Sound and reproduction recordings are electrical, mechanical, electronic or digital inscriptions and re-creation of sound waves, such as spoken, singing, instrumental, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.
Acoustic analog recording is achieved with a microphone diaphragm that senses atmospheric pressure changes caused by acoustic sound waves and records them as mechanical representations of sound waves on media such as phonograph records (where the stylus cuts the indentations on the recording). In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into varying electric currents, which are then converted into varying magnetic fields by electromagnets, which make representations of sounds as magnetic regions in plastic tape with magnetic layers above them. The analogue sound reproduction is the reverse process, with larger loudspeaker diaphragms causing changes in atmospheric pressure to form acoustic sound waves.
Digital recording and reproduction alters the analog sound signals taken by the microphone to digital form by sampling process. This allows audio data to be stored and transmitted by a wider variety of media. Digital recordings store audio as a series of binary numbers (zero and one) that represent samples of audio signal amplitude at the same time interval, at a sample rate high enough to deliver all audible sounds. Digital audio signals must be converted to analog form during playback before amplification and connected to the loudspeaker to produce sound.
Prior to the development of sound recordings, there were mechanical systems, such as inflatable music boxes and, later, player pianos, for encoding and reproducing instrumental music.
Video Sound recording and reproduction
Pre-history
Long before the sound was first recorded, the music was recorded - first with a written musical notation, then also by mechanical devices (eg, tortuous music box, where the spindle spin mechanism, which plucked metal tines, thus reproducing the melody). Automatic music reproduction retrace as far back as the 9th century, when Ban? Miss? you find the earliest mechanical musical instrument known, in this case, a water-powered organ that plays an interchangeable cylinder. According to Charles B. Fowler, "... cylinders with elevated pins on the surface remain the basic device for mechanically producing and reproducing music until the second half of the nineteenth century." Ban? Miss? the brothers also found an automatic flute player, which seems to be the first machine that can be programmed.
In the 14th century, a mechanical bell controlled by a rotating cylinder was introduced in Flanders. Similar designs appeared in the barrel organ (15th century), music clock (1598), piano barrel (1805), and music box (ca. 1800). A music box is an automatic musical instrument that produces sound by using a set of pins placed on a cylinder or rotating disc to pull out a tooth that is set (or lamellae ) from a steel comb.
The fairground organ, developed in 1892, uses an accordion hollow cardboard book system. The player piano, first shown in 1876, uses a hollow paper roll that can hold a long piece of music. The most sophisticated of the piano rolls is "hand-playable", which means that the roll represents the actual performance of an individual, not just a transcription of the sheet music. This technology for recording live performances to piano rolls was not developed until 1904. The piano rolls continued mass production from 1896 to 2008. A copyright case of the US Supreme Court in 1908 noted that, in 1902 alone, there were between 70,000 and 75,000 players pianos are produced, and between 1,000,000 and 1,500,000 piano rolls are produced. The use of piano rolls began to decline in the 1920s although one type is still made today.
Maps Sound recording and reproduction
Phonautograph
The first device that can record real sound when they pass through the air (but can not play it back - its purpose is only visual studies) is a fonautograph, patented in 1857 by Parisian inventors ÃÆ' â € ° douard-LÃÆ' Â © on Scott de Martinville. The earliest known recording of the human voice is a phonautographed recording, called "phonautograms", made in 1857. They are made up of sheets of paper with a white-wave modulation line made by a vibrating stylus that cuts out a layer of soot as paper is passed underneath. The 1860 fonautogram of Au Clair de la Lune, a French folk song, played back as a voice for the first time in 2008 by scanning and using software to transform wavy lines, which graphically encode sounds, into appropriate digital audio files..
Phonograph
Phonographic cylinder
On April 30, 1877, French poet, cute writer, and inventor Charles Cros handed over a sealed envelope containing a letter to the Academy of Sciences in Paris that fully explained his proposed method, called paleophone. Although no trace of a paleophone has been found, Cros is remembered as the earliest inventor of a sound recording and reproduction machine. The first practical sound recording and reproducing apparatus is a mechanical phonograph cylinder, created by Thomas Edison in 1877 and patented in 1878. These discoveries soon spread throughout the world and over the next two decades, the recording of commercial, distribution, and sales of sound recordings became industry emerging new international, with the most popular title selling millions of units in the early 1900s. The development of mass production techniques enabled cylinder recordings to become a major new consumer item in industrialized countries and cylinders was the primary consumer format from the late 1880s until about 1910.
