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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.
Velocity Sensitive, Sustain Pedal Input, Stereo 1.1W x 1.1W Speakers, 40 songs, pred to CTK-650 and CTK-750 [89] CTK 551 2005 61 full 100 16 D (x6) MIDI 100 tone, 100 rhythm, 100 song bank, song bank controller, Pitch Bend, 551/558 manual, larger backlit LCD, chord book [90] CTK 558 61 full 100 16 D (x6) MIDI
Mike Millard (May 18, 1951 – November 29, 1994), [1] nicknamed "Mike The Mic" was an avid concert taper circa 1973 to 1994, recording over 300 concerts, including Led Zeppelin, Pink Floyd and the Rolling Stones concerts in California. [2] He taped virtually every show at the Forum from 1974 to 1980.
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]
[1] The A36, the first 36 series recorder. became available in 1954. Unusual features for the time were pushbutton solenoid transport operations and a direct-drive capstan with no belts or idler wheels. The B36 of 1956 was the first 3-head model, the D36 of 1960 was the first stereo model. Revox A77 (1967–1977) Revox PR99 Mk II, a 1/4 inch ...
Peter Otto, center, the Nashville Symphony’s new concertmaster, stands facing the crowd during the performance of "Encanto" Saturday, March 16, 2024, at Schermerhorn Symphony Center.
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.