts on different tracks of the built-in 4-track cassette recorder individually and later blend all the parts together, while transferring them to another standard, two-channel stereo tape deck (remix and mixdown) to form a ...
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