Disc phonograph
The next major technical development was the discovery of the gramophone disk, generally credited to Emile Berliner and commercially introduced in the United States in 1889, although others had demonstrated similar disk devices earlier, notably Alexander Graham Bell in 1881. The discs were easier to make. , transport and storage, and they have the added benefit of being tougher (slightly) than the cylinder, which by necessity, is one-sided. Sales of gramophone recordings go beyond ca. cylinder. 1910, and by the end of World War I the disk had become the dominant commercial recording format. Edison, who is a major cylinder producer, created the Edison Disc Record in an effort to regain its market. In various permutations, the audio disc format became the primary medium for consumer sound recording until the end of the 20th century, and the two-sided 78 rpm discs were the standard consumer music format from the early 1910s through the late 1950s.
Although there is no universally accepted speed, and various companies offer discs that play at several different speeds, major record companies eventually set the industry standard of de facto from 78 rounds per minute, although the actual speed differs between Americans and other parts of the world. The specified speed is 78.26 rpm in America and 77.92 rpm worldwide. The difference in speed is due to differences in AC power frequency cycles that use a stroboscope used to calibrate recording of lathes and turntables. The nominal speed of the disk format gives rise to a common nickname, "seventy-eight" (though not until another speed is available). Discs made of lacquers or similar fragile plastic materials, are played with needles made of various materials including mild steel, thorns, and even sapphires. Discs have a very limited playing life that varies depending on how they are produced.
Previously, the purely acoustic recording method had limited sensitivity and frequency range. Note the intermediate frequency range can be recorded, but very low and very high frequencies can not. Instruments such as violins are difficult to transfer to disk. One technique for dealing with this involves the use of Stroh's violin mounted conical horns connected to a vibrating diaphragm due to a violin bridge. The horn is no longer needed after the electrical recording is developed.
Mikrogroove records of LPs 33 / 3 rpm, or "LP", were developed at Columbia Records and introduced in 1948. Short-playing but comfortable 7-inch 45 rpm single vinyl microgroove was introduced by RCA Victor in 1949. In the US and the most advanced countries, two new vinyl formats completely replaced the shellac rpm discs in the late 1950s but in some corners world, "78" lingered deep into the 1960s. Vinyl is much more expensive than lacquers, one of the few factors that makes its use for 78 rpm recording very unusual, but with long discs, additional charges are acceptable and the compact "45" format requires very little material. Vinyl offers improved performance, both in stamping and in playback. If played with a diamond stylus mounted on a lightweight pickup on a well-adjusted tonearm, it's durable. If protected from dust, abrasions and scratches there is little noise. Vinyl tapes, overly optimistic, are advertised as "unbreakable". They are not, but they are much more fragile than lacquer, which has been touted as "unbreakable" compared to wax cylinders.
Electrical recording
Between the invention of the phonograph in 1877 and the first commercial digital recording in the early 1970s, arguably the most important milestone in the history of sound recordings was the introduction of what was then called the electrical recording, where microphones were used to convert sounds into signals electric power that is amplified and used to drive the recording stylus. This innovation eliminates the resonant "horn sound" resonance characteristics of the acoustic process, resulting in a clearer and fuller recording with greatly expanded useful audio frequency range, and allows previously unrecorded and weak sound to be captured.
The sound recording begins as a purely mechanical process. Except for some raw phone recording devices without amplification tools, such as Telegraphone, it remained so until 1920 when some radio-related developments in electronics came together to revolutionize the recording process. These include enhanced microphones and enhancements like electronic filters, all dependent on electronic amplification being a practical use in recording. In 1906, Lee De Forest invented the Triode Audion vacuum tube, an electronic valve that could amplify weak electrical signals. In 1915, it was used in long distance telephone circuits that made conversations between New York and San Francisco practical. The smooth version of this tube was the foundation of all electronic sound systems until the commercial introduction of the first transistor-based audio devices in the mid-1950s.
