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It was recorded mainly on vintage equipment, using equipment such as a 1895 Edison wax cylinder recorder, a 1940's wire recorder, a "state of the art hard drive", and reel to reel tape recorders, hence its lo-fi sound.
By speeding up Morse code using an audio tape recorder (this is an obsolete method), or using a computer and digital modes such as JT6M or FSK441, very short high speed bursts of digital data can be bounced off the ionized gas trail of meteor showers.
While the first tape recorder (the EMR32PA, 1950) used the USA-made SoundMirror BK-416 chassis from the Brush Development Company in Ohio, the R62 (1954/55) was completely their own design, offering at that time a consumer tape recorder with three ebm-papst motors, capstan spindles, three heads, 10" reels and an adjustable azimuth of the playback head.
Beginning in 1947, Eimac operated FM radio station KSBR from their plant in San Bruno, California, one of only two FM stations in the United States to test the new Rangertone tape recorders (adapted from the German Magnetophon recorders).
Unlike the later consumer-marketed 8-track cartridge developed later in 1964 by Bill Lear which had the pinch roller integrated in the cartridge, the Fidelipac cartridge had a hole in the right-hand bottom front corner of the cartridge, where the pinch roller, built into the player instead, would swing up into place to support the tape up against the capstan.
On 1 December 1932 Pfleumer granted AEG the right to use his invention when building the world's first practical tape recorder, called Magnetophon K1.
The original recordings in mono format where recorded with an Ampex-350 tape recorder.
The song was written and composed by Geoff Goddard who awoke inspired and sang it straight into the tape recorder which he kept by his bedside.
Armed with a loaded revolver, a bottle of Scotch whisky and a running tape recorder, while surrounded by closed circuit television cameras, he spends the next 90 minutes recalling, with rage, suspicion, sadness and disappointment, his controversial life and career in a long monologue.
The anecdotes were edited from taped conversations that Feynman had with his close friend and drumming partner Ralph Leighton.
As with Stoltz's previous album, The Past Was Faster, Stoltz once again played all the instruments and recorded the album in his apartment, this time on a Tascam 388 1/4" reel-to-reel tape recorder.
In 1962 Le Caine arrived in Jerusalem to install his Creative Tape Recorder in the Centre for Electronic Music in Israel, established by Josef Tal.
The performance was recorded on an Ampex tape recorder, and released on LP under the "Boston Records" Label.
Developed by John T. Mullin and Wayne R. Johnson since 1950, the device gave what were described as "blurred and indistinct" images, using a modified Ampex 200 tape recorder and standard quarter-inch (0.6 cm) audio tape moving at 360 inches (9.1 m) per second.
He is often seen in the finished film, usually holding the sound boom and wearing the Nagra tape recorder.
The album was created on a very low budget; it was supposedly recorded almost entirely with a Revox tape recorder, a borrowed Roland drum machine belonging to Kit Hain, a small, preset Roland bass synthesizer, and an NED Synclavier, belonging to producer Mike Thorne.
A small reel-to-reel tape recorder hidden in the cockpit and which was intended to play a musical recording of the car's features was discovered along with the original tape during the restoration process and is in working order; the recording was reportedly done by Tex Ritter.
The Academy of Motion Picture Arts and Sciences presented Ranger with an Oscar in 1956 for his development of the tape recorder and synchronization of film and sound.
Seibert, assisted by Nick Moy and Alan Goodman, brought a portable Ampex 4-track, half inch, tape recorder, mixers, and microphones to capture the performances.
While in the chair, when Mr. Peggit turns on the tape recorder playing The Blue Danube, he meddles with the controls on the dentist's chair and the dentist's equipment while his back is turned, even draining Mr. Peggit's cup of coffee with the suction tube.
They could also be used in small-signal applications at lower frequencies, as in the Ampex MR-70, a costly studio tape recorder whose entire electronics section was based on nuvistors.
Developed by John T. Mullin and Wayne R. Johnson since 1950, the device gave what were described as "blurred and indistinct" images using a modified Ampex 200 tape recorder and standard quarter-inch (0.6 cm) audio tape moving at 360 inches (9.1 m) per second.