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23 Cards in this Set
- Front
- Back
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Ear Trumpets 18th Century |
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Anathaesius Kircher (1602-1680) Acoustic devices from Phonurgian Nova |
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Anathaesius Kircher 1602- 1680 sound-emitting statue |
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Phonautograph - device could only write sound 1857 Edouard-Leon Scott de Martinville |
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Edouard-Leon Scott de Martinville Inventor of phonautograph |
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Au Claire du Lune |
First known recording of human voice 1860 |
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The Ear Phonautograph 1874 Alexander Graham Bell and Clarence Blake Ear dum marks down noise with stylus, scratching on a plate. Indexical, Visible language for the deaf. |
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Phonograph - 1877 Thomas Edison Able to record and playback sound |
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Alexander Graham Bell Inventor of ear phonautograph |
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Thomas Edison and phonograph 1877 Able to playback and record music |
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Wax cylinders for phonograph 1880 |
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Edison- Gold moulder cylinders made from black wax 1904 |
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Gramophone - could also play and record, but used cylinder discs 1887 Emile Berliner |
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Gramophone record 1897 |
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Victor V gramophone 1907 |
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Portable wind up gramophone from "His Masters Voice" 1930 |
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His Master Voice Gramophone company label Became RCA |
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1934 - picture disc by Nazi propagandists in order to play at local meeAngs for group listening, or on loudspeakers as trucks drove through streets. |
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Before WW1, cylindars and discs competed |
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Acoustical Recording era 1890 - 1925 A sensitive membrane or diaphragm, located at the apex of the cone, was connected to an articulated scriber or stylus, and as the changing air pressure moved the diaphragm back and forth, the stylus scratched or incised an analogue of the sound waves onto a moving recording medium, such as a roll of coated paper, or a cylinder or disc coated with a soft material such as wax or a soft metal Bands of the period often favored louder instruments such as trumpet, cornet and trombone, lower-register brass instruments (such the tuba and the euphonium) replaced the string bass, and blocks of wood stood in for bass drums; performers also had to arrange themselves strategically around the horn to balance the sound, and to play as loudly as possi |
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Electrical Recording 1924 Orlando Marsh The 'second wave' of sound recording history was ushered in by the introduction of Western Electric's integrated system of electrical microphones, electronic signal amplifiers and electrical disc-cutting machines, which was adopted by major US record labels in 1925. Sound recording now became a hybrid process - sound could now be captured, amplified, filtered and balanced electronically, and the disc-cutting head was now electrically-driven, but the actual recording process remained essentially mechanical – the signal was still physically inscribed into a metal or wax 'master' disc, and consumer discs were mass-produced mechanically by stamping an impression of the master disc onto a suitable medium, originallyshellac and later polyvinyl plastic. T |
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Magnetic Tape |
1930 in Germany |
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Tape Casette |
1963 The effect of tape was that it really put music in a spaAal dimension, making it possible to squeeze the music, or expand it.” - Brian Eno |