During World War I, engineers in the United States and Great Britain worked on ways to record and reproduce, inter alia, the voice of the German U-boats for training purposes. Time acoustic recording method can not reproduce sound accurately. The earliest results are not promising.
The first publicly released tape, with a bit of fanfare, was from the November 11, 1920 funeral service for The Unknown Warrior in Westminster Abbey, London. The recording engineers use a microphone of the kind used in contemporary telephones. Four were quietly arranged in the monastery and transferred to the recording equipment in a vehicle outside. Although electronic amplification is used, the audio is weak and unclear. However, the procedure resulted in an unlikely recording in such situations. For several years, this little disc remains the only recording of electricity released.
Several independent recording companies and inventors, notably Orlando Marsh, experimented with equipment and techniques to record electricity in the early 1920s. Note The recordings recorded by Marsh were sold to the public in 1924, a year before the first bidding of major record companies, but their overall sound quality was too low to show a clear advantage over traditional acoustic methods. Marsh's microphone technique is idiosyncratic and his work has little if any impact on systems developed by others.
The telephone industry giant Western Electric had a research laboratory (incorporated with the AT & T engineering department in 1925 to form Bell Telephone Laboratories) with materials and human resources that could not be found by an independent recording or inventor. They have the best microphones, a type of condenser developed there in 1916 and greatly improved in 1922, as well as the best amplifiers and test kits. They have patented an electromechanical recorder in 1918, and in the early 1920s, they decided to intensively apply their hardware and expertise to develop two state-of-the-art systems for recording and reproducing electronic sound: using conventional and other discs which is optically recorded on film film. Their engineers pioneered the use of mechanical analogs on electrical circuits and developed superior "rubber line" recorders to cut the grooves into the wax master in the disk recording system.
In 1924, such dramatic advances have made Western Electric organize demonstrations for two leading record companies, the Victor Talking Machine Company and the Columbia Phonograph Company. Both immediately licensed the system and both made the earliest electrical recordings published in February 1925, but did not actually release them until a few months later. To avoid making existing catalogs obsolete soon, the two old archrivals agreed personally not to publish the new process until November 1925, at which time enough recordable electric venues would be available to meet anticipated demand. Over the next few years, less licensed record companies or developing other electrical recording systems. In 1929 only the Harmony budget label still issued a new recording made by the old acoustic process.
The comparison of some of the remaining Western Electric test records with early commercial releases indicates that the record company "silenced" the system's frequency range so that the recording will not overload non-electronic playback equipment, resulting in very low frequencies as unpleasant and fast toys. remove the disc with high frequency recorded strongly.
Other recording formats
In the 1920s, Phonofilm and other early motion picture sound systems used optical recording technology, in which audio signals were recorded graphically on photographic films. Amplitude variations consisting of signals are used to modulate the emitted light source to a film moving through a narrow slit, allowing the signal to be photographed as a variation in the density or width of the "sound track". The projector uses stable light and photoelectric cells to convert these variations back into electrical signals, which are amplified and sent to speakers behind the scenes. Ironically, the introduction of "talkie" was spearheaded by The Jazz Singer (1927), which uses the Vitaphone sound-on-disc system rather than the optical soundtrack. The optical sound became a standard motion picture audio system worldwide and remained so for theatrical release molds though in 1950 tried to replace the magnetic soundtrack. Currently, all mold releases on 35 mm films include analog optical soundtracks, usually stereo with Dolby SR noise reduction. In addition, digital soundtracks recorded digitally in the form of Dolby Digital and/or Sony SDDS are likely to be present. An audio-recorded timecode is also usually included to sync a CDROM containing a DTS soundtrack.
This period also saw several other historic developments including the introduction of the first practical magnetic sound recording system, magnetic wire recorder, based on the work of the Danish inventor Valdemar Poulsen. The magnetic wire recorder is effective, but the sound quality is bad, so between wars they are mainly used for sound recording and marketed as business dictation machines. In 1924, a German engineer, Dr. Kurt Stille, developed the Poulsen wire recorder as a dictation machine. The following year, Ludwig Blattner began work which eventually produced Blattnerphone, increasing it to use a steel band instead of a wire. The BBC began using Blattnerphones in 1930 to record radio programs. In 1933, radio pioneering company Guglielmo Marconi bought the rights to Blattnerphone, and the newly developed Marconi-Stille recorder was installed at Maida Vale Studios on BBC in March 1935. The recordings used on Blattnerphones and Marconi-Stille recorders are the same materials used for make a razor blade, and it's no wonder the dreadful Marconi-Stille recorder is so dangerous that the technician has to operate it from another room for safety. Due to the high recording speed required, they used large rolls of about one meter in diameter, and thin ribbons often broke out, sending a jagged steel razor wandering around the studio. The K1 Magnetophon was the first practical tape recorder, developed by AEG in Germany in 1935.
