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The Realistic Concertmate MG-1 is an analog synthesizer co-developed by Tandy and Moog Music as a basic, low-priced synthesizer to be sold by Radio Shack under their "Realistic" brand. With estimated unit sales of 23,000 from 1982 to 1983, the MG-1 became the best-selling synthesizer ever manufactured by Moog Music, [ 2 ] and is one of the most ...
The Realistic DX-150 and DX-160 series of Shortwave (LW/MW/SW) radios were affordable communications receivers, aimed largely at beginners, that also received SSB and CW via a BFO. Probably thousands of SWL's, MW DX'ers, and future hams got their start listening to the SW broadcast and SW ham bands with these radios.
In 1996 a CD, The Phase 4 Experience, was released with classical and soundtrack recordings from 1966 to 1979 (London 444 788-2 LPX/PY 871). In 2014, a 41-CD boxed set of Stereo Concert Series classical albums was released, [7] and in 2017 another 40-CD box set of soundtrack and Easy listening/popular recordings, called Spectacular: Nice 'n' Easy.
Schematic drawing of the Grateful Dead's wall of sound. Stanley and Dan Healy and Mark Raizene of the Grateful Dead's sound crew, in collaboration with Ron Wickersham, Rick Turner, and John Curl of Alembic designed the sound reinforcement system in an effort to deliver high-quality sound to attendees of Grateful Dead concerts, which were drawing crowds of 100,000 or more at the time.
Stereo-4, also known as EV (from Electro-Voice) or EV-4, was a matrix 4-channel quadraphonic sound system developed in 1970 by Leonard Feldman and Jon Fixler. [ 1 ] The system was heavily promoted by RadioShack stores in the United States, and some record companies released LP albums encoded in this format.
By 1977, BSR's factories were producing over 250,000 units a week; the majority of record changers installed in console stereos and bookshelf stereo systems during this era were manufactured by BSR. [2] BSR also made tape recorder mechanisms. [3] Bang & Olufsen used BSR's TD2 tape deck in their Beocord Belcanto from 1962. [4]
The pickup patterns of the pair, combined with their positioning, delivers a high degree of stereo separation in the source signal, as well as the room ambiance. The Blumlein pair produces an exceptionally realistic stereo image, but the quality of recordings is highly dependent on the acoustics of the room and the size of the sound source.
These were initially meant to be used with the 100 watt MSA-100 amplifier; then later in 1985 the 200 watt MSA-200 amplifier was released which was compatible with the MGE-160 graphic equalizer. [9] The impedance of the SPK-375 was six ohms and their sensitivity was 91 dB/watt/meter. [ 10 ]