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[6] [8] Chris Carter of Throbbing Gristle has called it "the most groundbreaking yet completely underrated electronic record of the 20th century". [ 9 ] A brief extract from the track "Black Mass: An Electric Storm in Hell" can be heard in the Hammer Film Productions film Dracula AD 1972 .
Fidelipac was originally a 1 ⁄ 4-inch-wide (6.4 mm) analog recording tape, two-track format. One of the tracks was used for monaural program audio, and the other being used for a cue track to control the player, where either a primary cue tone was recorded to automatically stop the cart, a secondary tone was recorded to automatically re-cue the cart to the beginning of the cart's program ...
Cassette tape, a two-spool tape cassette format for analog audio recording and playback and introduced in 1963 by Philips; DC-International, a format that was created by Grundig after Phillips had abandoned an earlier format that was being created alongside the Compact Cassette; 8-track tape, continuous loop tape system introduced in 1964
[58] [8] Double-layer CrO 2 cassettes have the lowest absolute noise among all the audio formulations; these cassettes generate less noise at 4.76 cm/s than a ferric tape at 19.05 cm/s. [53] Their sensitivity is usually also very high, but MOL is low, on par with basic Type I tapes.
White Noise's first release was the 7-inch EP Live at Surf City (1978) by VOM, a short-lived punk ensemble led by notorious rock critic Richard Meltzer and featuring future Angry Samoans Gregg Turner and "Metal" Mike Saunders. The label's second release was Avengers, a 1979 12-inch EP by the Avengers, produced by Steve Jones of the Sex Pistols.
The first commonly available increase in tape length resulted from a reduction in backing thickness from 1.5 to 1.0 mil (38 to 25 μm) resulting in a total thickness reduction from 42 to 35 μm (1.7 to 1.4 mils), which allowed 3,600 ft (1,100 m), 1,800 ft (550 m), and 900 ft (270 m) tapes to fit on ten-and-a-half-, seven-, and five-inch reels respectively.
Ampex tape recorders in the 1950s achieved 60 dB in practical usage, [26] In the 1960s, improvements in tape formulation processes resulted in 7 dB greater range, [28]: 158 and Ray Dolby developed the Dolby A-Type noise reduction system that increased low- and mid-frequency dynamic range on magnetic tape by 10 dB, and high-frequency by 15 dB ...
Reel-to-reel preceded the development of the compact cassette with tape 0.15 inches (3.8 mm) wide moving at 1 + 7 ⁄ 8 inches per second (4.8 cm/s). By writing the same audio signal across more tape, reel-to-reel systems give much greater fidelity at the cost of much larger tapes.