Magnetic tape
An important field of discovery during this period was the tape recorder. Magnetic tape recording uses a reinforced electric audio signal to generate analogue variations of the magnetic field generated by the head of the tape, which suggests an appropriate variation of magnetization on the moving band. In play mode, the signal path is reversed, the head of the tape acts as a miniature electric generator as different magnetic tapes pass through it. The original original steel bands were replaced with more practical plated paper ribbons, but acetate soon replaced the paper as the base of the standard band. Acetate has a low enough tensile strength and if it is very thin it will break easily, so in turn it is eventually replaced by polyester. This technology, the basis for almost all commercial recordings from the 1950s to the 1980s, was developed in the 1930s by German audio engineers who also rediscovered the principle of AC biasing (first used in the 1920s for wire recorders), which dramatically improved frequency. recording tape response. This technology was further enhanced after World War II by American audio engineer John T. Mullin with support from Bing Crosby Enterprises. The pioneer Mullin recorder is a modification of the captured German recorder. In the late 1940s, Ampex company produced the first commercially available tape recorder in the US.
Magnetic tape brought great changes in the radio and recording industry. Sound can be recorded, deleted and re-recorded on the same band over and over again, the sound can be duplicated from recording to a cassette with only a slight loss of quality, and the recording can now be edited with great precision by trimming the tape physically and rejoins. Within a few years after the introduction of the first commercial tape recorder - the Ampex 200 model, launched in 1948 - American musician inventor, Les Paul, had invented the first multitrack tape recorder, delivering another technical revolution in the recording industry. The tape made possible the first real sound recording made by electronic means, paving the way for bold sonic experiments from the Musique ConcrÃÆ'¨te school and avant garde composers such as Karlheinz Stockhausen, which in turn led to innovative pop music recordings of artists such as Frank Zappa, The Beatles, and The Beach Boys.
The ease and accuracy of ribbon editing, compared to previous complicated disk-to-disk editing procedures in some limited use, together with consistently high audio recording quality finally convinced radio networks to routinely practice their entertainment programs, most of which had previously been broadcasted directly. Also, for the first time, broadcasters, regulators, and other stakeholders can make a comprehensive audio record of everyday radio broadcasts. Innovations like multitracking and echo tape allow radio programs and commercials to be produced to a high level of complexity and sophistication. The combined impact with innovations such as endless loop broadcasting cartridges led to significant changes in the tempo and production style of radio and advertising program content.
Stereo and hi-fi
In 1881, was recorded during an experiment in transmitting sounds from the Paris Opera which made it possible to follow the singer's movements on stage if the earphones connected to different microphones were held in two ears. The invention was commercialized in 1890 with the ThÃÆ' Â © ÃÆ' Â ¢ trophone system, which operated for more than forty years until 1932. In 1931, Alan Blumlein, a British electronics engineer working for EMI, devised a way to make an actor's voice in Movies following his movements on screen. In December 1931, he filed a patent including the idea, and in 1933, it became British patent number 394,325. Over the next two years, Blumlein developed a stereo microphone and stereo disc stereo head, and recorded a number of short films with a stereo soundtrack.
In the 1930s, experiments with magnetic tape allowed the development of a first practical commercial sound system that could record and reproduce stereophonic sound with high accuracy. Experiments with stereos during the 1930s and 1940s were hampered by problems with synchronization. A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a two-channel stereo practical system, using multiple optical sound tracks on the film. The main film studio quickly developed a three-track sound system and four tracks, and the first stereo sound recordings for commercial films were made by Judy Garland for the movie MGM Listen, Darling in 1938. The first commercially released film with the stereo soundtrack is Walt Disney's Fantasia , released in 1940. 1941 Fantasia release uses the "Fantasound" sound system. This system uses a separate movie for sound, synchronized with the film that carries the image. Voice movies have four double-width optical soundtracks, three for left, middle, and right audio - and fourth as a "control" track with three tone recordings that control the playback volume of three audio channels. Due to the complex equipment required by this system, Disney is showing off the film as a roadshow, and only in the United States. The regular releases of the film use the standard optical stock of 35 mm until 1956, when Disney released the movie with a stereo soundtrack that uses a four-track magnetic sound system "Cinemascope".
German audio engineers working on magnetic tapes developed stereo recordings in 1941, although a 2-point push-pull monaural technique existed in 1939. Of the 250 stereophonic recordings made during World War II, only three survived: Beethoven's 5th Piano Concert with Walter Gieseking and Arthur Rother, Brahms Serenade, and the last movement of the 8th Symphony Bruckner with Von Karajan. The Audio Engineering Society has released all these recordings on CD. (Varese Sarabande has released Beethoven Concerto on LP, and has been re-published on CD several times since). Other early German stereophonic bands are believed to have been destroyed in bombings. Not until Ampex introduced the first commercial two-tape tape recorder in the late 1940s, stereo tape recording became commercially viable. However, despite the availability of multitrack tape, stereos have not been the standard system for commercial music recording for several years, and remained a specialist market during the 1950s. EMI (UK) was the first company to release commercial stereophonic bands. They took out their first Stereosonic cassette in 1954. Others quickly followed, under the Masters and Columbia labels. 161 Stereosonic tapes were released, mostly classical music or lyric recording. RCA imports these tapes to the US.
Two-lane stereophonic bands were more successful in America during the second half of the 1950s. They are duplicated in real time (1: 1) or twice the normal speed (2: 1) when then 4-track cassettes are often duplicated up to 16 times the normal speed, giving lower sound quality in most cases. 2-track stereophonic early American tape is very expensive. A common example is the price list of the Sonotape/Westminster scrolls: $ 6.95, $ 11.95 and $ 17.95 for the 7000, 9000 and 8000 series respectively. Some of the HMV tapes released in the US also cost up to $ 15. The history of stereo recordings changed after the introduction in 1957 of the Westrex stereo phonograph disc, which uses the previously developed Blumlein flow format. Decca Records in the UK came out with FFRR (Full Frequency Range Recording) in the 1940s, which became internationally accepted as a worldwide standard for higher quality recording on LPs. Ernest Ansermet's recording of Petrushka's Igor Stravinsky is key in the development of the full frequency range record and reminds the listening public for high allegiance in 1946.
The record company mixed the most popular music singles into monophonic sounds until the mid-1960s - then generally released major recordings in mono and stereo until the early 1970s. Many 1960s pop albums were only available on stereo in the 2000s, originally released only in mono, and the record company produced a stereo version of these albums by simply splitting the two master recording tracks, creating a "pseudo stereo". In the mid-sixties, when stereos became more popular, many mono recordings (such as The Beach Boys' Pet Sounds ) were remastered using the so-called "fake stereo" method, which spread the sound across stereo fields by directing higher frequency sounds into one channel and low-frequency sound to other channels.
1950s to 1980s
Magnetic tape changed the recording industry. In the early 1950s, most commercial recordings were mastered on tape, not recorded directly onto the disk. Tape facilitates the level of manipulation in the process of recording that is not practical with mixed and multiple generations of disks recorded directly. An early example is a 1951 Les Paul recording of how tall the Moon is, in which Paul plays eight too many guitar songs. In the 1960s Brian Wilson of The Beach Boys, Frank Zappa and The Beatles (with producer George Martin) was one of the first popular artists to explore the possibility of multitrack recording techniques and effects on their landmark album Pet Voice >, Freak Out! , and Sgt. Lost Pepper Club Band.
The next major innovation is a small cartridge-based ribbon system, where compact cassettes, commercialized by the Philips electronics company in 1964, are the best known. Initially the low-fidelity format for word-of-mouth voices was not enough for music reproduction, after a series of improvements that completely replaced competing formats: larger 8-track bands (used primarily in cars) and similarly-developed "Deutsche Cassettes" by the German company, Grundig. This latter system is not very common in Europe and almost unheard of in America. The compact cassette became the ultimate consumer audio format and advances in electronic and mechanical miniaturization led to the development of the Sony Walkman, a pocket-sized tape player that was introduced in 1979. The Walkman was the first personal music player and provided a major boost to the previously recorded tape sales, a widely successful first release that uses recoverable media: vinyl recordings are the only playback medium and commercially recorded tapes for reel-to-reel tape decks, which many consumers find difficult to operate. , never more than just a regular market niche.
An important advancement in audio fidelity came with Dolby A noise reduction system, invented by Ray Dolby and introduced to a professional recording studio in 1966. It extinguished the light but sometimes quite clearly the background hissed, which is the only easily audible weakness from mastering on tape rather than recording directly to disk. The competing system, dbx, created by David Blackmer, also finds success in professional audio. The simpler variant of the Dolby noise reduction system, known as Dolby B, greatly improves the sound of cassette recordings by reducing the very high hiss level resulting from the tape miniature tape format. These, and variants, have also finally found widespread applications in the recording and film industry. Dolby B is essential to the popularization and commercial success of tapes as domestic recordings and media playback, and it became a standard feature in the 1970s booming car and stereo market and beyond. The compact cassette formats also benefit tremendously from improvements in the band itself as a coating with a wider frequency response and inherent lower noise developed, often based on cobalt and chrome oxide as a more common magnetic material instead of iron oxide.
Multitrack audio cartridges have been used extensively in the radio industry, from the late 1950s to the 1980s, but by the 1960s the pre-recorded 8-track cartridge was launched as a consumer audio format by Bill Lear of the Lear Jet aircraft company (Dan though the correct name is 'Lear Jet Cartridge', it's rarely called like that). Aimed specifically in the automotive market, they are the first practical, affordable hi-fi car system, and can produce superior sound quality than compact cassettes. But smaller size and greater durability - coupled with the ability to create "compilation" of home recording music since the rare 8-track recorder - saw the cassette become the dominant consumer format for portable audio devices in the 1970s and 1980s.
There have been multi-channel sound experiments for years - usually for special musical or cultural events - but the first commercial application of this concept emerged in the early 1970s with Quadraphonic voice recognition. The spin-off development of this multitrack recording uses four tracks (instead of two used in stereos) and four speakers to create 360 ​​degree audio fields around the listener. After releasing the first consumer 4-channel hi-fi system, a number of popular albums were released in one of four competing channel formats; among the most famous are Mike Oldfield Tubular Bells and Pink Floyd on the Dark Side of the Month . Quadraphonic sounds are not commercially successful, in part because the competing and somewhat incompatible four-channel voice systems (eg, CBS, JVC, Dynaco and others all have systems) and generally poor quality, even when played as intended on the correct equipment, music released. Finally faded in the late 1970s, although this early attempt paved the way for the introduction of the domestic Surround Sound system in the use of home theater, which has gained enormous popularity since the introduction of the DVD. This widespread adoption has occurred despite the confusion introduced by the abundance of surround sound standards available.
Audio components
Replacement of relatively fragile thermionic valves (vacuum tubes) by smaller, lighter, colder, cheaper, more powerful, and less power-hungry transistors also accelerated the sale of high consumer loyalty "hi-fi" sound systems from the 1960s etc. In the 1950s, most of the recording players were monophonic and had relatively low sound quality. Few consumers can afford a high quality stereophonic sound system. In the 1960s, American manufacturers introduced a new generation of "modular" hi-fi components - separate turntables, pre-amplifiers, amplifiers, both combined as integrated amplifiers, tape recorders, and other support equipment such as graphic equalizer, creating a complete home sound system. This development was rapidly picked up by major Japanese electronics companies, which soon flooded the world market with relatively affordable high-quality transistor audio components. In the 1980s, companies like Sony have become world leaders in the music recording industry and playback.
Digital recording
The advent of digital sound recording and then compact disc (CD) in 1982 brought significant improvements in the durability of consumer recordings. The CD started another wave of major changes in the consumer music industry, with the LPs effectively degraded into small market niches in the mid-1990s. However, the recording industry strongly rejected the introduction of digital systems, afraid of wholesale piracy on media capable of producing a perfect copy of the original recording released. However, the industry is succumbing to the inevitable, despite using a variety of protection systems (especially Serial Copy Management System, or SCMS).
The latest and revolutionary developments in digital recordings, with the development of uncompressed and uncompressed digital audio file formats, capable and fast enough processors to convert digital data into real time sound, and inexpensive bulk storage. It produces a new type of portable digital audio player. Minidisc players, using ATRAC compression on small, inexpensive, and rewritable discs were introduced in the 1990s but became obsolete because non-volatile solid-state flash memory dropped in price. As technologies that increase the amount of data that can be stored on one medium, such as Super Audio CD, DVD-A, Blu-ray Disc, and HD DVD become available, longer programs of higher quality fit into a single disk. Sound files are ready to download from the Internet and other sources, and copied to computers and digital audio players. Digital audio technology is now used in all areas of audio, from the use of moderate-quality music files to the most demanding professional applications. New applications like internet radio and podcasts have appeared.
Technological developments in recording, editing and consumption have transformed the recording industry, film and television in recent decades. Audio editing becomes practical with the invention of magnetic tape recording, but cheap digital audio and mass storage allows the computer to edit audio files quickly, easily and inexpensively. Today, the recording process is separated into tracking, mixing and mastery. Multitrack recording makes it possible to capture signals from multiple microphones, or from different shots to tape, disk or mass storage, with maximized headroom and quality, allowing flexibility that was not previously available in the mixing and mastering stages.
Software
There are many different digital audio recording and processing programs running under several computer operating systems for all purposes, from ordinary users (for example, a small businessman who records his "to-do" list on a cheap digital recorder) to amateurs (an unregistered "indie" band recording their demos on laptops) to professional sound engineers who record albums, film scores and do sound designs for video games. A full list of digital recording applications is available in digital audio workstation articles. Digital dictical software for recording and copying speech has different requirements; Smart and flexible playback facilities are a priority, while wide frequency ranges and high audio quality are not.
Cultural effects
The development of analogue sound recording in the nineteenth century and its widespread use throughout the twentieth century had a major impact on the development of music. Before analog sound recording was found, most music was listened to by listening to live performances, or by singing or playing a song or song. Throughout the Middle Ages, the Renaissance, the Baroque, the Classical, and through much of the Romantic music era, the main way songs and instrumental pieces were "recorded" was by noting the music notation. While the musical notation shows their melodic and rhythmic notes, this notation is not like the 2010-era sound recording. Indeed, in the Middle Ages, Gregorian songs did not show the rhythm of singing. In the Baroque era, instrumental pieces often have no indication of tempo and usually no ornaments are written. As a result, every song or track performance will be slightly different.
With the development of analog sound recordings, though, performance can be fixed permanently, in all its elements: pitch, rhythm, timbre, ornament and expression. This means that more performance elements will be captured and disseminated to other listeners. The development of sound recordings also allows the proportion of larger people to hear famous orchestras, operas, singers, and bands, because even if the inadequate person can not hear the live concert, he or she may be able to afford to buy the recording. The availability of sound recordings thus helps to spread the style of music to new areas, countries and continents. The cultural influence goes to a number of directions. Voice recording allows Western music lovers to hear real footage of Asian, Middle Eastern and African groups and artists, raising awareness of non-Western musical styles. At the same time, voice recordings allow non-Western music lovers to hear the most famous North American and European groups and singers.
Legal status
In copyright law, "phonogram" or "sound recording" is a work resulting from sound fixation in a medium. Copyright notice in a phonogram using the sound recording copyright symbol, defined by the Geneva Voice Record Convention? (letter P in full circle). This usually accompanies a copyright notice for the underlying music composition, which uses the usual Ã, Â © symbol.
AS
United States copyright law defines "sound recording" as "the work resulting from the fixation of a series of music, oral or other sounds" in addition to the audiovisual soundtrack. Prior to the Voice Recording Amendment (SRA), which came into force in 1972, copyrights in sound recordings are handled at multiple state levels. The federal copyright law precedes most of the country's copyright laws but allows the state copyright in the sound recording to continue for one full copyright term after the effective date of CFS, which means 2067.
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